DOCUMENT RESUME

ED 214 921 SP 019 982

AUTHOR Fleming, Gladys Andrews, Ed.; And Others TITLE Children's . Revised Edition. INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD). PUB DATE 81 NOTE 105p. AVAILABLE FROMAmerican Alliance for Health, Physical Education, Recreation and Dance, 1900 Association Drive, Reston, VA 22091 (Stock Number 243-25446; $7.25).

EDRS PRICE MFO1 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Aesthetic Education; Art Activities; *Children; *Creative Development; *Curriculum Development; *Dance; Educational Innovation; Elementary Education; Interdisciplinary Approach; Males; Movement Education; Physical Education; Resource Materials; *Teaching Methods

ABSTRACT The findings of the National Dance Association's Task Force on Children's Dance are presented through position papers on the status of dance in education. In Part 1, the purposes and projects of the task force are outlined. The chapters in Part 2 list guidelines for a comprehensive dance program and provide examples of the use of the guidelines in nine schools. The chapters in Part 3 deal with providing alternative movement activities in schools, experiences of male students and teachers in dance education, folk and ethnic contributions, related arts, and creative dance activities. Excerpts from four presentations given at the Land of the Lakes Conference on Children's Dance (1972) and an epilogueare presented in Part 4. Lists of suggested books, records, and films and their sources and distriLutors are presented in Part 5.(FG)

*********************************************#************************* Reproductions supplied by EDRS are the best that can be made from the original document. ***********************************************************************

I e e I s:41.0 ::so le% % : I Goo' iit oo1' vf::: oe _ *o moo eil.: *o s 0I0 00w - 00 0-0 0, O. 0 42. t O. %41, w 00 4,00160:0041-0011/. 00 ell 0 0 WI 1 0:or 4 re e 0. :.4t, go oor* I; %e tso :Q 410 0

Boys and Girls- Communicating, Responding, Feeling, Expressing

Boys and Girls Dancing'

and

Adults-- Caring, Nurturing, Facilitating, Aspiring, Extending

oat's wi-at Children's Dance is all

Editor

Gladys Andrews Ft T11ng

The American Alliance for Health, Physical Education, Recreation and Dance 1900 Association Drive Reston, VA 22091 Purposes of the American Alliance For Health, Physical Education, Recreation and Dance

The American Alliance is an educational or- 3. Researchto encourage and facilitate re- 6. To conduct such other activities as shall ganization, structured for the purposes of sup- search which will enrich the depth and scope be approved by the Board of Governors and porting, encouraging, and providing assistanceof health, feisure, and movement-related ac- fne Alliance Assembly, provided that the Al- to member groups and their personnel tivities; and to disseminate the findings to the liance shall not engage in any activity which throughout the nation as they seek to initiate, profession and other interested and concernedwould be inconsistent with the status of an develop, and conduct programs in health, lei- publics educational and charitable organization as de sure, and movement-related activities for the 4. Standards and guidelinesto further the fined in Section 501(c) (3) of the Internal Reve enrichment of human life. continuous development and evaluation of nue Code of 1954 or any successor provision Alliance objectives include: standards within the profession for personnel thereto, and none of the said purposes shall a 1. Professional growth and aevelopment and programs in health, leisure, and movement-any time be deemed or construed to be pur- to support, encourage, and provide guidance related activities. poses other than the public benefit purposes in the development and conduct of programs 5. Public affairsto coordinate and adminis-and objectives consistent with such educa- in health, leisure, and movement-related ac- ter a planned program of professional, public, tional and charitable status. tivities which are based on the needs, interests,and governmental relations that will improve and inherent capacities of the individual in to- education in areas of health, leisure, and Bylaws, Ar Ode Ill day's society. movement-related activities. 2. Communicationto facilitate public and professional understanding and appreciation of the importance and value of health, leisure, and movement-related activities as they con- tribute toward human well-being

QUIPERD publicity:RI*

Copyright ' 1973 Copyright 1981 Second Printing 1976 Third Printing 1981

American Alliance for Health, Physical Education, Recreation and Dance

1900 Association Drive Reston, VA 22091

Stock Number: 243-25446 tC Wit_tb

To Delia* and Myrtle' and all the children touched and made joyful by their lives

Delia Hussey and Myrtle S. Spar.de

1,0

A

iii 5 Dance Division Task Force: Children's Dance, 1967-72

Gladys Andrews Fleming Additional committee members serving for Chairman, Task Force shorter periods of time: Professor F.merita Virginia Ccmmonwealth University Naomi Allenbaugh Richmond, Virginia LiaisonElementary Physical Education Commission Sal E. Abitanta Ohio State University State Department of Education Columbus, Ohio Trenton, New Jersey Delia Husseyt Robert S. Fleming Detroit Public Schools General Education Consultant to the Detroit, Michigan Task Force Professor Emeritus Shirley Ririe Virginia Commonwealth University University of Richmond, Virginia , Utah

Katie Planche Friedrichs Rose Strasser Southeastern Louisiana University Emerita Hammond, Louisiana t~ State University Brockport, New York Margie R. Hanson Elementary Education Consultant Joan S. Tillotson AAHPERD University of North CarolinaCharlotte Reston, Virginia Charlotte, North Carolina

Mary Rae Josephson Deceased Minneapolis Public Schools Minneapolis, Minnesota

Ruth Murray ... Professor Ementa Wayne State University Detroit, Michigan

Note While most of the material in this book was developed by the Task Force, some was written by persons designated by the Task Force

iv 6 \

One of the +onders of human movement, and specifically of the dance experience, is its changing, r morphoss, and quicksilver nature. It it, process, not permanent f'xed product. The same is true of the child, a human changeling hung between his begin- ning and his becoming, suspended in his being for a very brief and special time. It is beautifully apparent that dance and the chilo -..e natural companions. If, as Merleau Ponty suggests, our bodies are our way of having a world, the child is busily at home in his own body forming and shaping his own world, its inner and outer hemis- pheres He is making himself up as he goes along. It was a deep concern with the human ecology of the child's world that surely served as a prime motivat;on for the National Dance Association's Task Force on Children's Dance This project officially began in 1967, but of course the awareness of childhood as a time of potent expressiveness vulnerable to influence is ancient. It is true that tne impressionable and tremulous early years have been dealt with in many ways: with great care and wisdom, and at times with enormous abuse. There were many specific goals of the Task Force, but the overall intention was pervaded by a deep desire to nourish the volatile and ephemeral language of childhood. The poet Blake urges us to "kiss the joy briefly as it flies." Dance is one way for the child to claim that brief embrace. Nancy W. Smith Vice-president of AAHPER and Chairman of the Dance Division 1967-1968 v1 Statement

Robert S. Fleming

The National Dance Association is to effective dance would emerge in a setup be congratulated for sponsoring the Task where tension or human relations problems Force on Children's Dance. This project hasexisted. One is impressed by the human - significant implications for the Association Algtz.st relations overtones in this document and Mr- as well as for teacher education in general. Itthe numerous opportunities for communi- is impressive that such a project was cation through expressive activities. conceived ana executed through the It is refreshing to note the emphasis on Association's own resources rather than byaesthetics and creativity. As children are outside grants or groups. AAHPERD and helped to express themselves openly and other professional groups might well creatively, many aspects of growth and consider the way in which this study was learning are enhanced. executed since it demonstrates the S. contributions dedicated people make to the profession. Children's Dance is an alive publication. It has strong mental health overtones, impressing the reader with opportunities far children to be successful, to feel that INION.-_ they belong, to participate, to engage in meaningful activity, to be creative. As children feel good about themselves, mental health factors are enhanced. This publication strongly fortifies teachers and teacher educators with opportunities to help children develop positive self concepts Photo Courtesy of Proloct HOPE and self-acceptance. As children dance together, they begin to feel good about each other. Human rela tions factors are strengthened through the vitality of dance, music, rhythmic activity, and self expression. It is unlikely that

8

vi Statement

Margie R. Hanson

Dance is-arrtsssential component of the upon each other to develop fully functioningchildren's dance over the country. The elementary school curriculum and is most human beings. data collected throughout the project were often found as an adjunct to the physical Both dance and physical education have carefully and systematically secured and education program. In these programs, a movement base. Dance, however, has the processed. however, it has taken many forms including added dimension of aesthetic, creative, and Children's Dance has unlimited implica- such rhythmic activities as common as inner self expr scion, which is so important tions for the curriculum field.It suggests k. exercises, ball bouncing, rope jumping, and in children'sves. vitality of fresh, interdisciplinary, and fundamental movements. While these are Dance/moment means many things toexpressive experiences for children. It valuable, they should not be considered as children, anchildren learn much throughdemonstrates the vitality of ingredients such part of a dance program. Children need well con programs. Obviously, to as active participation, meaningful activity, opportunities for self-expression and accom sh all that has been mentioned total involvement, and allegiance to high aesthetic development through valid here requires for more than learning dancestandards. Many of our colleagues in experiences. steps or merely imitating animals, ma- teacher education could learn a great deal Physical education seeks the physical chines, birds, and flowers. It requires far from AAHPER's Dance Division Task Force development of the child through sound more than an adult directing a child to per- on Children's Dance. (1967-1972) techniques of body movement as well as form a routine. it demands leaders/teachers Children's Dance may be thought of as a the social-emotional and cognitive develop- who understand the values of movement/ prototype for other teacher education areas. ment; dance seeks the same development of- creative dance for children, who know the In an era in which models are often con- the child through techniques of body move- discipline of dance, who know children, and ceived by small groups remote from schools, ment for the creative communication and who know how to teach children. it is refreshing to see this emphasis emerge expression of srlf.In both dance and This publication is a significant research by many groups from many schools. How physical education, the child can be freed project. Although no controlled experimen- exciting it would be if other curriculum to learn about himself and the world tation occurred, the entire project from areas could afford the luxury of six years around him. Through movement the conception to completior was conceived activity by a task force of professionals to child can express ideas and emotions and exei.uted in a research manner. The work closely with state, regional, and which he may not yet be prepared to design of the project has a strong research national groups in conducting such a express orally or cursively. Each base and was checked with leaders from comprehensive study and in the production discipline relies on motor competencies, various disciplines. Assumptions emerged of a book such as Children's Dance. but dance attempts to reach deeper into as representatives from several disciplines Dance/movement is basic to develop- the realm of creativity and aesthetic had opportunities to study dance and !ts ment. The arts are a part of our world. Chil- expression. Experiences in both areas are role in the growth of children. The Task dren denied experiences in the arts are de- compatible, complementary, and dependent Force also designed its original work to nied a comprehensive basic education to provide a survey of the status of prepare them for a full and rewarding life.

9 vii .- Contents

i

.iz

*

Dance Division Task Force: Children's Dance .... )...... iv

Prologue * v Statement vi 1 Robert S. Fleming Statement "vii Margie R. Hanson

Part 1The Task Force

The Work of the Task Force 1 Gladys Andrews Fleming

Part 2 About Children's Dance +9I Chapter 1 A Statement of Belief 5 Ruth L. Murray Chapter 2Part A Guidelines for Children's Dance 8 Part B Implications and Examples of Guidelines 9 Chapter 3Teachers' Use of the Guidelines: A Few Experiences Responding Actively to the World Around Us 24 Loretta Woolard Blanks Hallie Beth Judd DeNette Garber Stevenson Elizabeth Wall Noel Discovering Dance 32 Gertrude Blanchard Ralph Harris Shelia Kogan Kathleen Stubbs A Concept of Time 34 Ruth Boyle Market Day Song and Dance and Learning Chess Through Dance 34 Beauford Thc:npson Ruth Wilson Impresions Photo Virginia Fiobinson, Tucson. Ariz 35 Katie Planche Friedrichs An Approach to Dance with Boys 36 Tom Dunkley Science as a Point of Departure for Dance 36 Loretta Woolard Blanks

viii i U it

The Damkand AimlesS Dote 37 Chapter 8Making Dance Sal E. Abitanta Approaches to Dance Making 67 The Stage, a Magic Place 38 Ann Zirulriik Shirley Ririe Composing Dance with Children 69 Gladys Andrews Fleming Part 3 Dance for Every Child hapter 4 Dance in the School Part 4 Moving Ahead The Very Y. ung 41 Chapter 9Lake of the Ozarks Conference Tommye G. Yates on Children's Dance, Excerpts from Proceedings

Through Little Children's Eyes.. . 43 Leadership for the 1980s 74 Marilyn Ranson Robert S. Fleming Kindergarten in Suburbia 44 Our Concerns for dive Profession 75 Jo Anne Fulton Gladys Andrews Fleming L4 Dance in Two Schools, K-3 and 4-6 45 Competencies of the Teacher of Chilu,en's Dance 76 'Dorothy S. Mozen Ruth Murray The Urban.pchool 47 The Consumer Speaks Lillian BLit hner out about Professional Preparation 78 Chapter 5 Boys Like Dance Gertrude Blanchard Experiences with Boys in Dance 49 Epilogue 80 Shirley Ririe Part 5 Resources Men Can Teach Dance 52 Sal E. Abitanta Chapter 10Bibliography and Resources 82 Mary Rae Josephson Adamson WhooSays Boys Don't Like Dance? 54 Katie Manche Friedrichs 82 Bruce King Diane Pruett Chapter 6 Folk and Ethnic Contributions Jeanette Saurbom 88 Introduction 57 Ann Zirulnik

Gertrude Manchard Photo Credits...... 91 The American Indian 58 Edith De Angelis Black Dance 60 Gwen Lewis McGregor Mexican American Culture 62 Magdalena Cantu Chaptel 7 Dance An Dance The Where of Dance 63 Krevitsky Dance and the Related Arts 65 Gene C. Wenner Dance Reflects Feelings 67 Maida L. Riggs

ix 11 The Task Force

copesS.roe wooS.?".linso: :: , e% goo e: io A or, es % Or JO fle e. eS lito % In Itio es se ..

12

x

.1.21111111il The Work of the Task Force

Glavys Andrews Fleming, Chairman

This publication is the product of teachersopportvr.;ties to develop clarity of purpose, concerned that children have opportunities to recognize the basic assumptions under to find joy and selfactualization through which we operated, and to view constantly dance. Children's Dance has emerged from in totality the many facets of our job. six years of intensive study by a small Continuity of membership was imperative, group of members of the NDA of AAHPERD asand frequent short and long term work a Task Force on Children's Dance. These are sessions were protfitable for assessing progress teachers competent in working with children,and planning for Unfinished tasks. The through dance, physi ;al education, and planning aspects Pkthe Task Force and the teacher education. They are committed to per-dedication of its members contributed to its petuating quality education, which includes effectiveness. quality dance for children. Since the original publication, the Dance Di- The NDos3s long been concerned with thevision, now the National Dance Association, different forms of dance at various levels of has continued its interest iChildren's Dance. education. It believes that meaningful, qualityThe Commission onChildi4n'sDance her-4 programs in dance for children are basic to been at work and a variety of significant ac- quality dance at all levels, including profes- tivities ha,,e been underway. These include sional preparation of teachers. conferences, publications, pilot projects, re- The Task Force has n assisted in its search activities, and ongoing programs work by resource peo e from various throughout the country. The Alliance's rela- discipliw such uman growth and tionships to the various arts areas have been a development, learning, general curriculum, continuing significant development. the arts, classroom teachers, administrators in public schools, teacher preparation, state departments including state and county directors, and members from various segments of AAHPERD. The Task Force worked in a variety of ways. Essential to our study was a series of working conferences which provided

1

j 13 Assumptions and Purposes program. the Ju.'e 1971 issue of AAHPER's Journal 4. To specify ways of improving prepara- of Health, Physical Education, Recrea- As the Task Force stet ,ed its work, the tion programs fog ^-eservice teachers and tion. The, report has abundant additional following assumptions were formulated to develop techniques which encourage information which might well be studied in wh;ch helped us to design our projects. and assist in the process. the future 35 a basis for improving the total These assumptions have stood the test of 5. To highlight the importance of dance physical education program. The Task the past six years since they have been for boys. Force Committee continued to use the constantly refinedThey are. Status Study throughout its work. Early in the work of the Task Force, 1. There is power in dance as a way of problems and concerns were identified. A learning and communicating. nation-wide Status Study v conducted to Development of Guidelines 2. Dance should be an integral part of determine the status of dame in elementary physical education for pre-school, education. Also, guidelines for quality Much attention was given to clarification kindergarten, and elementary children. programs in children's dance were developed of the nature and scope of children's dance. 3. Programs of movement and dance must and needed research determined. Sub- This study was developed on an inter- reflect what is known about the physical, groups were formed, and the work was disciplinary basis including resource help social, emotional development of children. underway from human growth and development, 4. Teachers neecloeffective preparation for learning, curriculum, evaluation, teacher the teaching of dance. education, physical education and dance at 5. Teachers of children's dance need to The Status Study a three-day work conference. understand the total elementary Guidelines appearing in this publication curriculun, The Status Study was made to determine. were developed after careful study and 6. Resek--4, is needed in the dance area for consideration of program content in aance young t. ren. 1. status of existing dance programs for for children. The study included: 7. The development of a common children terminology for uance teaching is essential 2 preparation of teachers teaching (a) dance 1. Reviewing criteria for effective program to children in schools or (b) children's dance planning With these assumptions in mind, the courses to prospective teachers in colleges 2. Clarifying the meaning of children's following purpose!: wera identified and 3. problems encountered in offering dance and writing a Statement of Belief served as a basis for th a work of the group ch ildrendance appeanng in this publication as the Prologue. 4. help needed to improve programs in 3. Assessing and revising the guidelines by 1. To clarify the meaning of dance: ch ildren's dance. dance, physical education specialists, and a. What is dance? classroom teachers b. What is the distraction between move- Assumptions were validated by the Status 4. Constructing the Luidelines to include ment and dance? Study, and prot"ems became more specific philosophy and content and ways of c. What is dance l'or children? and penetrating. The extent and quality of illustrating them in operation. 2 To clarify the role of dance in the dance in elementary schools and the elementary school physical education availability of programs in the preparation curriculum and also in the total elementary of teachers were causes of concern to the National Conference school curriculum Task Force. 3. To develop a series of re?listic plans From all the work of the Status Study With the activities of the Task Force designed to enable both the physical comes a continuing concern for dance drawing to a conclusion it seemed fitting education and/or dance peisonnel and programs of quality for children. This is to finish with a national thrust, which took classroom teachers to develop needed the key concern for both teacher and two forms: a national conference and understandings and competencies in dance in-service education. completion of this publication. for children in the elementary school The Status Study was reported in full :n In the spring of 1972 at the Lake of the

14 Ozarks a conference was held cosponsored on children's dance and of physical educa- with the Elementary Physical Education tion textbocks which include children's Commission of the Physical Education dance. Carefully refined criteria were used Division of AAHPER. In essence, many of to prepare both bibliographies. the purposes of the Task Force were 6. Study of Films A study was made of brought to fruition as dance was emphasized all available films dealing with children's as a dynamic aspect of the total physical dance. Criteria for viewing were developed education program for children. Much of and a selected list of recommended films the focus of the Lake of the Ozarks has been prepared. Conference was given to the professional 7. Success Stories A collection of success preparation of elementary specialists stories of children's dance was made. including the classroom teacher. Dance was 8. Work with Other Organizations and viewed as an essential in the lives of children Groups Effort was made to relate children's dance tc other associations and professional groups, including Association Other Tasks Childhood Education International, Association of Supervision and Curriculum In addition to the activities described Development, Association of Elementary- above, the Task Force has engaged in other Kindergarten-Nursery Education, American significant activities which are included in a Association of School Administrators, state variety of ways throughout this publication. art groups, state education associations, and They are: local in-service groups. 9. Needed Research An extensive list of 1. Pilot Projects A series of pilot projects items needing research was identified. were set up as an important element in the Twenty-five projects were proposed and Task Force work. Effort was made to followsubmitted to the Research Commits of the the progress of these projects and to assist NDA as well as '1 the Dance Library Sf Lincoln them as appropriate. In addition, other Center in . projects underway were identified. An inventory was made of dance activities underway and information summarized. 2. Resource File A resource file of individuals working in varaus aspects of children's dance was developed and has been used extensively. In a previous report on the progress of 3. Review of Elementary School Physical the Task Force the title, "Over the Country Education Textbooks This comprehensive Children Are Dancing," was used. With review of textbooks was mace to deter- this publication, it is the dream of the Task mine the extent to which children's dance Force that "All Over the Country All was included. Children Will Be Dancing." . Review of Curriculum Guides A committee reviewed courses of study and curriculum guides to analyze the extent of dance inclusion. 5. Development of Bibliographies Bibli, waphies were prepared of textbooks Li About Children's Dance

40 moos so ire nomse 1.180.: 4.: :3 A ..0itr....:r.t:I ile :: A 4 w L.14

16 Chapter 1 A Statement of Belief

Ruth L. Murray Emerita Wayne State Universit Detroit, Michigan

Dance as an art, and as the expressive needs and interests and the knowledge of entity of creative movement, is vital to the how they learn. development of the total individual. All of The use of dance and dance-related the arts provide ways in which man can activities in early and middle childhood bring shape and order to his fragmented education to provide physical, emotional, and rapidly changing world. But dance and aesthetic development has been sadly provides a primary medium for expression neglected. The recent Status Study of involving the total self (not just a part, like children's dance education practices the voice) or totally separated from the throughout the country shows either a physical self (like painting or sculpture). profound lack of information or consider Dance and the movement that produces it able misinformation regarding what dance is "me" and, as such, is the most intimate educators consider to be sound content in of expressive media. A child's self-concept, the dance curriculum.It also indicates a his own idemity and self-esteem are pervasive tendency to relegate all dance improved in relation to such use of his activities to the fringes of the physical body's movement. education program, if indeed, such a If we believe that movement plays a program exists. Where some dance is crucial role in the developing life of the taught within a program of music, here, too, child and that all education should foster it is subsidiary to the central content. creativity, body movement as a creative The Task Force on Children's Dance inv medium in early childhood education Education has worked on (1) determining attains great significance. Such movemeii! what kind of dance, if any, is being taught which teachers have for so long taken for in the schools of the country and (2) granted, or even tended to suppress except establishing Guidelires that describe what a in its most limited and functional forms in comprehensive dance program might include, the classroom or the playing space, is the what parts of the program should receive cheapest and most available material to use special emphasis, what type of teaching for creative experiences.It does need method might be appropriate for each space but not as much as we have aspect of the program, and which dance traditionally thought. It does need teachers experiences are more suitable for one age whose preparation has included, in addition level than for another. to dance, an understanding of children's The Guidelines indicate content which is both movement and audience centered. The later aspect is included because dance is an art of communication and needs under- standing and appreciation from an audience. By viewing dance performance in a variety of ways, as well as participating in it himself, the child broadens his knowl- edge of and sensitivity to the art of dance. The following objectives describe desirable outcomes from both the movement and audience centered experiences listed in the Guidelines:

Objectives

1. To assist the children, through movement- centered dance activities and other move- ment experiences they may be having, to:

Realize their biological urges to experience primal patterns of movement Develop an adequate degree of satisfaction in and mastery of their body movements for their own pleasure, confidence, and self-esteem Greedy Expandtheir movement resources by offering them many opportunities to explore, discover, invent, and develop different ways of moving and to structure sequences

6 18 Increasetheir aesthetic sensitivity by Age Level discovery, and selection, and other emphasizing the expressive and experiences in invented and improvised imaginative potential of their movements, The Guidelines attempt to cover movement. With few exceptions, such as as well as the physical and athletic recommended dance activities for children the teaching of a specific dance, the aspects from the ages of 3 to 12. This span of years Guidelines adapt themselves to this kind of Develop their appreciation of dance as art, is divided into those of early childhood (3-7 creative teaching. by rlilating it to appropriate experiences in years) and those of middle childhood (8-12 The teacher's first task is to identify or music, literature, painting, and sculpture years). While many activities are appropriatestructure the problem. What follows, for all ages, if there is adaptation by the through exploration and discovery, in an Relatetheir movement effectively to teacher to the level of developthent, there open-ended approach, is a variety of accompanying sounds and to music are nevertheless a few which serve their acceptable solutions. The selected solution Participatewith others in recreational folk purposes best with either younger or older may be one which feels good to do, or is the and ethnic by helping them learn children. most innovative or daring, or is judged best traditional dance steps and understand the for other reasons, sometimes perceived only different ways they have been used through by the child himself. Then should follow centuries of people dancing together Method the refinement, through practice, of the chosen solution so that it is performed with Makedances for themselves and others and, The choice of method used in providing greater control, better logical flow, more when they seem ready for the experience, children with dance experiences is of great authority, and greater expressive awareness to perform them for peer audiences consequence. The educational and artistic or is developed into a more complex sequence. contributions of dance and its significance The learning principles of discovery, 2. To assist the children through in the creative process can only be realized perception, and actualization are thus audience-centered dance activities, to: by a teaching method that is, in itself, applied to the child's increasiNly discerning Understandthe ancient and honorable creative. use and mastery of his own body's move- tradition of dance as art and ritual It is true that there are certain activities ment. Such a method requires the' the where strong direction by the teacher teacher produce an environment where the Developsensitivity to the essence of produces, if not the best results, educa- child is free to discover how his own Move- movement as communication as they tionally speaking, at least the quickest ment feels. He needs to seri.* what it is observe the performances of their peers ones. The teacher knows a dance; the that is communicated to him when he Appreciatethe many forms of dance which child-en do not. So they are directed responds to or resists gravity, when his body have evolved in different cultures, all based through it, step by step, until they have expands or contracts; when he can take on common movement resources from which learned it. There are perhaps a few other himself through open space or must move man has drawn for his expressive purposes activities where at least partial direction by in a limited space; when he moves alone or the teacher is indicated, if accurate perfor- with one or many others; when he can Understand,as they grow older, something mance and hence kinesthetic and rhythmic support himself on a single small base; when of the demanding discipline and training of satisfaction are to be experienced. movement and stillness, or high and low, or the body necessary for a professional dancer For most movement centered dance heavy arlight, or fast and slow are Enjoy viewing concert and theatre dance content, however, the method of problem juxtaposed. and develop a discriminating awareness of solving is preferred which includes related The key to joy in movement lies in such movement as an artistic medium activities of guideo or free exploration, self-discovery.

7 19 Chapter 2 Part A Guidelines for Children's Dance

Movement-Centered Dance Activities

The following Guidelines are basic to children's dance development and when adapted to age level, should form the major part of the dance curriculum from early through middle childhood and beyond. It is upon the success of these experiences, especially the first four, that satisfactory and satisfying fiance learnings will depend.

1. Experiencing Movement Elements Experiences evolving from the use of the movement element of space, time, and force, the development of an awareness of sequential changes in body shape, and the relationship of self to others and to the physical environment. 2. Providing fot Exploration Movement exploration, improvisation, investigation and invention, using dance ideas such as those evolving from experiences with movement elements, from imaginary and literary sources, from properties of various kinds, or from music and other types of sound accompaniment. 3. Relating to Rhythm Experiences with movement which help to synchronize it with musical structure, such as pulse, accent, phrasing; the development of sensitivity to the quality of musical sounds and the ability to relate to them in many different ways. 4, Experimenting with Basic Movements Experiences with basic locomotor and nonlocomotor movements; making combinations of these movements; discovering and learning traditional dance steps. 5. Making Dances The organizing of movement into dances of various complexities. 6. Relating to Curriculum The relating of dance movement to other curriculum experiences such as art, music, science, social studies and language artswherever and whenever appropriate. Chapter 2 Part B Implications and Examples of Guidelines

7. Singing Movement Songs Inclasion in comprehensive dance curriculum of "learned" dances which help to motivate movement in early childhood, such as action or movement songs, singing games, or song dances. For middle childhood years: 8. Using Folk DancesOpportunity for quick learning and dancing with fun and satis- These implications of the Guidelines' 2. For awareness of body balance and faction of tradit;onal folk dances if based on statements and examples of activities which shape: What other ways can you balance earlier warnings. might be used are representative of only a yourself (except lying, sitting or standing on 9. Increasing Physical Power Experiences small sample of the unlimited variety of both feet)? Can you move from one balance- with movement, arrived at through explora- possible dance experiences for children. shape to another? tion, which can be used to increase body Hopefully, they will serve to clarify certain 3. For orientation to others and to the strength, flexibility and precision. principles of dance education for the teacher physical environment: Can you take a quick 10. Relating to the Present Culture and to offer a few ideas for initial experimen-walk around the room and lightly touch Experiences in ethnic and popular "fad" tation. For further explanation and more three different walls, but not another person dance patterns. ideas for dance teaching, the reader is re- or thing? 11. Performing for OthersOpportunities ferred to the Resources section, page 82. for performing dances for schoolmates other The conscious discovery of the movement than regular classmates and possibly for potential of the child's own body increases outsiders, such as parents. his awareness of the elements and factors 1. Experiencing Movement Elements which describe such movement. Ultimately, the child should begin to perceive, to feel, Audience-Cantered Dance Activities Experiences evolving from the use of the to sense the physical results end kinesthetic movement elements of spxe, time, and sensations of moving in these various ways, The following audience-centered force, the development of an awareness of to conceptuali? about them, and to be able experiences should expose the child to dancesequential chances in body shape and the to use them when responding to a teacher's as a performing art, helping him to under- relationship of self to others and to the direction or during the process of his own stand and appreciate its ramifications. physical environment. problem solving in movement. In this Children of all ages can participate as an process, then, he is not only moving, but audience to their aesthetic and artistic Examples of the first Guideline are thinking, feeling, sensing and becoming advantage by: inherent in much of the unconscious move- increasingly aware of how he moves in 1. sharing other children's dances ment of the young child. An important relation to others and to his surroundings. 2. seeing pictures and slides of dance facet of his early movement education is The elements of movement and some of 3. seeing films of artiFts involved in bringing him to a conscious the factors that belong to each are better 4. seeing and discussing lecture- awareness of how, where, what, and when realized when they are presented in demonstrations by professional and semi- he moves his body. contrasting or oponsito pairs of words. At professional dancers, with active participa- Beginning investigation of his own first, sudden contrasts are easier; later, tion when possible movement may be initiated by questions, gradual contrasts should be incorporated 5. seeing concert or theatre dance programs such as the following: into these experiences. Greater control, appropriate to age level and experience 1. For recognition and isolation of body refinement, and complexity of response 6. participating in other enriching parts: How many different ways can you would be expected when children are experiences, such as dramatic performances, move your head (both arms, one arm, legs, older. Following are examples of words music concerts, museum exhibits, or book hands, feet, upper body, lower body, and which might be used for elements of and science fairs. all reasonable combinations)? movement:

9 21 In using the above examples, the follow- ing principles will apply:

The first contrast listed for each element is the simplest and can be used with very young children. Some of the others require greater understanding and skill. Element Factor Contrast Contrasting movements can be performed Force Control of Moving Stopping both in one's personal (self) space, as well as Degree of Much Little through the general space. In other words, Heavy Light either locomotor or nonlocomotor movement Strong Soft or both may be used. A simple example might be very low jumping contrasted with Tight Loose high jumping, done first in place and then Quality of Explosive Smooth through space. (See discussion of the Fourth Space Level High Low Guideline (page 15) for definitions of loco- Size (Range) Big Little motor and nonlocomotor movements.) Direction Up Down The descriptive words used in these Out In examples are considered to be the simplest Forward Backward for children's use. Others may be found or Right Left suggested by the 'hildren themselves. (One Side Other Side) Contrasting movements may be per- Around RightAround Left formed several times, and changes in the Path Straight Curved, Twisted or movements used to solve the problems Angular should be encouraged. Focus of Gaze Constant Wandering In any movement which involves spatiml Time Rate of Speed Fast Slow factors, timing may be fast, moderate, or Progress of Speed Increasing Decreasing slow, and force may be strong, moderate, or Duration Short Long weak. Thus, a wide variety of experiences Interval Equal Unequal are made possible. Shape Design Large Small Wide Narrow There is, of course, a middle ground Straight Crooked or Curved between some of the extremes of the contrasting words. "Moderate," "medium," Round Pointed "half-way," "midway" may be used, when Smooth Sharp necessary, for degrees of force, rate of tat Thin speed, and size and level of movement. Symmetrical Asymmetrical After some mastery and control of their own movement is achieved, children should experiment with a partner, and then a small group, trying movement shapes that involve many different kinds of body contact. A body shape may be still (stationary), or moving (sequential). The "still" shape is 2:d

10 simpler to achieve when the problem to be dance-like from tunctional physical "Imagine you are" is oetter than pretense, solved is the making of a specific shape. In activity by paying attention to what might but it should come after some direct the transition to a contrasting "still" shape, be called the quality of the movement. exploration and investigation of movement the necessary movement may demonstrate Movement quality is determined by a rather than before. several movement factors. A "still" shape combination of the elements in the outline, This does not mean, however, that may be achieved from moving or sequential by how force is applied and controlled, by similes and metaphors which evoke shapes by the direction "Freeze!" or the juxtaposition of shapes, by the images or associations with desirable move- "Hold!" in which movement is haltedand potentialnotional overtones in the move- ment should not be used by the teacher in the body immobilized in whatever shape it ment sequence, by its communicative presenting dance materials. Colorful and may find itself. aspects over and above its functional sometimes fanciful conceptions (Can you Children should be helped to become efficiency. The dance-like qualities of twist into a knot? Can you be a speck on aware of the changes in body action neces- movement can be recognized by a discern- the floor? Can you make the movement sary in the transition from one factor to its ing viewer and should be identified and float? Can you be as solid as a big rock?) contrasting one or one combination of encouraged in all dance lessons. are part and parcel of every good teacher's factors to another. This sequential body working vocabulary. Such imagery helps activity is best experienced and viewed when children to feel the movement they are 2. Providing for Exploration the change is gradual, resulting in slow exploring more deeply, and the quality of timing. their performance improves accordingly. Movement exploration, improvisation, As in the first Guideline, certain prin- After specs factor contrasts are investigation, and invention, using dance ciples apply here: explored, con.Jinations of two factors may ideas, such as those evolvi ,g from be made, as, for example, heavy and loose, experiences with movement elements, Children should have experienced many or high and wide. More complex problems from imaginary and literary sources, movement factors, such as "big," "small," result when factors in two or more properties of various kinds, from music and "fast," "slow," "heavy," "light," on their elements are combined. The teacher other types of sound accompaniment own bodies before translating these may state the problem: "Can you find a qualities to other things, persons, or Children of all ages are enthusiastic about movement which is crooked, low and situations. exploration and discovery if their educe fast?" Or the children may make their tional environment encourages them to It is important to remember when own combinations, explaining the think and act for themselves. The myriad exploring movement elements that element-factor content of their invented of problems and ideas which can motivate children may arrive at all sorts of imaginary movement pattern. such exploration have been presented by associations whether the teacher wills it or With children working alone, in many authors. Some which involve pure not. An obvious example is the gradual partners, or in small groups, a movement movement sources are suggested in the slowing down of a movement until it seq mice may be made from one selected examples given for the first Guideline. stops, which to many children would movement combination to another, and It is necessary in suggesting examples for represent a wound-up toy running down. then perhaps a return to the first. This is the second Guidedne to caution teachers Working with shapes that are crooked, a final step in making a movement sequence against the over-use, or perhaps one shoulil for example, may evoke images as disparate which has identity for each child or group say, the inaccurate use of imagery. In the as witches, crooked men, gnarled branches, as its own. If two kinds of movement are past, a tendency to motivate all creative or fire escapes, pretze:s, driftwood and many used, thee may follow an AB form, or expressive movement by having children others which are legitimate. A teacher ABA, or ABAB. Three or more kinds of move like something else besides them- might cause this to happen by asking "with movement would make possible more selves has characterized a great deal of what do you associate such crooked shapes complicated forms. dance teaching. Before they could exper or crooked movement patterns?" If it ience expressive movement, they had to seems appropriate, certain of these ideas In all movement exploration, it is pretend to be a creature or thing which may be selected for further invention and possible to distinguish movement which is moved in a characteristic f_3hion. improvisation.

11 23 ...... 1'

Examples of Imaginary Sources for Movement

The familiar categories of dance imagery having to do with all kinds of animals, insects, toys, seasons of the year, holidays, nature, sports, the circus, and so on, are available in many of the books mentioned in the Resources section. Included here are a few which may not be quite as well-worn.

Different Kinds of Walks Different Work Movements stiff clownish on parade picking fruit and vegetabies raking leaves rubbery silly on a line digging ditches, holes, foundationsputting out fires limping searching weighty fixing telephone wires felling trees, chopping wood stalking scared uphill moving furniture shovelling snow "on air" bold "whispery" collecting trash sweeping walks, porches, streets busybody tired (animals that can carrying groceries, trash bags walk on two feet)

Different Environments: Moving Different Tools: Personify in Movement in weightless fashion on the moonthrough heavy fog, mist, or smog a screwdriver a drill through deep overgrowth in a on a busy crowded street a saw a lawnmower jungle in a large field or meadow a snow blower a broom through waist-high running up to a hil'top and down a hammer a rake streams across a crowded playground a sprinkler a shovel on slippery ice or a glassy surface a garbage crusher a vacuum cleaner on hot sand and/or deep sand, a typewriter a pencil sharpener snow, or mud an eggbeater

Different Kinds of Transportation: Riding on or Driving Different Machines: Personify in Group Movement an elephant a bicycle a computer an earth mover a camel a carriage a washing machine a crane a horse an automobile a toaster a demolition machine a donkey cart a surfboard a popper an escalator a stagecoach a train an elevator a steam shovel a sailboat an airplane a rocket launching

gel

12 Examples of Literary Sources For Movement Examples of Properties Which May Motivate Crertive Movement Teachers can find many cues for move- ment exploration in stories and poems A small property to stimulate the which children read and enjoy. The charac- imagination, to manipulate in different ters in such stories and their activities ways, to attend to, to move or on, (especially those with action potential) used or over, or toward, from, or around will as £ point of departure irto movement will offer a great stimulus to creative movement. provide many creative possibilities. With The following readily available items are older children, folk tales, mythical and listed as suggestions. Each has limitations historical characters, and events in history, as to how it may be manipulated. Children offer sources for movement experimenta- may bring in these or other "found objects" tion.It is here that creative dance and to move with. creative drama identify closely with each other, and each may act as a valuable paper of all kinds contrasting textured supplement to the other. (newspaper, construc-material (sandpaper, Many delightful poems which suggest tion paper, crepe satin, etc.) movement, some of them merely jingles paper, tissue paper, feathers or nursery rhymes, may be used in ieveral facial tissue, alumi- ways as movement catalysts: lengths of fabric num foil, etc.) lengths of elastic heavy string or soft 1. The poem may be rad, and then any cardboard cartons rope part or the whole may Fie interpreted in disposable pie tins movement by the children. soft scarfs of baskets or boxes of 2. The poem, read slow'', may serve as" various sizes various kinds an accompaniment to the children's action cardboard towel coat hangers in interpreting it. tubes, rug tubes 3. Words or sentences may be excerpted, and spoken by the child as he dances. leaves, flowers,weeds, vats 4. The words may be combined with paper cups,and many others improvised music or percussion which highlights the action potential of the Other items that may not be available poem. to children, but are useful tools for explora- tion, are. Children may also write original poetry, having in mind their own movement or stretch ropes wooden boxes that things that move. Making and performing rubber inner tubes can support weight a dance study to such poetry adds a second hoops chairs or stools creative venture to the original one. yarn balls "junk" sculpture beach balls space constructions nets commercial art plastic tubes (posters, advertise- ments)

13

U 25 Examples of Mu4it Which Stimulate Examples of Sounds Which May Accompany accurate movement response to rhythmical Improvisation or Suggest Movements sounds is one which every child should have the opportunity of developing in school. The key to the kind of m lc which is Environmental sounds, or those sounds Some experience with musical stn cture valuableCfor children's improvition can be we make ourselves, can inspire movement and the development of sensitivity to the discovered by helping them to d danceablerelated to the sound in one way or another. quality of musical sounds is inevitable if musk- to which they respond. There is a Often use of this kind of movement accom- the child in his other dance activities has had wealth of such music and the music teacher paniment offers an exciting stimulus to the advantage of musical accompaniment. should be of great help as a resource person. children and helps them to becot..: aware It is hoped that he will also have sung songs, A music resource library with tapes and cf accompaniment for dance movement played simple musical instruments, and recordingrichildren may listen to, move to, besides the trad,tional music. listened to good music as part of his musical and feel enthusiastic about is a valuable Some suggested types of sounds which education. Indeed, the development of a addition to the dance equipment. Children may help children to discover others are: precise movement response to rhythmic structure should be an educaticral goal will enjoy various kinds of rm.:sic, but a body sounds isneeze, cough, sigh, snore, shared by the music and teachers. movement response is rorc wail, laugh, hiccough, etc.) evolve if the music is rhythm,::..atiy stimu- Children may synchronize their invented city sounds (sirens, church bells, auto- lating, not too complicated in struct.,e. and movements from other dance experiences mobile horns, etc.) of relatively short duration.It shoj d also with the phrases of a simple song, or use have musical merit, and, again, cost., r.., nature sounds (wind, rain, thunder, hail, them to follow the pulse beats and accents tion with the Music teacher is stinngly etc.) of a marching tune, or to perform the recommended in cases of uncertainty. bird and animal sounds rhythmic patterns of a nursery rhyme. miscellaneous voice sounds and "double- Long rhythmic drills, especially if they Some suggested types of music are: talk" are conducted only with a drum as accom- music chants paniment, can become boring and simple classical music sounds of percussive instruments such monotonous. Where conscious application to a response to pulse beats and accents is children's songs which suggest movement as rattles, gongs, brushing drum, etc. (Small instruments, often homemade, desired, hdwever, a logical sequence can be can be used by children while they are followed: music of percussion instruments moving.) some child-like popular music 1. The music is listened to. arranged tapes (sound collages). 2. A hand response is made, with one or tapes of the children singing Jr chanting. both hands, used together or alternately beating, tapping', clapping, in the air on When a teacher chooses the recordings or 3. Relating to Rhythm tapes to which children are to improvise, the floor, on oneself. some guides for selection might be: 3. A foot response is made, standing, with Experiences with movement which help to one or both feet, used together (small, a good quality of reproducti9p synchronize it with musical structure, such bouncy jumps) or alternately (walks in evidence -a-ra Aging rhythmic beat as pulse, accent, phrasing; the development place) or one foot alone (foot taps). variations in tempo of sensitivity to the qualityof musical 4. A total body response can be made,_ variations in dynamics sounds and the ability to relate to them moving head. !.houlders, arms, hips, knees in many different ways. "built-in" imagery as well as feet. 5. Any of these movements (and any in good taste and appropriate for Moving in rhythmical unison with others other which can be repeated rhythmically) children. is a deeply satisfying human experience and can be taken through space in any direc- it can be a source of endlesseenjoyment and tion, always in time to the beats or the appreciation. The ability to make an accents.

11 2h Otherids je Rhythmic Development familiar rounds: ("Row, Row, Row Your Basic locomotor and nonlocomotor Baal," "Are You Sleeping," "Scotland's mcvements are used extensively dance 1. Percussion instruments (drums, Burn,ing") in combination with themsehies and with rattles, wood Blocks, rhythm sticks) may folk dance music without words each other. be played by small groups of children, singing games and action songs (see taking turnsin acting as an orchestra to Examples and Implications for the accompany others. (An illustration pfa Basic Locomotor Movements creative art project might b) anlaseign- Seventh Guideline, page 19.) chants such as: Mont to make a percussion instrument. If The basic locomotor movements con- the art teacher assisted, each child could counting out rhymes 1"ibbety bibbety," "hipliety hop") sidered here carry the body through general have his own instrument, a highly desirable space from a standing base:1 state of affaits1). nonsense phrases ("hey nonny nonny") 2. Children learn to distinguish and children's names (Johnny Jones, Mary Walk weight change on alternate feet; deMonstrate in movement, the differences Ellen Parker) continual support - in sound among a gong, a wood block, cities, rivers, states (Washington, Missis- Jump weight kept equally on both a rattle, a ringing bell or alarm, a muffled River, Utan-Idaho) feet, or landing on both feet from one drum, a triangle. Other characteristid work chants ("yeo heave ho," "whoopee foot; moment of nonsupport city sounds, such as sirens, and country ti yi yo") Run weight change on alternate feet; sounds, such as bird calls, may be used. moment of nonsupport television rhymes (Sesame Street Alphabet 3. Children-may identify and repeat the and Counting Rhymes) Hop weight kept on one foot; rhythmic pattern:67r by watching and days (Friday, Saturday, "Today is Monday"' moment of nonsupport listening to a mo t sequence made by another child or the teacher. colors (red, white and blug; brown, These movements may be investigated, 4. Children, after following patterns yellow, purple, pink). not only in their natural form, but in the by the teacher, may make their own use of many of the factors of space, time, pa s on an instrument or by clapping. force, and shape suggested for the First Inver ovements to such paterns may Guideline.. For example, a run may become then be performed. It is most frnportant 4. Experimenting With Basic Movement a leap by increasing its size; a hop may that such patterns, at least at first. fit char.ge its shape by extending the free leg the traditional two, three, or four pulse) Expo, fences with basic h'comotor and forward or backward; a jump may I- x' me beat groupings (measures). Othel wise, the nonlocomotor movements; making com- a frog jump by changing its level; a *a( rhythmic continuity of the panel,' may binations of these movements,- discovering may become a "step-together," a "step- be.uhrecognizabig. and learning traditional dance steps. crqs" or a "grapevine" walk as it changes 5. Many kinds'of chants, rhymes, and to a sideward direction. songs provide tiro Basic locomotor and nonlocomotor ythmic accompani- sa- ment whh are e and fun to move to. movements are fundamental ways,pf NOte: It is best to try all movements in Some of the more seful are the following: moving the body through spacand/or Place at first before moving forward,or in Examples after each are given only to vlithin space. Basic locortiotormovements anOther,direction. suggest many others which would be are those which, using tfie.feettis e base for simple and suitable.) movement, carry the body from One place to another in space (walk, run jump, hop). familiar nursery rhymes: ("Twinkle, Such Ir-.:omotor movements rs crawl and roll do Basic nontscomotor movements are those not use the feet exclusively as a base for moving. Twinkle. %ittle Star," "Pease Porridge Hot,'' in which one or more of the joints of the "Jack and Ajjj") body are involved and which are performed familiar Kings: ("Riga-Jn,, Jingle Bells," frr the most pa ~. over a stationary base "Yankee rloodyr--- (bend, :*. Ich4,1*ist, ).

15 Combinations of Two Basic Locomotor Walk and WWWHHH Alternate Combinations of Locomotor Movements Movements Hop feet with into More Difficult Dance Steps weight Phrases of each of these movements for change; There is more than one way of helping young children should be long, the change then with children master the movement combinations from one tp the other possibly being made one foot, which make up the dance steps commonly on a signal from the teacher. no weight used in folk dancing. Traditionally, this wls Later, a specific number of pulse beats change done by total teacher direction, where the can be given in equal phrase lengths, such as children followed the teacher's step-by-step 8 and 8, accompanied by two different verbal cues, and imitated the demonstrated pulse beat sounds, as the following: clap 8 Combinations of Locomotor Movements movements one after the other, throughout and count 8; use two different notes on the into Simple Dance Steps the step's sequence. In such a method the piano; use the heed and the side of a drum. explicit directions for performing the step Still later, children can try short and/or Many children can do the following three were transferred from the folk dance books uneven phrase lengths and make their own steps when they come to school; if not, let through the teacher to the children. combinations, changing on different but them move with someone who can, follow- A more desirubos method is one which rhythmically related count sequences. ing, or side-by-side, or joining hands, until involves the children in the process of iden- In the following combinations, the run the rhythmic and kinesthetic feeling of the tifying the step's components, and of joining has not been used so that the pulse interval_ step has been communicated. them together themselves to make the new for the different movements may be step. Told what the step consists of, they identical. When accompaniment is used, a Name of Another Way of Using work out the and timing of sequence of quarter notes or of moderate Dance Step This Step After Mastery its parts, individually, without demonstra- beats with equal intervals is sufficient. The Gallop (a walk Change the forward lead- tion or direction. Thus, conceptual monotony of the sound can be relieved, and a run in ing foot to the other one, understanding of what they are doing when however, by breaking up the pulse beat unequal timing)without pause, And con- they perform the step is a concomitant of series on the drum or other instrument with tinue changing at intervals.the learning process. occasional patterns, or playing only accents Slide fa side- Slide with partner, both After the step-combination has been at times. ward gallop) hands joined discovered and can be performed. refine- ment of the step and varieties execution Skip (a walk Turn around in a small Movement may take place through further problem- and a hop in circle, both ways Combinations (One Exrmple)Description le teacher's guidance. unequal timing) solving under Walk and WWWWWW Alternate Examples using certain common dance Jump JJJJ feet with steps follow: (Balance and execution are weight Some Combinations of Basic Locomotor easier if steps taken through space are change; Movements and of Simple Dance Steps moderately short rather than long.) then with two feet, Walk and Gallop Slide and Hop no weight Walk and Skip Gallop and Skip change Skip and Jump Slide and Gallop Jump and JJJJHHHH Two feet, Slide and Skip Hop no weight Gallop and Hop change; then with one foot;-no weight change 2i 16 Dance Step Directions for Discovering Step variety of nonlocomotor movements. There Step-hop Combine a walk on the ball of the foot anda are certain of these movements which in hop, in moderate timing. Accent the walk combination, make up the hundreds of slightly. Give each of the two movements other movements for which we hste.: names, equal timing. and therefore might be called bask. They Schottische Combine two 'bour.cy" walks with a step- are bend, stretch, twist, swing. These may hop putt: ig the hop at the end of the be tried in a variety of ways, using as guides sequence. Accent the first walk slightly. thot principles of presentation and the outline Give all four of the movements equal timing. of movement elemerfs and factors in the forward Combine a gallop and d skip. First Guideline. Polka sideward Slide once, half turn with a hop moving in with half turn the same direction, and continue without pausing, leaving the floor on each "change" Combinations of Basic Non locomotor of "slide and change." Movements Combine three walks in an open - open -close floor pattern, to a slow triple meter, without Nonlocomotor movements that are turning. Make the first accented walk identifiable through their names as specific ways of moving are legion. Such action slightly longer than the others and either straight forward or straight backward. words as push, pull, strike, dodge, lift, freeze, kick, spin, shake, sway, reach, Mazurka Combine two walks with a hop, giving each collapse, rise, sink, sit, fall, turn, and similar of the three movements equal timing. verbs are all combinations of basic nonloco- motor movements. Teachers should make Children should also grow in the ability their own lists of such action words and to reproduce a dance step or a short move- use them as catalysts for exploration and ment sequence solely from watching it improvisation. A short series of such words demonstrated. The demonstration can be (i.e. spin, reach, collapse, fall) suggested by repeated a few times, if necessary, and the teacher or by each child may be struc- children can help each other with the tured into "dance studies" with various intricacies of timing and weight transfer- kinds of timing, degrees of force, varieties ence. Such activity challenges children to of shape, and spatial . observe carefully the movement com- ponents of a sequential unit so that it is more easily memorized and recalled. 5. Making Dances

The organization of movement into Basic Nonlocomotor Movements dances of various complexities.

Nonlocomotor movements, to differen- A dance might be said to be a sequence tiate them from those which carry the body of movements which begin, proceed, and through space, may be said to be movementsfinish, can be repeated in similar fashion, performed in one's own personal space, over and follow a planned and interesting a more or less stationary base. Children, in arrangement. exploring their own movements in response Also, dance movement should have to the problems suggested in previous expressive interest beyond that of its mere Guidelines, will have become familiar with a physicality since it belongs in the category

29 17 of art. This expressive quality is hard to Content material for dance-making is activities. Teachers who do not feel well define and sometimes hard to recognize, as wide-ranging. Except for some dramatic ideasprepared in this area may confine the the line is often very thin between move- which are interpreted more meaningfully creative aspects of their teaching to the ment exploits and movement expressive- in strict pantomime, or where words are a great variety of material inherent in the ness. It is perhaps sufficient to say here necessity, children's literature abounds with first four Guidelines. Successful use of the that a sequence of learned gymnastic characters and situations which have move- problem-solving method will help to movements, even though they are per- ment potential.It is important to remember,devil' in teachers the security to allow formed to music, do not make a dance. however, if the art medium is to be thrice t' ddren to explore, invent, improvise. There must be something present that and not drama, that only the essence of Sootier or later the construction of dance pertains to the spirit of the performer, the character or situation shout" he sequences, especially during the middle and the movement must communicate that attempted. A literal translation in movementyears, will happen almost spontaneously spirit. of the dramatic action or discourse will in such a creative environment. For very young children in the early usually result in pantomime, not dance. childhood years, it would not be amiss to Devising situations of their own which can consider a dance as the linking together of be interpreted in dance form presents 6. Relating to the Curriculum two different invented or interpretive another avenue of creative activity. The movements where the transition from one examples given for the Second Guideline, The relating of dance movement to other to the next is logical and continuous. If of imaginary and literary sources, or curricular experiences, such as art, music, the short sequence is such that the selected properties, music and sounds should offer science, social studies, language arts movements bear repetition and can be ideas for more extended dance compositionswherever and whenever appropriate. "performed" then it becomes a sort of beyond the acts of exploration and "dance study" for the young performer. improvisation. All facets of a comprehensive program of Two very simple examples might be (1) a Use of the elements and factors of dance for children present innumerable skip forward followed by a jumping turn- movement given in the examples of the opportunities to supplement, enrich, and around in place and (2) a quick spinning First Guideline should suggest other fruit- integrate with other curricular areas. A in place which slows down and then sinks ful sources for dance construction. A teacher who is oriented to creative move- into the floor, only to risr and spin again. series of such movements if they offer ment as a valuable and significant part of Children may assume that they are making interesting variety and good sequential childhood education, will be aware of its a dance when they have progressed in the flow might well qualify as a dance, espec- potential in relating to most of the school exploration and manipulation of their body ially if the interest derives from the activities in which she is engaged. movement to the point where such simple texture and quality of the sequence of Resources for achieving such relation- construction can be assigned to them and movements, and not merely from their ships are mu:tiple. In the fields of music where the choice of the sequential move- athleticism. and language arts, some have been noted in ments is theirs. The arrangement of dance steps and earlier Guideline examples. The shape of The real process of dance -mak ing, how- dance figures to folk music has been a dance movement can be translated into art ever, especially those dances involving more tradition of adult dance-making for many media in many ways, just as designs made in than one person, more than two or three centuries.It can become a popular dance- art can form the basis for spatial patterns parts, and expressing something more than making activity for children as well, after using locomotor and nonlocomotor move- the ability to make a sequence of two or they have had some experience with folk ment. A science-related project on the three movements, is a part of the dance dance stepr and figures, and there is study of insects is described in one of the curriculum which belongs primarily to the recognition of the pulse beats, accents, teacher experiences, Chapter 3. For many years of middle childhood and beyond. and phrasing of the folk music they will years social studies teachers have included Here a child may work alone if that is his be using. in their study of an ethnic group the wish, but more often the preference is for The construction of dances by the learning of a folk dance representative of two or more persons to work together to children Mould not be considered an the group. produce a dance. absolute essential in a program of dance Such correlations, however, should occur

18 3 ti 4

only when children or teacher feel that the Such songs provide a total group movement.8. Using Folk Dance inclusion of a movement experience would affinity which is not usually present when add depth and vitality to the involved area children are exploring or improvising.It is Traditional Folk Dances of learning, It should not be considered both enjoyable and valuable for them to that an essential part of a curricular project participate in such movement and rhythmic Folk dance literature is so extensive that must be the translating of some aspect of it "togetherness," which provides a sort of teachers can make selections of dances from into movement. The alert classroom breakthrough fur the shy or slow child into many alternatives to present to their 8- to teacher, close to the developing intellectual, movements he may never have experienced. 12-year-olds. If what is desired is a pleasant emotional, and social interests of her pupils The very old as well as newer songs are learning experience rather than a series of will see opportunities to use creative move- useful. The sources of "Round and Round drills, one of the safest of selections is that ment where it will ba significant. the Vil age" are lost in history. "Sally Go of several simple, short dances based upon a A program of little dances once a year Round the Moon" is about a chimney folk dance step which the children can per for an audience taught under pressure and weep, and "Looby Loo" about taking a form easily and well. Considering the walk presented in the school auditorium is not bath on Saturday night. On the other hand, to be such a step, it should be ascertained what is meant by this Guideline. Such there are numerous action songs in the pre- through problem-solving how skillfully the programs have their place, perhaps, but only school and kindergarten literature which class can use a walk in the various ways if the children are involved in the planning children love to do. Examples are the demanded by the selected folk dances. and preparation of the enterprise and when Sesame Street song "If Youere Happy Can the children walk in time to the they, themselves, wish to share their dance and You Know It, Clap Your Hands,"1 music? Can they change from a forward to experiences with others. Dance movement Joyce Eldridge's "This Is What I Can Do,"2 a backward walk withou hesitation or which is a part of other curricular experien- and the song by W.,ody Guthrie which extra steps? Can they walk in a circle with ces should evolve from those experiences helps children identify different parts of hands joined? Can they turn a partner as and be an integral part of the total learning the body, "Put Your Finger in the Ail ."3 well as themselves, with a walking step? project. It should be emphasized that dance songs Can they do a "step-together" and a "step- for early childhood should not include squarecross" sideward? All of these ways of using and country dance song accompaniment. Thisa walking step (and others) may be included 7. Singing Movement Songs kind of dance experience belongs to the mid-in a single folk dance.It is important, then, dle or later childhood years, leading into adultthat children master the step (or steps) Action Songs and Singing Games participation. When children are young, their demanded by the dance before learning the spatial orientation to a partner or a group, dance figures which use the steps. Young children love to ;mitate others upon which sf ich dances are constructed, is Some dances, notably many of the horas from either visual or auditory cues. In the not highly developed. At a later time, when and kolos of the Middle East, consist Resources Section, there are references for one can .eadily find one's way among me in-primarily of a sequence of steps, and varia songs which can be used for such imitative tricacies of partner and group tions of steps, performed without partners movement, where the words of the song figures, learning and performing become a rel-in a circle or an open circle. Such dances "tell you what to do." As the response is atively witty and enjoyable experience. demand precise and often challengitig more or less a unison one, children may foot-work, but avoid the partner selection follow each other, the teacher, or some. that sometimes is distasteful to this age level. times, within a limited choice, make their In contrast, simple song squares appro- own movement interpretation of the words 1,'BeginntngMusic," New Dimensions rn Music Sena: (Newpriate for the upper middle years usually are they sing. York: Arnencan Book Co., 1970. performed throughout with a quick, light, 2 G4dya AndrewsF.emng. Cream,' Rhythmic Move- walking step. They are constructed, however, mentfleys and Orris Danong (New York Prentice-Hall, of a series of partner and group figures which 1976) demand alertness, good space orientation, and 3Woody Guthrie, Songs Folkways Music (Publishers, accurate timing. Their popularity derives New York, 1954) from the fact that they are American dances

19 31 which afford much partner and group traditions of many cultures which a stay in the realm of dance rather than interaction. comprehensive folk dance program affords. becoming calisthenics. A teacher might choose two or three Children in the middle years are eager to dances from the same ethnic source, gain control over their physical bodies. If especially if one is a dance the children are 9. Increasing Physical Power the experience is also a creative one, many studying. On the other hand, the teacher educational objectives are being met at the might want ts. select dances from contrast- Experiences with movement, arrived at same time. We have all observed boys and ing cultures, so that the characteristics of through exploration, which can be used to girls of this age repeating over and over a sleds are more distinctly observable. increase body strength, flexibility, and headstand or cartwheel with the kind of Because folk dance tee hg must precision. high motivation that we envy. This level of usually be directed by th. acher, short motivation can be tapped in this Guideline, cuts to good performance have been As children grow older they become because children are already interested in practiced for many years. A few of these increasingly interes ed in the laws of human what their bodies can do, and because they are: movement. They e oeginning to under- love to learn and experience new feats. stind simple princi sles of physics, biology, During these years, children can easily be 1. Teach everything possible about the anatomy and appl' 'ing these principles in a challenged to increase their physical strength, flexibility, precision, and balance dance in open order formation with every- direct way so thei own bodies can become by investigating movements which accom- one facing the same direction. an exciting discovery process. plish these purposes, practicing them, and 2. Have children get into the dance forma- Exploring a word like flexion (bending) tion (partners, a circle, double lines, squares) could lead to many discoveries. For the evaluating the improved results. only after they can perform the essentials. young child finding the joints and isolat'ng 3. If partner selection is difficult, start with the action in puppet-like fashion is chalk ng- a mixer method of getting partners, and use ing. For the older child, joint action might 10. Relating to the Present Culture Individual mixer dances as much as possible. involve exploration in flexion, extension, 4. There are many lint, open circle, or abduction, adduction, rotation. As a child Experiences in ethnic and popular "fad" circle dances, which do not demand mixed explores flexion in the hip, for example, a dance patterns. partners, and where boys can dance with natural outgrowth would be experimenta- boys and girls with girls.It is a good idea tion, with flexibility and strength in that The desire for cultural and racial identi- to use simple versions of such dances to joint. Once this action was understood, the fication by minority groups today has given "break in" a group not yet attuned to a children themseives could devise movements a new emphasis to the word "ethnic" and to folk dance experience. which would promote increased flexibility awareness of all people of their own heritage. 5. Children, of course, may make their own or strength. Many ethnic dances are (or may be con- dances in folk style. Because folk dance is a Locomotor activities using gross muscle sidered to be) of religious or ceremonial communal activity, this usually means action build strength. Movement col.,bina- significance to a particular ethnic culture. working in a group to achieve a desirable tions using different body parts and rhyth- Even folk dances which are usually thought product. Such an activity takes maturity mic chancy build coordination and preci of as dances of recreational or social import and some successful experience in folk sion. Flexibility in the spine and in all the have taken on added meaning as representa- dancing. With a class that is ready, it is a joints comes from slow stretching and tive of an ethnic group. A growing respect good idea to let the children select a piece holding in position. Using simple principles for and interest in other cultural or national of folk dance music, divide into groups, and such as the above, children could explee groups is a valuable outgrowth of this new we how many workable dances evolve. Such movement which would increase their own emphasis. a method should be used occasionally, but potential. If the first, second, third, and Children in the upper grades who have Certainly not exclusively, in spite of its fourth Guidelines are kept in mind as the had a background in dance as suggested in potential for creativity. Children would children work with experiences in strength, previous Guidelines will enjoy the experience miss the enjoyment of learning the dance flexibility, and precision the results will of discovering for themselves the movement 32 styles and dance meanings inherent in The fact that dance, music, song, art, and kind of interest would be to research various ethnic cultures. With or without language can be taught through an inter- certain ethnic cultures to discover, for this background the teaching of ethnic and disciplinary approach will add to the example, what the influences of African, even traditional folk dances in the schools significance of ethnic dance and the impact West and East Indian dance might have today demands special considerations, such it can have on children. This approach will had on our fad dances. as the following: result in children comprehending a sense of A next step might be to use fad or ethnic the "whole," not simply the accumulation movements to stimulate creative work. The Make it a point to find out the national of facts acquired through segmented Maori and English stick dances with their or racial background of children in the class learning experiences. In many instances rhythmic striking might be such a point of through a class survey, or possibly, by less such an approach demands more experience departure. The first and third Guidelines direct means. This information will help to and knowledge than an individual teacher could be applied so that the experience with insure pupil interest, and will assure the can provide. Other teachers and members such dance forms could lead to more inclusion of dances reflecting the ancestry of the community should then be enriching ones. of the most children. approached for assistance. Attempts should be made to involve the When dance is being introduced for the community. Invite parents with a knowledgefirst time to children in the upper grades it 11. Performing For Others of their traditional dances or representive is important to begin with an area of high. community leaders to the classroom and, if interest value. Fad dance patterns are very Opportunities for performing dances for possible, take the class to a community popular with children approaching their schoolmates other than regular classmates event or ethnic festival w'ich includes dance teenage years. There is a built-in interest and possibly for outsiders, such as parents. presentations. in this kind of dancing, and there is no Be particularly sensitive to attitudes and reason why it cannot satisfy tome of the Dance is a performing art, which means beliefs of ethnic groups in regard to their requirements set up in the Guidelines. that its aesthetic values derke from the dances. Some may desire to maintain con- One ,approach would be to explore the viewing of dance performed by dancers. trol over their dances, music and songs, and possibilities of movement in isolated body There are approaches to such an experience, do not appreciate even spectator involve- parts. Where can the head move? Back- however, which are important for dance ment by outside persons. ward, forward, side to side... this can be educators to follow so that children are done keeping the chin in the same plane of not exploited and/or performance standards While many traditional folk dances have space (like a "chicken" motion forward and nullified. been altered in the past and can be used back or an East Indian head motion side to Showing the results of activities in move- today for their creative potential (refer to side) or the chin can drop and lift so that ment exploration and improvisation to the eighth Guideline), ethnic dance of a the heed makes an arc in space. This kind demonstrate achievement or for critical ceremonial nature should not be dealt with of exploration could be done throughout review by classmates is an essential part of in this way. Authenticity of execution and the body: shoulders, ribs, hips, knees, class procedure when such a problemsolving interpretation are of primary importance andelbows. Then combinations could be method is used. Under most circumstances children should be made aware of this fact. devised. If a piece of appropriate music Lich iierformance should involve a group of There are ceremonial dances, especially were played at this point, undoubtedly children, each showing l,.s discovered or American and East Indian and African, some boys and girls would come up with invented movement at the same time, which should not be taught in the schools specific fad dance combinations of move- rather than a single child performing alone. to respect the wishes of concerned groups. ments. These could be analyzed and Such sharing of movement experiences For a more complete understanding of learned by the whole group. As the enriches each child's vocabulary of move- various ethnic dances and films which can children become more adept, the combina- ment and encourages greater creative supplement learning in this area, refer to tions can be longer and more complex, exploration. It also helps him to concen- Focus on Dance VI, Ethnic and Recrea- thus giving rhythmic, physical, and trate on the sequences of movements he is tional Dance, a 1972 AAHPERD Publication. mental challenge. An outgrowth of this viewing. He thus becomes more adept at

21 33 reproducing such movements on his own dance groups, and the cost of tickets for 5. If children have the experience in school body. touring dance companies performances is of viewing dance studies made by others, The act of performing a dance or dance often prohibitive for most children. as well as constructing their own, the study for persons who are not a part of the What then, is the answer for the teacher beginning of the critical observation of learning environment is always an exciting who wishes children to be exposed to good dance movement will have been made. Out experience for children and for some may bedance performance so that their aesthetic of this may grow a school performance. An rather traumatic. Careful preparation shouldeducation in this art area is not neglected? important safeguard for such an enterprise be made so that neither teacher nor children Following are some suggestions: is to be sure that every child is involved.It are nervous and apprehensive, and an atmos- is hoped that the school offers in its pro- phere of calmness and good humor prevails. 1. Serving as one kind of interest-stimulator gram of extra-curricular activities, besides It goes without saying that all the children is a bulletin beard or hall case of dance such audience-centered dance, concerts of should be involved in some way and not pictures, contributed by the children and music, children's plays, puppet theatre merely the most creative or skillful. other school personnel from magazines, performances, exhibits of art and other Under such circumstances, performing programs, flyers, announcements. Often types of collections, to quicken and support dances which one has made or learned for a the public library will rent folders of children's burgeoning artistic interests. sympathetic audience should be a salutary pictures. event during the middle childhobd years, 2. If the school has sufficient funds, films achieving for some children a desirable can be rented and shown to more than one increase in self-confidence and self-esteem. class at a time. More and more excellent It also serves to make them more aware and concert dance films are being produced, appreciative of what is involved in the many of which can be enjoyed by children, production of much more elaborate dance particularly those in the middle years. performances. 3. A nearby co"ege or university or even a high school might be able to do a lecture- demonstration for children. Such -lec- implications and Examples of Audience- dems,- preferably with some participation Centered Dance Activities by the children themselves, can be a delight- ful experience for everyone, if they are Tha benefits of sports participation for carefully prepared with children's needs and children are stimulated and enhanced by the interests in mind. They also have the virtue experience of seeing highly organized games of being easier to understand for beginners played by skillful players. Such experiences in dance than a finished performance. Many readily are available through television, dance departments are beginning to plan attendance at game performances, and such programs for children, and to send watching games on the sandlots, parks, and the performers for expenses only to schools playgrounds of almost any town. which request their services. The viewing of good concert or theatre 4. There are a few professional dance dance by children presents many more companies, and some university groups problems. Except For very infrequent which give performances designed specific- special programsdevoted to concert dance, ally for children. Such programs are usually available dance performances on televisionpresented annually or given when the are limited to variety shows where the danceprofessional company is on tour. Some of is apt to be spectacular, sometimes sensa- these companies are beginning to be avail- tional, and presented for its entertainment able through funded projects such as value alone. "Artists in the Schools." (See Resources Few localities can support professional section, (p. 82) for further information.)

22 34 Chapter 3 Teachers' Use of the Guidelines A Few Experiences

-,_

The Task Force on Children's Dance has located, encouraged, and actively directed creative experiences, projects, and purposes in children's dance The content of this chapter is representative of a variety of children's dance experiences in different schools from various geographical areas. The following dance experiences illustrate some aspects of the Guidelines as well as the teachers' use of the guidelines.

23 35 Responding Actively to the World

Around Us . .s

Loretta Woolard (Blanks), second grade teacher Nellie Beth Judd, third grade teacher De Nette Garber (Stevenson), fourth grade teacher Elizabeth Wall (Noel), principal Richmond Public St,hools Richmond, Virginia

Project "Children's Dance" was initiated at (Elizabeth Wall), I was encouraged to Maury School, Richmond, Virginia by the prin-investigate the possibilities of emphasizing cipal, Elizabeth Wall and a second grade children's dance. Plans developed, and we teacher, Loretta Woolard. At the end of the firstbecame a pilot class for the Task Force on year, the school situation changed and the Children's Dance. principal, staff, and children were transferred Our first experience under the guidance to Blackwell School. With the principal's sup- of Gladys Andrews Fleming made me port, Hattie Beth Judd, who became the realize that one of the dimensions of learn- teacher of this now third grade group, ex- ing for which I had been groping was sensing tended the project's scope of activities. When tne world around us and responding to it these children entered fourth grade, DeNette actively through creative rhythmic move- Garber requested that they continue the dancement. Given opportunities to explore project and be assigned as a group to her. movement and movement combinations, Although these children were assigned to a the children became better aware of their different teacher each year, they were under own potential, discovered spatial relation- the continuing leadership of the principal and ships, and were able to handle themselves Gladys Andrews Fleming. A brief account in in various dimensions of space. They three parts by each of the classroom teachers started responding rhythmically to what follows. they saw, felt, and heard. As our work with this medium-of Second Grade expression progressed, I found that the children were following direct, ms, As a new teacher at Maury School, I listening, thinking, solving problems, and recognized the need for variety in the pro. inventing.I felt that they were feeling gram I was developing with the 35 children better about themselves. They were sensing in my second grade class. There were and responding-they felt accomplishment! dimensions in learning that seemed to be At one time, we studied the sea and missing. Potential opportunities existed for used it as a source for expression through rich learning experiences for each child but words and dance. Concepts of waves, shells, I did not know how to capture them. fish, gulls, and other aspects of sea life were Seeking assistance from my principal reinforced. Using movement to explore

36 24 111

ideas about the sea helped to emphasize Another day the children found that verbal aspects of learning, including they could swing their bodies in many ways vocabulary building, reading, poetry, and and invent a variety of swinging patterns. story writing. They tried to identify many things that One of the boys made a boat and swing. From this vocabulary and reading brought it to school for all to see. As we chart the children wrote a song, "Things Are were discussing Glen's boat, we decided to Swinging All Over Town." They understood write a story and create a dance about it. the concept and readily made associations One day Glen took us exploring in because they could "feel" a swing. Soon his boat. We left on a beautiful Saturday the song was turned into a dance, and the morning. We wanted to look for many children were able to sing their own accom- things. Wowwwl The first thing we paniment. Words to the song are: caught was an octopus. We saw a gigantic whale. There was a gooey jellyfish floating on the water. We also saw a squid under the water. On the floor of Things Are Swinging All Over Town the ocean we saw crabs, sand dollars, and shells. Fish and seahorses were Things are swinging all over town swimming all around our boat. It began Things are swinging all mt.:- town This is what we all can see to get dark. Glen took us home and said, "I will take you again some sunny Things are swinging all over town. day." Skinny monkey swings on a tree. Skinny monkey swings on a tree. This is what we all can see. Photos: Robed Grey, Richmond, vs. rommium Skinny monkey swings on a tree. You can swing on a swing with me! Au:A An elephant can swing his trunk. A little boy can swing off his bunk. A kite can swing in the sky so high. Branches swing in the bright bit e sky. A happy puppy swings his tail. A boy and girl can swing a pail. An opossum swings upside down. Things are swinging all over town!

37 25 The children are now sensing and in the class who in time became most sting, donkeys kick, tur as snap, cats responding in many different ways. They enthusiastic. The original group of scratch. Each child had an opportunity to have come to realize that the class is made children helped to teach the others move- express his ideas and had to pass the test of up of many different boys and girls who ment and rhythm skills, control of space, using his body to portray his ideas. The need to work and live together while in and ways of working together on dance children had to feel the movementhey school. A unified group seems to be emer- experiences.It was enlightening to hear wanted to convey. In "Jump andTiggle" ging. As they have had increased opportuni- them discus their concept of the difference they became boy and girl frogs that jumped ties for creative expression, their self- between movement and dance and what or worms that wiggled or kittens that concepts have improved. made a dance, a dance. pounced. Then they became human As the children have learned from these The group was very responsive to me children who walked but walked funny, experiences, I have also learned.I now knowand when we sat together in a circle talking jerky, bouncy, turning upside down, and that a reading experience involves more than and thinking, often their suggestions would like Indians verbalizing and chanting as just books and words.It involves the child's flow so quickly I could hardly write them they dance. life and interests as a source, his mind for down. For instance, we would try to get These were normal children, many thinking, his voice for verbalization the "feel" of poems we had read and I made from disadvantaged homes. One little (stories, poems, songs), his hands for many lists of their suggestions. These words girl who had difficulty writing her name writing, and his whole body for a deeper often became reading or vocabulary lists or would leap gracefully like a deer or glide understanding through creative movement spelling words. We discussed concepts such like a seagull. She became completely and dance. A child must sense and respond as fast-slow, fat-skinny, big as a dinosaur absorbed in her role; here she was for true learning and understanding. small as a flea, front-back, and up-down. accomplishing. As the boys and girls became more skillful It was amazing how much the dancing in handling their bodies in space with vary- developed all of the children. Many who Third Grade ing complexities of time, they enjoyed were slow academically responded to Dr. expanding ideas from various content areas. Fleming. Their dignity of character was In the fall of 1971, the children who Music is very important to create move- like watching a flower unfold. Their worked with Dr. Fleming at the Maury ment and dance. However, since we were imaginations were unleashed and they School became third graders and came to without a piano accompanist, we resorted became beautiful to watch. This was Blackwell Elementary School. Here they to chanting poetry, singing, and using body particularly true in "Kite Weather." had many new classmates but the group and percussion sounds. During oUr study of spring, I introduced was still strong and wanted to continue to The poem "Jump and Jiggle" suggested the poem "Kite Weather," and almost work in movement and dance with Dr. many movements, but we first discussed immediately the children wanted to dance Fleming. They drew in the new children movements of animals: monkeys swing, bees their ideas and feelings. We needed room

26 so we went to the gym and began to explore. The actions were strong, and as the children flung their bodies in the air in response to the breeze blowing leaves from every tree and ships upon the sea, they became a part of this strong wind. Soon a dance composition emerged, and the various parts of the poem combined to make a whole dance poem. Special movement and dance sessions were held for interested groups in the city during the spring. The children insisted on sharing two of their favorite dance poems "Jump and Juggle" end "Kite Weather." As the children advanced, they wrote letters to Dr. Fleming about their feelings and impressions of visits to the zoo, fair, amusement park, and beach, and about their vacation. Often they drew pictures of what they were trying to say, and we used same of these impressions and feelings as motivation for movement and dance activities. Out of these experiences came a more difficult dance, "Fun in the Sun," based on a story by Donna, one of-the children who grasped her classmates ideas and with her own, wrote them down in a story. The group particularly enjoyed making a dance which resulted from our discussion of "Fun in the Sun." From Donna's story children selected parts and worked hard in dancing out these ideas.

27 ,ot sal go

I . r 1 1 4 4, 4 , 1 1,,akil"-- 4. *Is

.INIA....

--;

IA:

"'Fun in the Sun" began with children One clay when they were getting ready for a playing on the beach at sunrise. They performance they decided that they needed jumped with the incoming waves and to tell their "Fun in the Sun" story in listened to the sounds of the shells. They color. With help from the art and music went crabbing, watched a surfer ride the teachers, a huge class mural was made and waves, were dazzled by the colors of the background music provi 'ed. As Donna read sailboats. They tried their luck at casting the story, the mural and music became part lines for fish until the happy day began to of the dance. It was truly a year of watching end. They could hear their mothers calling children grow before my eyes. them. The sun slowly sank in the West as a little crab chased them across the sand home to their supper. The story became accom- paniment as the class danced and Donna read. They wanted to share the dance with others so they worked hard in perfecting parts that would coordinate readily, make transitions, and dance out their ideas as the story was read. They wanted to perform!

...... " 41 29 IIMMIMIIIMMIO.il....I, Fourth Grade difference. had experienced. Within this latter group there were I was eager to see if the 15 children whe As I began my third year of teaching I frequent arguments, and although fights had had no experience with creative mov- was given an opportunity to work with Dr. were rare, they appeared to be almost ment could be assimilated into the whole Fleming to enrich my program in the fourth imminent at times. These children seemed group. Having worked with the children for grade at Blackwell School by incorporating both selfish and indifferentto the point of seven months at this writing, I can see that a new dimensioncreative movement and not wishing to share classroom games and the creative movement and dance activities dance. Although the majority of children art materials. Poor sportsmanship was have greatly aided in building good peer with whom I would be working had partici- frequently displayed; the atmosphere was relations among all the students. The pated in this program for two years prior close to being one of mistrust and suspicion.chlt-iren helped each other develop skill in to my arrival, I was no at all familiar with The cohesive group, on the other hand, movement, awareness of space, rhythmical creative movement or aance. To my presented an entirely different viewpoint. response inquiry, and aesthetic qualities of delight, however, I quickly became aware of These children, though scarcely angelic, sensing and responding. As the original the potential and importance that such a exhibited many fine qualities, among which group of children worked with their class- program can hpve on a curriculum.I dis- were genuine affection and concern for one mates. they refined their own skills. covered that creative movement and dance another, honesty, fair play, and respect for The class' first major dance activity is not, as some individuals may imagine, an their classmates' and teacher's rights. From involving the entire group centered around a extracurricular activity to be used on rainy these ,.:hildren emanated vivacity and a keen study of Indians which developed out of the days in lieu of outdoor recreation. Instead enthusiasm for learning, both of which children's keen desire to learn more about it is a program based on body movement resulted from the various experiences they the Indians' sharing in the first Thanksgiving. that can encompass all areas of learningIts had shared during the past two years with Authenticity rather than the stereotype was erti rep ,t is invariably the samelearning the Task Force Project and their two pre- stressed. Much research was done by several is fth vious classroom teachers. They had dis- members of the class. Besides their findings, Because of city-wide desegregation in covered that learning, and thus life, can be the children wrote their own story and the public schools, only 18 of the original fun. illustrated many facets bf Indian life. In :15 children were still together. These After working with the class for addition, they made tomahawks, headbands, children were joined by 15 others. During approximately one month, I was able to and drums. Gradually a dame emerged. One the first week of school, I gradually became discern which students had had previous e' the boys read the story as another boy aware of a dichotomy between the students. experience with the movement program accompanied the dance with a huge tom- Although the class appeared ts.be composed because they seemed to have formed a class tom. They had learned about spacial and of one fairly cohesive group, There was one unity, filled with many exciting personalities.floor patterns and were able to notate their group that seemed to lack any unity or class School, to them, was not drudgery, but dances, their way, in chart form. The charts feeling. These children seemed unable to had many opportunities for creative became most meaningful in helping the form good relations with their classmates. expression. Math can be interesting. Historychildren recall and improve various asPects Each child tended to go his own way with- can be exciting. Reading can be fun. All of their dance. Not only did the children out regard for others' rights.it was to this areas of the elementary school curriculum have fun, but perhaps more importantly, group that I turned my attentiqn in an were more meaningful to these children they learned a great deal about history. effort to determine the reason for the vast because of the movement activities they* At this time the music teacher. Elizabeth

30 42 Sutherland, became a part of our team. In developed. Gradually our story became a observing, sensing, responding, analyzing, the all-school Christmas program the song and dp.nct. Again, several facets of the and appreciating. children danced while the choir sang elementary curriculum wez utilizedoral Virtually all of our mmement activities "Silent Night" and "I Hear Bells." and written language, art, and music. In evolve around some phase of the fourth This proved to be an experience in addition, good peer relations were constantlygrade curriculum whether it be language working on quality of movement stressing being formed. arts, aesthetics, human relations, science, feeling, tones, and musical structure. During conference time the subject of history, math, or current events. These Charts were made to show various floor pollution arose, and the children currently experiences have made me realize that patterns of the dances. Children made are working on a pollution dancecomplete creative movement is not a frill or an extra simple, appropriate costumes with the help with protest posters. They have added con- added attraction. Instead it can be Is of the art teacher. It was fun viewing an siderably to their repertoire and have dis- legitimately woven into the daily program important part of an all-school program, covered all kinds of dance patterns. The and can pervade all areas of the elementary dancing for classmates as well as for teachers children feel that the polka belongs to them curriculum. In short, creative - and parents. The children felt good about because unexpectedly one day they ment makes learning fun. themselves. "discovered" it. They have shared their own An unusually cold day in January promptedpolka with other groups and have particularly the children to begin a study of weather. enjoyed teaching it to grownups. Summary ',ay Principal Charts were made, poems were written, and Other current plans include a dance, pictures were painted. Gradually a weather "Gazinta," for boys only, based on the mathe- In looking back over the three-year dance emerged, showing the children's matical operation of division. Another danceexperience with creative dance, I see that feelings about 'Cold, by xich movements as was entitled "Three Wishes" using balloons asthe boys and girls have emerged as self- shivering, freezing, and sliding. This became props. respecting, self-controlled yourpeople. one of our favorite dances because we could We hpve enjoyed having people visit us The curriculum was enriched with dance, communicate our feelings of coldness. this year and have grown in our ability to poetry, music, and creative writing. The Later, when a brief study of pulleys and talk about our work in dance. For this dance program was the major reason for levers was conducted, the children began to particular group of children it is most incorporating the arts in a new way into expeilment with ways to balance their important to have opportunities to com- the curriculum of our scnool. Children bodies individually and in groups. Such municate verbally so that others under- seem to develop pride in themselves and in concepts as gravity, strength, energy, and stand. We have learned about performing school activities.' This pride expressed force became understandable. for others and the hard work involved. itself in a kind of sensitivity that was One morning I asked the children, "What Because we have had opportunities to greatly needed in this inner city school. It makes you happy?" Hands waved; every- share our work with many groupi nd did not seem to emerge for groups which body had an idea. The ideas ranged from organizations, including collejfe, did not have this kind of experience. "leaning how to whistle," "sharing a secret." students, we have learned about being a The teachers who worked in this proj- and "just horsing around," to "finding some performer and being an audience. This ect felt that their curriculum was enrich-id thing precious," "having a fashion show," esponsibility has been good for us. When by this new dimension. In the past the and "leaping over a mud puddle." A book the college students perform for us we try teachers had not covered creative dance, was made, charts were printed, and a mural to make it a vital learning experience of which was unknown to most until the

31 43 Discovering Dance

Gertrude Blanchard Recreation Supervisor Unified School District Richmond, California

Ralph Harris Sheila Kogan Kathleen Stubbs Teachers Richmond, California

Task Force pilot projectChildren's Dance began. Observing the children express them- The Richmond (California) Unified 'selves through dance seemed to give teachers School District used dance and music sense of jov which was communicated to specialists from the Recreation and Parks other teachers and children who observed the Department to aid in academic and social group in action. learning. It was the second day of clam for The teachers also seemed to feel that as six-year-old dancers. Everyone was sitting children use their bodies they become on the floor and the teacher was talking. different and that no other previous pro- grams had accomplished this. As the "Why did you come to dancing class?" teachers observed children developing a "Because I wanted to learn how to dance." sense of humor and as attitudes and values "Why do you want to learn how to changed, self-control developed. Their days dance?" were made lively and meaningful; they "Because I want to be a dancer someday looked forward' to school. because it's funbecause I like to dance." "What do you do when you are dancing?" "I just jump aroundI skip-1 just dance!" "Are we dancing now, sitting here and talking to each other?'' "No. You have to move to dance." 'You move when you take your dog for a walk, of help your mother with the dishes, or swing in a !wing. Is that dancing?" "No. That's just walking or doing the dishes or swinging." "Then how is moving in dancing different from other kinds of moving" "H-m-m... Well ...Um-m-m ..." "That's a hard question, isn't it? Watch and help you find the answer." (The teacher beckons to Michelle, who gets up and comes to her.) "How did Michelle know that I wanted her to come to me?" "You called her with your hand." "I didn't use any words, did I?" "No. Your hand told her what to do." "I was talking to her, wasn't I, but not with words, just with my hand. Now 44

32 watch again." (The teacher pretends she is doll and hides her." way which they discover for themselves. holdi 41-1:143y and rocking her.) "How do you move when you are angry? The boys at Sheldon School became au have a baby. You are rocking her Show me. No words, now, just talk with intrigued with solving dance problems tO sleep." your bodies." (The class moves around with involving equipment or furniture. They "How do you know? I didn't say so." determined heavy steps, striking movements enjoyed exploring contractions, extension, "No, but you could see that you were of the arms, grim faces and stiff, jerky move- and relaxation on different levels with the holding a baby, and you moved like you ments.) "You are indeed an angry group help of a handy table. were rocking her to sleep." of boys and girls. Let's s;t down before we Imagine a class of boys and girls moving "So, again, I was talking to you without get into a fight. Do yoi remember that whenas rigidly as uncooked spaghetti. They walk using words, wasn't I? Watch once more." we first started talking I asked you, 'What or jump or twist themselves into the cooking (The teacher gets up and moves in a sad, do you do when you are dancing? and 'Howpot. The boiling water starts the softening crushed way, back and forth in front of the is moving in dancing different from Other processfirst the feet and legs, then the clam.) "Again I am talking without words. kinds of moving?' Do you think you could torso, arms, shoulders, and head. Soon limp give me an answer now?" What am I saying?" spaghetti bodies are sprawled all over the "You are unhappylostsad." "It's talking. Telling something with yourfloor. The teacher then takes each child "How do you know? I didn't tell you body. Not using words, just using your bodyby the feet and, one at a time, pulls them with words." to talk." around the room in varied patterns and "No but you moved like you were sad." tempos, ending with all of the children "Could you talk to me without words, heaped in one spot. Gently and quietly, just moving so that I will know what you are Spaghetti and Tables legs are placed over legs, or an arm over a saying? Let's try. Suppose you are just out chest, or a torso over legs so that each can of school, and you know that when you get With some children, the fear of being learn to take the touch and weight of home you will find a-new puppy waiting for touched activates many kinds of defenses. another without becoming-tense. This you. How would you feel?" Through dance, they work toward trust brings the children down to earth, literally "Happygladyummy." and acceptance. Two boys discover that and figuratively, and they are ready to "Then think about being happy and how togetherness is mandatory if each has one return to work in the classrocm. you move when you're happy, and talk to leg in an onion sack and both must move me about being happy without using any across the floor. It provides a graphic wards." (The class does its own interpreta understanding of the partner concept. tion of happy movements. Their movementsWhen the cooperative idea is working, the are quick, light, and upward.) "That was sacks are abandoned and the children explore quite good. I'm sure that anyone who was other kinds of touching and moving: inside watching would know that you are very hands joined, both hands joined, elbows happy boys and girls. Are iou ever angry hooked, backs together, a shoulder and a or mad at someone?" knee touching. Sometimes one partner "Oh, yes!" must move forward, one backward; one on 'What makes you angry?" a high level and one on a low level; one "When my brother takes my favorite jumping and the other running; or any ether

33 A Concept of Time Market Day Song and Dance and Ruth Boyle Learning Chess Through Dance Instructional Assistant Cedar Grove School Beauford Thompson Kensington, Georgia Ruth Wilson Elementary Teachers Cheyenne, Wyoming

Our children were working on the con- Market Day Following this experience, each child cept of time so we drew huge clocks on the wrote his reaction to the activity. Paul floor. The children moved around in 12. Sixth grade boys and girls at Davis expressed it as follows: "We did this Market hour spaces by stretching their hands and Elementary School, Cheyenne, Wyoming, Day because it gave us experience on how arms to a person in the middle of the clock. were studying Latin America in social the Latin American people trade and sell They were Cita able to (mow) "make" studies. For some time they had been their products. We made pots, candle lunch time, time to go home, time for discovering how some of the Latin holders, toys and other things. We also outside. As their axploration of time American peop's trade and sell their made booths and made songs and dances. progressed, the boys and girls began to hop, products, and they wanted to have their The dances we did used skipping, jumping, Jump, and skip around the clock making up own market day. In art class, they made running and other movements. This was the their own games and dances. Music was such items as pots, candle holders, siesta most interesting experience." added to enhance the experience. mats, jewelry, hats, and toys. Booths were The children enjoyed the experience so We progressed from moving around the constructed so groups of children (families) much that they decided to perform their clock to walking up the ladder of the could sell their wares. market day for their parents and the whole gymeter. As we moved up a rung of the What a natural backgr- for the school. ladder for each day of the week or month of creation of their own chants and folk the year the remainder of the class chanted, dance. The children developed a market day "MondayTuesdayWednesday," etc song and movements especially for this Later we involved music and other move- event. The dance was performed by the ments and soon we were dancing. entire group. Each "family" entered the Next, the times tables were drawn on the plaza dancing gaily and joyously greeting floor and we jumped, hopped, or walked each other. At the conclusion of the wel- along a number line. We made up our own coming entrance, each group dispersed to movement sequences using various sounds, its booth to begin the serious business of chants, and instruments, and again we were bartering with appropriate chants.. One dancing. boy, moving from group to group, provided One of the things we like to emphasize the necessary thread for continuity as each about our mcvement and dance classes is family, in turn, circled the plaza chanting and the carry-over with all classroom activities dancing about its wares. The dance concluded within the total curriculumart, music, with all groups joining in a circle, sliding and reading, and math. skipping, and singing together.

4h Impressions

Katie Planche Friedrichs Southeastern Louisiana University Hammond, Louisiana

(

A Lively Chess Game Some were angry at being sacrificed, while home. Their scope of movement is amazing; others understood the necessity of such a their keen sense of design is most critical At school another interesting activity move on the part of the scholars. Frustra- and they can critique a rehearsal (in occurred which involved movement and tion developed because some could see the private, of course) as well as some of our dance in the form of a live chess game. The errors involved in certain decisions. All students. activity grew out of a correlation between gained a better understanding of how Our 10year-eld, after watching a science and social studies classes which had disagreement and dissatisfaction of oppressed student composition on drugs, asked the beer r, In of the year's plan of activities. peoples could lead to revolt and violence. next morning as she watched me open a To initiate the project, the children listed After venting their frustrations, the children bottle, -Mother, what are you taking?"I their ideas about the individuals portrayed offered ideas as to how they as individuals replied, "Only a vitamin pill. Would you by the chess pieceskings, queens, knights, could have improved the game. They like to take one?" "No ma'am," answered and bishops. Comparisons between life- requested that another game be played and Marie, "I'll never take another pill as long styles of nobility and peasants were noted. that they dance out the game. as I live after seeing that of Mickey, "The Living conditions in a manor or castle were In the second game, decisions by the One Way Ticket!" contrasted with modern living. The interest scholars were more democratic and made of a number of students stimulated more less hastily. The children danced as the Contrasts research into the origin of chess, which chess pieces moved with greater freedom added authenticity to particular aspects of and enthusiasm. In language arts class the children were the project. Asa result of the project, the children studying antonyms. We decided to use dance Time was devoted to the exploration and unanimously agreed that they had a better movements 3,nd terms to help clarify our un- development of movements by every child. understanding of people and people derstandings of opposites or contrasts, for Each child expressed himself and portrayed situations as well as chess. This became example: several chess pieces through his creative their dance of chess. The instructors were level ... up/down ... high/low movements. Each individual was free to better able to pain more appreciation of the .quality ... smooth/choppy ... legatolstacato choose the part he or she preferred, with child's ability to express himself in methods tempo ... slow/fast ... sustained/sudden one exception: the two finalists of the chess other than oral or written communication, direction ... forward/backward .. . sideward/diagonail tournament were encouraged to select the and to gain more insights into the life of role of a chess piece instead of the part of a each child. After discussing various contrasts the class di- scholar. Also, as an art project, each child Since I am a teacher and a mother of four vided into groups to explore different con- was responsible for an appropriate costume children, my children have been underfoot trasts: change of levelmoving very high, for his role. In addition to the chess in the dance studio as long as they have beenthen moving very low; change of tempo pieces, two teams of "scholars" wen, formed around. It is amazing what the small ones moving very fast, then very slow. Working out to plan strategy. The scholars dictated the have absorbed about movement and a variety of antonyms through movement, direction and destination of the movements, creativity through the years.It is almost they started composing rhymes using associ- but the method of movement was designed like osmosis; they watch the classes and ations such as "slow as an Ox and fast as the by the child playing the role of a chess piece.rehearsals and can immediately feed back Fox." Eventually their explorations turned into As the game progressed, some frustration to me what they have learned by dancing a Dance of Contrasts accompanied by their and anger began to emerge. It was difficult for the family during the evening hours at rhymes. for several children to accept their fate without having a voice in the planning.

35 47 An Approach to Dance with Boys Science as a Point of Departure for Dance Tom Ounkley t University of Vermont Loretta Woolard Blanks Burlington, Vermont Third Grade Teacher Lakeview School Colonial Heights, Virginia

One summer I worked as program direc- The children I teach particularly enjoyed Insects, insects all tor for an all-boys camp. The camp director our learning experiences in the area of science.around was certain I'd be wasting everyone's time In the beginning warm days of school, they You'll find them when I listed folk dancing for the evening were keenly interested in insects. All sorts everywhere in town! program.I was young enough to think I had of insects were bottled and brought to my Creepy insects! an answer to the stigma placed on dance by classroom. Books were gathered, and as Crawling insects! most 10- to 14-year old boys. quickly as one child finished with a book, Some are mighty I opened with a brief discussion about another would pick it up. We discovered small insects! the rugged peasants and their evening many interesting things about insects, like Insects! Insects! campfires, similar to ours, when feats of watching crickets rubbing their wings strength and skill were performed. One of together to make their chirping song. Bees, bees, small, the most virile groups were the Russian How do you bring a unit so full of small bees horsemen who wrestled, dueled, and enthusiasm to a close? We wrote our own Making honey in challenged one another at endurance feats. song about bees, crickets, ants, caterpillars,. the trees. The exhausting run done by groups of flies, and mosquitos and then created a three men often found the men too tired dance about them. Crickets, crickets to continue the evening festivities. hear them sing I challenged the boys to see if there were In the summer and any trios who could last as long as one Our Insects Dance the spring. 78 rpm record. Without identifying it as a dance, the three patterns of Troika were Before we realized what had happened, Ants are crawling, introduced, practiced quickly, and the the room was alive with 30 "insects" of never still, contest was on.Three groups finished, many types and sizes. They crawled, Watch them working and we moved into several other masculine leaped, humped, jumped, wiggled, and made in their hill. circle dances. The program was a success. insect sounds. One group of children danced Since then, I have often used the Troika the complete metamorphosis of caterpillar Caterpillar, don't idea as an introduction to dance for the to butterfly. Children of another group cry, don't cry "touchy" ages. Perhaps it is not the Troika rubbed their "wings" together to sing. Spin your cocoon, itself, but the initial introduction technique Becoming insects of all kinds, the children be a butterfly. which sets boys off on the right foot to illustrated, in the best test possible, their dance. Call it a dance after the fun and knowledge of the insect world. Then they excitement have been experienced danced to their poem:

48 36 The Damp and Aimless Doze

Sal E. Abitanta New Jersey Department of Education Trenton, New Jersey

ZZZ-ZZZ in my What's in the Sea ear That mosquito has One song the children created dealt no fear. with the vastness and diversity of the sea. By changing a few words, the song encom- Insects, insects all pamed all aspects of the sea: around You'll find them What's in the sea? everywhere in town! What's in the sea? Creepy insects! What's in the sea Crawling insects! for us to see? Some are mighty Beautiful sea! small insects! Beautiful sea! Insects! Insects! So much to see in the great big sea!

In experiences such as these, learning This song, with movement, has been 4 Our third grade children were delighted by involves more than books and words.It in a learning setting where children have the James Reeves poem about a terribly for- involves the child's life and interest as a been helped on an individual basis. By com- lorn and really hopeless creature, the Doze. source, his mind for thinking, his voice for bining individual efforts, a dance emerged verbalization (stories, poems, songs), his about "What's in the Sea." Through dangly hand for writing, and his whole body for a woods the aimless deeper understanding through creative Doze rhythmic movement and dance. A-dripping and A tornado which destroyed buildings in a a-dribbling goes.... nearby area became the motivation for His company no another dance study. Our third-grade had beast enjoys.... quite a discussion about the puzzling aspects The damp, despised, of nature. This was a point of departure for and aimless Doze. cresting a dance entitled "The Contrasts In Nature."

49 37 The Stage, A Magic Place

Shirley Ririe Salt Lake City, Utah

For a class activity, the children wrote a I was a visitor in Goshen School, Goshen, breath and weight in back, arms, head, and paraujaph describing the Doze and drew a Alabama As part of the impact program I legs. picture to illustrate their concept of it. was to teach a group of special education Tile music from "The Comedians" After some preparatory movement activities children. They came excitedly into the (Pantomime? by Kabalevsky was played. We during their physical education class they room. There were only 13 children who listened. Then toe boys and girls moved out were asked to extend their Doze idea into looked as though they were 9 to 13 years Into space and did "heavy" dancing. As movement. How would you interpret a old. Their anticipation was high, and I soon they improvised they were reminded of clumsy, wide and wet, a-dripping and learned this was because they thought things they had done earlier which were a-dribbling, slop-slopping, pokey, damp, they were going to be able to present a quickly incorporated. They were looking despised, and aimless Doze? "show" on the stage as their classmates had very good so we decided it was time to go It was evident after several readings that done earlier. We talked a bit about this and "on stage.- (They had been asking "when" the girls' interpretations reflected ballerina my lesson plan did flip-flops in my head as throughout the lesson.I felt it was good movements, while the boys demonstrated I tried to accommodate their desire. Be- for them to realize they needed preparation heavy, grotesque movements. It was the cause we were tb have an hour I began to have something to show before they consensus that this is a boys' dance. The slowly because I knew these hyperactive, performed.) boys felt that the girls' movements were hyperexcited children would be "wild" To start, two were chosen who were doing too pretty and that they should be involved before the hour was up if they didn't very well. They got on stage and stood in some other dance. slow down. behind the curtains so they could make an While the teacher read the poem, and Working with each child, one by one, I entrance. However, when they began to another teacher improvised on the piano, was able to communicate, through touch, perform, they froze and didn't do as well as the boys showed their individual interpre- minute things about time, placement, they had before. We discussed the good tations simultaneously, and "the dance of weight.I sensed that these children needed points of their performance. An important the Doze for boys" was created. A group attention, closeness, and caring. They key, here, is: if the unsuccessful things are of third-grade boys with only limited dance became very absorbed in discoveries about pointed out, soon the group is afraid or background and basic preparatory move- themselves and each other. They enjoyed ocked; on the other hand, if only the ment experiences thus practiced and gave seeing each other succeed. things that work are commented upon, the of themselves in a most physically delight- After the first few moments, everything performance gets better. After a group is ful dance. that happened in the class grew from the more experienced, the criticism can deal There was no stigma regarding dance children's responses. We worked with heavy with negative aspects, which should always here. The boys were free to plan individu- as a concept. We noticed how heavy the be handled constructively. A trio went up ally and groupwise. Their interoretations head could feel as the weight of it drew the next. The group decided they should begin were accepted and shared. The enjoyment spine into a flexed position. We made our on stage for a change. They assumed heavy gained was evidence that they would desire arms heavy., We discovered that the breath shapes and waited for the music. One boy more opportunities to apply the male image could give the whole body a sense of weight. did some fine jumps and everyone said they in dance activities. We then explored controlling where the liked those jumps and the freezes. The net breath was in the body. We filled our group got up. We decided that they should chests with many short breaths of air, lifting begin close together and do jumps and one leg and the body high as we did this, freezes. This group really began to have a then we let the leg fall into a wide stance group sense. Everyone was happy with the and exhaled' the breath into the lower performance. The showings improved each abdominal area. They got some very time. weighty, heavy falls off the body into that During the heavy part of the lesson, a wide, bent knee position. We tried to get a couple of the children who had been so very low "huh" sound as the breath excited about "dancing" asked, "When do haled. We experimented with heavy we get to dance?"I told them we were walking, trying to get the sense of the dancing but I knew what they meant, so I

51) chose a very gay, bouncy song "Clap Your Hands." When you contrast experiences, such as a piece of music or a qualiiy of motion that a group has been into deeply, the contrasting segment of the lesson "takes off." The group went immediately into the suggestions of "clap the hands to the music, now clap in the air, what could your back and your head do while clapping? Move through space/when you push in the air. What could your feet do? Get a partner, sometimes dance with your partner, \sometimes away." I really didn't needto Make suggestions at this point. They just took off and it was full and inventive. When we put three couples on stage at a time it had all the spirit of a village festival. One couple would try to outdo the next. One boy got his elbows and knees flapping with a country western flair. The children began to whoop and holler when someone did well. This helped the challenged child to do something even better the next time. Some of their performances reached a point of transcendence. WhLt these children had accomplished during this short hour was memorable. Much of what happened was because of their teacher. The children had remarkable The Poweruof a Child's Observation time had tears in her eyes, she told me that rapport with one another. They 'here very - Christine had not allowed anyone in the encouraging to each other, they worked In a series of classes I taught for the room while she was composing except to equally well, boy-girl, black-white, old- University Extension Division on Saturdays, put the needle on the record player. She young. They had been "turned on" by a three-year-old told me she had made a had created the dance alone.I tell this seeing a performance on stage and they dance which she wanted the class to see. story because I have often wondered about responded to that stage in a way that was She had older sisters who had been making the formal structure coming from a child so more exciting than the performance of the dances. She used the record "Thumbelina" young. It was not something we had done day before. and had a very nice thematic phrase which in r'lss at all. The class was a free exr;ora- jumped, turned, and landed on one knee tory experience. She had been watching with a quick upward gesture of the thumb. her sisters to be sure, but how had she She was perfectly accurate rhythmically grasped the sophisticated concepts? each time in this rather difficult combination and had interest and variety in the otheru positions.I couldn't believe that a three- yearold could be drilled to such perfection and still look natural and spontaneous. When I quizzed her mother, who by that

39 51 Dance for Every Child

da

00m00 4, :te:::vs. :. % .e : 0.:40 n. . ..A,.. %. o : :: ... .. X. sip

a

ao 52 Chapter 4 Dance in the School

The Very Young

Tommye G. Yates Phyt.:".ai Education and Health consultani La Fayettz Georgia

.-- 4

j I Movement and Very Young Children Piaget finds that the young child attributespurposeful movements. Through this devel- Ages Three through Five life to activity and this activity facilitates opmental process of exploration, children his thinking ability and learning. The child begin to acquire the skills necessary for Current Developments, Unique Responsi- then begins to be aware that movement is dance. bilities, Future Opportunities the essence of things around him, and he Just such an experiencebappened to discovers himself through movement. Shirley Willingham, an aide in the Summer- Suddenly we find ourselves in the power- A child, like an animal, is born with a ville Elementary School, Summewille, ful thrust of a new focus in educationthat natural drive for movement and he gradu- Georgia. This experience started when the of very young children, aged three to five; ally expands his own growth through the faculty decided to initiate a program in there are numerous children of this age in thecultivation and refinement of these inner movement. The stage, storerooms, and . According to the estimates of impulses until they become so internalized lunchroor4 corners were already being used the U.S. Office of Education, statistics si.ow that he also begins to think as he moves. as tutoring stations and small group instruc- that a large percentage of our three- to five-The child then is developing not only throughtion units, so it was decided to use the lobby,. year-olds are attending school this year, com-the psychomotor domain, but also through which was large and kept unencumbered for pared with about 25 percent previously. En- the affective and cognitive domain. Let us rainy days when the several hundred rollment below the first grade has increasedlook more closely at what we are saying children who waited for late bpses needed significantly. that a young child's movements become a place to stay. So much for a placel What Three pertinent questions that we need progresively more refined and internalized about someone to,train for the job? The to ask ourselves are: as he grows and develops. natural person was Mrs. Willingham, who It is in the process of exploring the world worked well with children and was vitally 1. W:lat do we know about young around him that the child discovers himself interested in them, as well as being an early children and movement during these and begins to develop his self-concept. The convert to movement education. This was formative and developmenta! years? movements of a normal child are natural a wise choice, as she was enthusiastic about 2. What is happening in terms of move- and involve his whole organismthe inner her work and had four creative children of ment in the life styles of and curricu- self as well as the physical self. her own. lums for young childreninternationally Through movement, children express In terms of equipment, a local tire as well as nationally? their desires, feelings, and frustrations. company was glad to send as many used 3. What should, could, and can we do Thus, much of a young child's movement tires as we could arse. The secretary brought today, tomorrow, and in the extended is spontaneous and imaginative. Three- to her sewing machine, and with the help..of future to provide an environment for five-year-olds move spontaneously in play the principal, made 24 bean-bags. Both the children to learn through movement? situations through exploration of their secretary and the principal made yarn balls.' environment. The teacher needs to guide from yarn from the local rug mill. Educators have advocated movement as the children to discover way/gin which they an integral part of the child's world, but not can use their bodies in space6nd in relation until recent years has this interest to objects. A child then begins to develop , and focus become so in-depth and wide- his play-like activities into more skillful and spread.

53 41 Alb

I enlarged these activities in their own creative ways. These simple everyday experiences show that a program of move- ment development is within the reach of every young child. The primary requisite for a movement education program is the conviction that What's in a Bat? these experiences will help children in ways that no other pjogram can help in dis- Cardboard shipping boxes were used for covering self, space, self within space, and the children to crawl through, but when dance. The personnel and equipment will both ends were taken out, the boxes be found when the commitment exists. collapsed. Mrs. Willingham was tired of Young children will often dance spon holding them up so she just let them taneously`to music or percussion instru- collapse and said, "Crawl through the box." iiients. Music and movement ideas that "How V" are used, however, must relate to the "You find a way." child's world in order to initiate and foster "Can't." this spontaneity. The teacher now becomes "Yes, you can." the real catalyst in helping the child become "Oh!I know." more skillful and creative in his self-expression. Into and through the box went the16 A child needs to have a feeling of success, child. This was a different experience since a feeling of good about himself through what the box was touching the upper side of the ever experience or situation is taking place. child's body as well as his underside. It was Movement that is efficient and effective interesting that the children didn't help each gives a child a good toncept, not only of other.but allowed each one to wriggle himself, but also of himself in relation to through by himself. others and to his environment. This concept Next she suggested that they go down the of body awareness in space and time gives lobby in the box. , him a more positive approach to activity, "I-1$w ?" thus providing further opportunitieslor :'You find a way." satisfaction and success. "Can't." We, in movement and dance education, "Yes, you can." have probably the greatest opportunity of "Oh, I know." And in one child went as all educators for giving children these before and rolled, taking the box along and opportunities. Movement exploration can creasing it as he went. This was a new be of great help to children if the teacher experience. Other box activities were extends the original problem into further invented, and the children modified and experiences within the learning environment

5 4 42 Through Little Children's Eyes

Marilyn Ra::son Principal Child Development Center Walker County La Fayette, Georgia

The Walker County Child Development Johnny play jokes in it. Me and Johnny ferences (paws-feet, claws-nails, whiskers- Center is an old, rambling, two-story stucco pretend we 9 a cannonball. A cannon- beard)ali motivation for children's dance. nome with large oak trees in the front yard. ball. is a rolli.;., lg." Our philosophy can be summed up with The center, which once housed the indigent Johnny, "Thank you, I get in it.I this statement: "I saw tomorrow look at me citizens of Walker County, Georgia, is now crawl through it and play monster with through little children's eyes, and thought filled with the laughter and movement of 100Norman." how carefully we'd plan, if only we were four- and five-year-olds enrolled in the full- Frankie, "Thank you for my 'towel' wise." year Head Start program. (tile).I jumped off it." It is interesting to note in America, as we Last fall before school began, it was our Isn't it great to capture those teachable scan the country, that we find many people privilege to participate in a move' c+rit edu- moments and develops writing lesson? working with three- to five-year-old children cation workshop directed by Tom ve Since our program is highly language- in their own nooks, crannies, and crevices, Yates. Realizing fully tie importance of oriented, we don't just think or say it, we oblivious of others aroundsurging along, movement in a child's fife, our staff devel- write it for the whole world to see! doing "their thing" by providing the envi oped a curriculum which integ' ..ed move- Our fouryear-olds did an exciting study ronments and 'opportunities for movement ment education into various areaslanguage,of animals. The teacher initiated the stuay and dance experiences. music, art, math, science, and dance. Becausewith a story, "How the Camel Got !ts we believe that parents are the most vital Hump," and things were wild from then on. factor in the success of our program, we They cut but large cardb5ard animals and involved them in a movement education raced around them. They selected their workshop and gave them ideas about how favorite animal and illustrated stories about to help their childrer,.arents developed it. Music, movement, and dance were the the Center's playgrovnd and various com- core of this study. Children learned to paitit* and county agencies doncted most of gallop, skip, jump, hop, and leap. Ques- the equipment. Large tiles for the play- tions posed by the children were: "Does a ground were furnished by the county turtle really crawl or creep ? "Why doesn't commissioner. a snake wear out his skin from crawling? S What really goAs on it a child's mind as creeping? or wiggling?" "How can a kanga- he crawls in, out, and on top of the tiles? roo jump or leap without knocking her he t .er found some answers when the baby out?" k- five- year-olds dictated a thank-you letter to The teacher devised a unique niethcd of the commissioner. evaluation for this study. Large, colorful Chuck said, "Thank you for that tile. cutouts cf the animals were placed on the We can play Billy Goats Gruff with'Ils wall. As each child mastered jumping, his under the bridge." name was placed on the rabbit; galloping, Sharon said, "Thank you for that thing on tha horse, etc. Some of the activities out yonder.I crawl through it and play were classification of animals (zoo, pet, horse on it and play like I'm a dog in it." farm), pantomiming and dancing animal Robert, "I'm having fun in itMe and stories, guessing games of likeness and dif

55 43 Kindergarten in Suburbia

Jo Anne Fulton Teacher Arlington, Virginia

Children have universal needs, one of attitudes and influences that were reflected "How can you get from this wall to that which is movement. Many research studies, in the children's statements "I can't get my wall without using your feet?" requires that according to Mary Lou Stewart, indicate dress dirty." "My mommy floes not want each child solve the problem at his own that motor development in the early me to sit on the floor." "It I run, I. light level and in his own way. Different selec- months is enhanced by "increasing sensory fall down." tions are made possible with this question: stimulation, security, freedom of movement, Another prevalent difficulty for the "What things in the room might you dance?" and flexibility of rules." And, finally, man children in the beginning of the school term (The light switch, clock, water faucet, uses movement to organize his world. was fear of criticism. They were faced with blocks, crayon, and many more). My Movement exploration is a way of such questions as: "Am I responding observations showed that the children made achieving a sort of spontaneity in the class- correctly? What is permitted, acceptable, or obvious gains in problem solving, which in room whether it be creative a la Torrance or desired?" Children responded differently itself is an important jrstification for emergenitive a la Piaget. It provides for over the course of time (from September to inciuding movement exploration in the individual differences in the external December) to the following instruction: curriculum. environment which, in turn, helps a child "Show me how you can make a bridge with Young children enjoy feeling the move- in his inner environment to feel more secure your body and leave room for cars to pass ment. Questions such as, "How did your and competent in dealing with the forces underneath." At first, the responses were arms help you move?" and "What happened (urban, suburban, or rural) around him. It mostly a two handstwo feetface down to your sense of balance when you turned provides for healthy peer relationships and structure. However thP responses later quickly?" help them verbalize their under- experiences. it reduces such problems as branched out to one handtwo feet, low standings. discipline, for the hyperactive child may bridges, wide bridges, backbend types of Although it is important to find ways to expend his energy and it relieves the pressuresbridges, and knee and elbow bridges. stimulate a child's imagination, the activities of competition, as satisfaction is a personal At this age (five and six years), children must relate to the child's general familiarity goal. Also, it is an appealing basib on which use forward-standing, functional movements with the world. Hiding in the woods, wading a child can build an understanding of the like adults and have already limited other in the creek, going up hills, sleigh riding, and world around him. possibilities. Thus, proceeding from the riding bicycles were some of the children's The educational diet that children usual to the unusual, from the concrete to experiences in the environment in Arlington. receive is ultimately the responsibility of the abstract, created an awareness of the The contrast of a sunflower seed and corn the teacher. Although it is difficult to vast range of movements. "Walk around kernel sprouting was the subject of two assess gains in self-expression and creativity, anywhere in the room without touching girls' movement activity. A group of boys I feel that physical movement activities anyone. What are some other ways of walk- demonstrated the problem of balancing on which can be used in a variety of ways to ing? Show me what your head can do while logs. Certain imagery suggestions such as meet different goals and objectives should you are walking. How can we vary what we subways or tall apartrfent buildings would be an important part of the curnaylum for are doing? How can we do this differently? be inappropriate for use in this particular five- and sixyear-olds While a teacher in Let's try this with other locomotor move- suburban environment. Arlington, Virginia, I utilized this source of ments." The hands, as Barbara Mettler In general, movement and dance activities natural integrative 'hay to enrich my suggests, can open, close, stretch, scratch, should be compatible with the thoughts and program. point, rub, pick, clasp, slap, beckon, needs of children. After noticing that one of A basic characteristic of any activity is squeeze, snatch, pinch, pat. As one child the boys in my class had difficulty distin- movement. Movement is evident in block said, "My feet can do things I can't think guishing between the words "push" and construction, sand play, painting, and of." "pull" when directed to open the classroom practically anything we do. But, movement, Movement exploration can be challenging door or get an object from a container, I used as I am speaking of it, may be thought of as when questions are raised since this movement activities to help him understand an art activity, an entity in itself technique stimulates thought and action. the two concepts. "Push your partner with Each year, the chief problems I encoun- The question, "Can you keep your hands any part of your body except with your tered were not with planning or arranging low while walking at a high level?" simply hands. Pull your partner to the other side the room for needed space, but with parentalcalls for a child to follow directions. But, of the room."

5f) 44 Dance in two Schools, K-3 and 4-6

Dorothy S. Mozen Teacher Berkeley, California

As the year progressed, children began to Spending half my time at a K-3 school andpart of the program the children made work wel! together. "Move away from your half at a 4-6 school gives me the opportunity creative use of some folk dances by re- partner. Move at a high level if your partner to see the development and progression of arranging the basic patterns. is at a low level. Do any movement, then let movement and dance in the total elementary In relating to the Negro history section your partner add one. Try them together." program. of our elementary social studies curriculum, Children began to arrange their movements In the lower grades the teacher seems to the club danced to the poem "Runagate consciously, in order to repeat them as well be more involved with process, while in Runagate" by Robert Hayden. This was as to share and try them with eacfrother. grades 4-6 one finds the teacher also moti- a new experience for most of the youngsters Some children created such fantastic move- vated toward performance. Perhaps the because they were dancing to words instead ment arrangements as "the leopard whose reason is that tne upper school has several of music. spots floated away," "the seed vapped insideother performing groups, such as an Before the program began four years the watermelon," and "the nutty noodle orchestra, a band, and a workshop. ago I had only one hour a week to develop recipe." As a dance specialist I am movement dance with specially interested students. The functions and values of movement oriented, and have a backlog of ideas. The With this new approach, I now have six are complex, but there are variables such as challenge lies in finding classroom activities hours for this activity. The rest of my nutrition, body chemistry, and experiences which can be approached through move- schedule is devoted to teaching about 700 that do affect movement. These variables ment, thereby integrating movement and children in grades 4, 5, and 6. In these may be found in an urban. suburban, Jr dance with the child's other learning exper- classes I try to develop a broad concept of rural environment. In any case, while there iences.It doesn't always workbut we try. movement exploration, which calls on each seems to be a huge void in our knowledge Because of space scheduling in the K-3 child to integrate individually his intellectual of all aspects of movement, children's school we are not always free to use our and motor processes and to interpret these enthusiasm to "move" suggests an inborn large auditorium so many ideas have been experiences with value judgment as well as characteristic that provides for active worked out in the classroom. emotional awareness. Students are aware creativity and learning. that with me they explore ideas through Photo: Simone/alley movement. This allows me to tie in to any Dance Discovery Club and every subject that comes to mind. One idea we developed was related to Opportunity to develop dance work at arithmetic problems. On a large chalk board Columbus School in Berkeley, California I set up a problem; the students answered it came through a special "discovery" program by responding with their bodies. As they which extended throughout the school. Eachcaught on with enthusiasm, the problems child could select one of about 30 activities progressed to two and three digit answers. offered in a club-like fashion fcr one hour The students had to cooperate on their each week during school time. Ours was a answers and work not only with the spatial dance discovery club which culminated in perception o; their bodies but with a visual performances at two school assemblies and sense of how an audience would view their a PTA meeting. number from a particular direction. A variety of ideas developed in the dance Further choreographic concepts devel- discovery club during the year We adapted oped. Several children would create a single BibliaVal*V some of our physical fitness exercises to digit and a choreographer was appointed to Mettler, Barbera Materials of Dance As a soul music, which gave the effect of dance arrange answers that moved about the floor Creative Art Activity. Arizona- Mettler Studios, technique. Counterpoint was created space, keeping their shape. Those creating '1960. through use of the round form. The childrena group answer to a problem would then be Stewart, Mary Lou. A child's first steps Some taped their own voices singing "Three Blind asked to move apart and form an individual speculations Childhood Education, March 1971, 290.295 Mice" and from this they created a unison answer to another problem in order to en- dance as well as a three-part form. For sure a fresh approach as the same problems

57 45 were never repeated and new ideas kept Developing coordination for writing Another class had just seen a science film emerging. numbers on butterflies and was also ready to develop Recently we developed a unit on black The children stand in the classroc..fl with the dance. poetry, scanning several books of poems by a pretend chalk board extending trom floor One class had a lovely large poster poem, black authors. The children then selected to ceiling in front of each of them. They "The Caterpillar" by Christina Rossetti. We first poems they especially liked and got together write numbers on the "board" to music. Ver- learned the poem and thus used it as the in snail groups to create movement ideas bal cues may help at first as with 1"start at stimulus for the butterfly dance activities. (dances) to go with their poems. the top and go straight down." They repeat In still another class, a girl had already To develop further those d ;ices for a each spatial number several times, taking brought in some baby caterpillars in a jar. program, I taped some piano music by John the imaginary chalk out of their hands and These served as the start of the lesson. Coleman and some jazz piano music that attaching it to the top of their heads, knees, Another class approached the dance from the students brought in.I taped this back- elbows, etc. Variations and development: a lesson in one of the reading books. ground music on one channel of my tape The children become numbers with their I never dreamed I'd get so much mileage recorder, and on the second channel I bodies, alone and in pairs. They even out of that one Hopi Butterfly Chant! More separately recorded a student reciting his become equations. They write large num- and more I realize the key to a good move- group's poem. This enabled students to bers on paper to music and then dance out ment and dance program in the elementary polish their dances for a definite accompani- what they have written. One classroom schooi is lets of communication and sharing ment which each had helped to create. The teacher completed this experience by of ideas between the classroom teacher and result was a charming dance suite. reading the book Number Men to her class. the specialist.It is psychologically suppor- tive to the adults as well as feeding the see me hearing fragile Pipe cleaners and dance children a double dose of enthusiasm. leap One class had a general discussion on and lead a black boy observable body partsarms, legs, trunk, Syllabicating and ideas for dance reckless to succeed head, etc. and different positions the body Another lesson developed from syllabicat- to wrap my pride can assume. Each child took three to four ing. Using a drum, each child beats out the around tomorrow and to go pipe cleaners, created a human figure, and separate syllables of his name, creating his there then created that position'with his own own rhythm. A variety of other words are without fearing body. Later the children "danced" their then used. The class responds to the pipe cleaner ideas. In one instance, two separate syllables by foot stomping and then June Jordan children combined their figures to repre- total body movement. We then branch out sent a partner lift they had seen at a to sentences. Sometimes a class will start by recent performance of the Dance Theatre moving to the syllables in the headlines of Relating Dance to the Curriculum of Harlem. In another class, the children the morning newspaper. emphasized balance in their pipe cleaners, Most children love movement and dance, and after working with their own bodies, Dancing to our school orchestra so it seems a natural activity to build into they collected the pipe cleaner figures and Last spring the orchestra at the 4-6 school the elementary school curriculum. As the glued them on_a flat cardboard to create a played a polka at their concert, and the child responds to situations which demand collage They tied this project in with a rhythm was so good that I taped it. This that he move in certain ways with his own health unit as well as making their collages year they are going to play it again and a timing and spacial preferences, and as he come alive in dance. group of children will dance to it. Using the communicates creative ideas the cogn" .e tape for practice, the class divided into process of learning takes place, and the Life cycle of the butterfly partner's, and each couple made up patterns child is totally involved. Early in the fall one class was studying to the polka tape. We then took the Indians. We found a Hopi Butterfly Chant patterns we liked best and arranged them in on a record and used it to accompany a sequence to fit the music. creative dance on the life cycle of the butterfly. The Urban School

Lillian Buchner Elementary Physical Education Teacher Detroit, Michigan

Sharing dance experiences I try to enrich my classes at both schools by having them share their aCiievements with others. Sometimes one classroom will invite another to see a dance. Perhaps three or four classes will join together in the auditorium to show each otk!r what they have been doing in dance. Since I also have the privilege of working with a select group Why Creative Dance for Disadvantaged ingfully developed, can be vigorous, relevant, of interested boys and girls in grades 4-6, Children? and satisfying to the aesthetic hunger of the they give several programs throughout the ghetto-child. The dance program developed year for the rest of their school. They also Childhood can flourish and blossom on a in the Couzens School in Detroit by this perform at some of the K-3 schools. This restricted diet of stern reality no more than vi. r started over 20 years ago, after the is a tremendous motivation! When profes- "man can live by bread alone." The struggle n,...... ,ive northerly migration of southern sional dance groups perform in the area I for survival in the inner city, particularly in blacks and Appalachian whites who crowded the housing project areas, hardens and often arrange for my classes to attend. I the cities as workers to spur industrial also encourage other teachers and parents disillusions the ghetto-child as early as the production for World War II. The program to participate in these cultural field trips. age of six or seven. Often by the time he was developed for such purposes as: enters school, he has lost the capacity to dream. 1. to help the child accept and retain his Authorities in the field of child growth cultural or subcultural self-iriage. and development agree that children between 2. to ease the child into areas of critical the ages of 5 and 12 need large and small thinking, acceptance of constructive criti- muscle activity, examples of positive cism, and completion of tasks. living, and chances to test themselves 3. to provide the child with the exhilarat- physically and imaginatively in their inter- ing experience of feeling hard work is action with their peers. The physical educa- worthwhile. tion teacher can, and must, play an 4. to fully enjoy creating through dance, important part in the developmental thus finding motivation for academic work. progression of these children. Creative dance is an excellent vehicle for helping to unlock These purposes are implemented by inte- the latent ability of the ghetto-child so that grating the child's dance projects with his he may enjoy his childhood. The disadvan- social studies, music, science, mathematics, taged child cannot acceot long-term values. library, and art classes. Each child is given He is living in a "here and now" world and the chance to do research on a dance prob- must experience immediate gratifications all lem or project, thus developing vocabulary along the way. By using movement explora- and necessary background information. A tion as an approach to dance-making, the performance program is worked out with the child can experience gratification each time principal. Each child who participates in the he solves a movement problem. When the physical education classes has a chance to initiative stems from himself, and he can see perform before an audience in the auditorium himself progressing sequentially, he will be or gymnasium within the school year. The more than willing to work hard at movement seasons of the year are used as the calendar problems that ultimately lead into completed of performances. The calendar below is dances. rotated each year so that by the time the Creative dance, appropriately and mean- child leaves elementary school he will have

47 had at least four experiences in performing schools, churches, community centers, and Whitescarver, Rosiland. Virginia Journal. Har- creative dances which he has helped to occasionally to a convention to show their risonburg, VA: James Madison University, develop. For example: creative dances. Mar., 1981. Although many aspects of family life, Wiseman, Evelyn, "ProcessNot Product." Fall: Halloween or ghostly themes social structures, and community dwellings Journal of Physical Education and Recrea- (grades 3 and 4), themes of have changed, the needs of children have tion 50:7. thankfulness (grade 5) not changed. The dance program has movedYoung, Jane. "A Problem-Solving Approach." Winter: Christmas and winter themes with the times, but is still based on the Journal of Physical Education and Recrea- (grades 1, 2, and 6) same purposes developed many years ago. tion 50:7. Spring: Themes of joy, rebirth, and fun Few the simple reason that the pressures of (dance club and others). the world have increased, children may appear more sophisticated, verbal, and Carefully selected professional dance rebellious. Nevertheless, all of them must performances are attended by several classes. be allowed to experience the physical and The entire school is the audience for at least emotional joys of childhood while they are one professional dance concert each year. still children. Otherwise they can be Dance clubs are developed for the extremely expected unconsciously to seek their lost enthusiastic dancers, and for individuals who childhood for the duration of their lives. need just a little more support to help them Additional examples of accounts of Chil- accept their self-images. dren's Dance in progress may be secured from One year a Chinese restauranteur served the following: a Chinese dinner to all the dance clubs at a reduced rate. That year the clubs were Bennett, John P., and Nested, Douglas. "Inter- working on developing oriental dances. disciplinary Teaching." Journal of Physical Another time a community worker donated Education and Recreation 52:2. a packet of tickets so that 100 children were Dance As Learning. NDA Conference Proceed- able to attend a religious dance concert given ings. Reston, VA: The American Alliance for by a university group. Health, Physical Education, Recreation and In thJ past several years, interested Dance, 1980. teachers in our school have purchased Leventhal, Marcia. "Dance Therapy." Journal tickets to attend the Wayne State Univer- of Physical Education and Recreation 51.7. sity's Dance Program for Young Folk Now Meyer, Frances. Virginia Journal. Harrison- that dance has become an integral part of burg, VA: James Madison University, Nov., our school, the children buy their own 1979. tickets for this program. Recently, the Werner, Peter. " Teaching Language Through PTA has taken an active part in helping to Movement." Journal of Physical Education support tha school's interest in dance. Each and Recreation 52:2. year, a group of our children travel to other

49 CO Chapter 5 Boys Like Dance

Experiences With Boys in Dance

Shirley Ririe University of Utah Salt Lake City, Utah

Over the past 20 years, as I had oppor- feeling embarrassed. Even so, there are tunities to teach dance to children in elemen- times when it is very satisfying to separate tary classrooms, several observations about the boys and girls and give them contrasting boys and dance have come to mind. Boys qualities to explore.It is interesting to notice love to dance if it is presented on their differences even at young ages.Iti equally interest level. Especially in the upper important to foster an ease about working elementary grades the boys crowd to the with the opposite sex, and in some schools front of the room, take more leadership this is encouraged from kindergarten up. than the girls in creative exploration, and Dance is and should be, very much a co- invent with the most provocative movement educational activity. When boys are no ph rases. longer given dance activities after the third The key is not only what they are given grade, not only is their cultural, physical, to do, but also how it is approached. It emotional, and aesthetic growth stunted, also ht.lps, of course. to have a man teaching, b.,, also a great disservice is tone to dance as or to give them an opportunity to see a fine ar art form. There is something very incom- male dancer who transmits good nonverbal plete about a whole room full of girls messages. On an intellectual level, an dancing. Yet isn't that what a great deal of additional aid is a discussion of the history the dancing is in our culture? At least the of dance including cases where men were area of dance as an art follows this pattern. the only dancers in a culture. But it is not Where the sexes are more evenly divided necessary to stage a campaign to interest and dance has all the possibilities of give boys; all that is really needed is a good class. and take between people, the energy of Particular areas of interest for older boys the boys helps to take the girls beyond seem to be percussive rhythms (both played themselves. Too, it is interesting for the and danced, architectural structures built boys to see the greater flexibility in the with bodies or props, vigorous locomotor girls' bodies and to try to emulate the flow patterns (leaps, jumps, and ethnic dance that comes from such flexibility. experiences. Boys and girls, kindergarten through third or fourth grade, seem to respond equally to dance c;speriences. The girls are as bold and daring as the boys, they seem to have an equal amount of energy to expend, and love to leap and jump and roll. On the other hand, boys don't seem to have as many hangups about what they can or can't do. They enjoy slow, soft, or sustained move- ments and can move with grace without

61 49 we both discovered that his world of com- was a well-known research scientist, a munication was through the arts. His class- circumstance Eric used to further alienate mates responded to the same perceptions. himself from his peers. The teachers told He was smiling more and beginning to me he couldn't find his social niche and relate to both teachers and peers in a new that he was a problem in school. In our way. first session I was talking about fast and George was a third grader. For awhile he slow, and he challenged me by saying, was the only third grade boy who attended "What do you mean? The terms are relative." Examples of Boys in Dance Mrs. Curran's after-school dance club. But His interest was impossible to capture and he was very faithful and never missed a he was constantly interrupting the class. In getting acquainted with a fifth grade time. His teacher commented that she did Then one day I used Israeli folk music during class before I was to teach them, I happened not know what it was that kept him coming a class. He seemed to be interested and in on an art Lesson on "'observation.'" Most without any of his friends there. Dance after class asked if he AO bring some of the children were sculpting driftwood in seemed to fulfill a need for George that was similar records, as he had many at home. Clay, but one boy was doing a headhis own stronger than the social pressures. He We did a whole unit using Eric's records. He head. I was fascinated to see him make his became very caught up in a lesson one day. responded with great feeling to the music. observations through the sense of touch. The lesson was about to stop when George One day he and a 15-year-old girl improvised He would feel the curve of his ear, then became very wild with a great deal of together a particularly lovely duet. The work on the clay ear, taking time to explore leaping and rolling. As the children began class was spellbound. The girl, Laura, was each ridge inside. Later on, he went to a leaving the room after the class, George one of the mos' popular girls in school. She marble bust in the room and explored the called out to the teacher: 'Watch" and knew she had accomplished something of eyes in the same way, with his fingers. He with that he did a most incredible movementmeaning in working with Eric. They later was very absorbed, and in fact, was working phrase. It took him to the door, then back performed this duet on stage. Eric's on this same project for several days, long diagonally across the room, a sudden parents kept in touch, and they later told after the others had abandoned the assign- reverse, some intricate foot patterns, me that this incident had been the turning ment. As I talked to the teacher about this swerves in the body, leaps and air turns, point for Eric. That summer he gained in boy I found that he was very sny and had and then he fell into an attenuated shape self-respect. His aggressive bei,2iior ceased great difficulty relating to his classmates. and was deathly still. The teacher went and when school started he had changed He was not doing well in school, yet she over to comment on how nicely he had into a person the Xther children wanted to felt he had superior intelligence. When this done, but he was still "in" his shape, which know. When he was older he expressed ChM came into dance I noticed.this boy he held for about 30 seconds before he felt his gratefulness for that dance experience. doing some very free isolation Movements. ready to finish. This was a glorious moment I had the chance to bring him in front of the of true dance although only two or three class to demonstrate several times.(I think saw it. But George knew what he had it is important to note here that the format done, and that is what counted. of the class that day made it particularly easy Mark was the fourth grade bully, he was for some to demonstrate.) The class really large and older than the other children enjoyed his movements and there were manybecause he had been held back in school. verbal comments A sense of accomplish. He came to class defiant and refusing to ment in his bearing was noticeable after participate. At the end of the third lesson that. We began talking in the halls and the he stopped by the teacher to say, "Gee, next time he came to dance he was con- this is the most fun I've had in all of school." tributing ideas as fast as I could field them. E dr: was 13, large for his age, and with no His classroom teacher was thrilled with friends because, even though he had a quick what she saw in this boy. In those few days mind, he was labeled a show-off. His father

50 64

Men Can Teach Dance

Ss: E. Abitanta New Jersey State Department of Education Trenton, New Jersey

Dance that can emerge from classroom year in and year out. But can we justify experiences is plentiful, as illustrated by the physic& education by developing for later -Doze" (see page 37) and the other exam- athletics several highly skilled children in ples given in this book. Classroom happeningseach class of 25 to 30? Can we continue can be correlated with meaningful dance to convince administrators of the need for experiences in lessons on such subjects as more time for physical education when we transportation, migration of birds, com- are not reaching alt children? munity helpers, hats, World Series, weather We need to demonstrate what a truly and seasons, Olympics, folklore, states and meaningful physical education program counties-indeed, with any unit of study. should be and the important part dance Dance as a correlative activity is one contributes to the overall program. Men thing, but to make dance a vital part of teactiers can no longer say, -Boys hate physical education and the total curriculum dance. "Do they really hate dance? We is another. We need the courage to begin might restate the question, "Who hates taking a hard look at the things held ?" As physical educators, we need in physical education programs. We will to do some in-depth soul searching. Possibly agree that working with children in physical one reason we have avoided dance is that education can be a relatively easy task-if we have never been exposed to the powerful, we perform in the traditional American masculine, virile kinds of dance. We are still sports-oriented program, beginning as imbued with the nineteenth century approach early as possible to ready another generation and refuse to put dance in its proper perspec- for sports, and repeating the same program tive for boys.

52 64 We men teachers have long been embar- A graduate course in chInce was designed rassed by our lack of dance skill. Much of for elementary teachers. A number of male our dance exposure was a poor experience principals who h_j been -coaxed- into the which did not appeal to our male image and, class by their superintendents were included. as a result, we have embraced the idea of The women elementary teachers and princi- nurturing the athlete, leaving no time for pals were enthusiastic about the course from movement-related creative activities. We the beginning, but the men principals seemed can no longer continue to believe that all nonchalant, even reluctant. After two expressive experiences in moverr ent belong class meetings the men began to change strictly in the women's sphere.It is impor- their attitude. By the time the class was tant for is to revitalize our dance back- into the depth of movement problems and ground and convince administrators that- seeing examples of the Task Force ;de- the only reason dance has been primarily fines in action, the interest was high and all taught by the women was because we men reluctance on the part of the men was r had failed to prepare ourselves properly. Their comments during the rest of the It is important that we re-acquaint our- semester were, "This type of course should selves with children and study what it be required for elementary teachers"; -If means to have dance experience through you had told me in the beginning of the all physical education activities (K-12th semester I would have enjoyed this, I would grade). Dance is body talka means of not have believed you"; -Say, this dancing communication and creative expression of can be fun, and do so much for children, no one's feelings for his fellow man and his wonder you people push this dance so hard!" way of life; it provides enjoyment and It is impressive to observe many more sensuous pleasure, a means to emotional men active in dance than in the past. Men release, a healthy form of exercise; it will respond to opportunities in this field. develops control, poise, and balance and Be courageous. Give boys meaningful affords numerous opportunities to dance. Give the(men opport inities to respond to music through movement. learn and to teach' In order to increase the vitality and significance of dance for boys, a new empha- sis is needed in preparation programs for all, including men. Men need preparation and many are now requesting help. No longer can men "escape" by saying that administra- tors do not endorse boys dance. Recently, Professor Katie Fredrichs described a situation which dramatically illustrates the point:

65 53 Who Says Boys Don't Like Dance? 1

4 Bruce King Writer, Performer, Lecturer New York, New York

If dance education is to each a greater varying degrees of interest. The younger chil-"dance." Many children came to me to ask

number of American children than it does dren in the kindergarten and first grades were,where they could study more dance. I today, a way must be found to include boys. predictably, the most open and eager. Exceptcould refer girls to several good teachers in Dance is masculine when it is done by for this fact, neither age nor sex had as much tothe area, but there was no place to send mates who are not inhibited by preconcep- do with the success of the ciasst,s as the at- boys. Therefore, in 1960 I began a special tions of what dance "should be" or what titude and ability of the classroom teacher. class of boys dance after the regular men "should do." When parents and A supportive attitude was recognized by Saturday program was over. From 10 to educators are convinced of this, dance will the childrenand it affected their attitude 15 boys have participated in this course for be accepted as appropriate for boys in the positively. The teacher who looked for- 10 years, and its strength and influence way music and the visual arts are. ward to the dance classes as an opportunity corr'nue to grow. There is an opinion, too widely held, to get rid of her class for a while was never trough the years of teaching at Adelphi, that boys don't like danceespecially dance able to keep this a secret from the children I had the opportunity to develop and as art. Adults, not boys, hold this opinion. or from meand we reacted negatively. clarify a way of teaching that is specially Since 1958 I have performed for children in Children don't like to be "gotten rid of" for boys. Boys can be included when they my own program, "Dances for Children," a and teachers of special subjects don't like are considered individuals and members of concert of dance for "Young Audiences," to be used this way. There are times when the coed group. The over-eager teacher who and with Nel le Fischer's "Littlest Circus." it is not necessary for two teachers to be lets boys dominate the class gives them a Having done so many performances with with a class, but the children and the false sense of their importance and the girls varying degrees of successfrom near specialist like to feel that the classroom in the class are deprived of their rights as disaster to triumph-1 have reached several teacher is willing to see what we are doing individuals and members of the group. conclusions. and willing to help when problems arise. Classes that are made up of boys who have American boys have been participating chosen dance after experience in the coed 1. The boys in the audience are as enthu- in dance approached as an art for many group are most interesting. These boys are siastic as-the girls. years. Their participation may have been usually more interested in the mative- made possible by calling the activity improvisational and choreographic aspects 2. If the audience does not respond, it is "rhythms" or "movement," but they have of dance. They can be motivated thrt-.._.gh not because "boys don't like dance," but been dancing and liking it.It ts through the the creative experience to ask for help with rather that the boys and girls were not satisfaction of boys working in dance that specific skills. Then one can teach cart- reached by that performance. parents can best be influenced to support wheels, leap frogs, etc. and everyone present 3. The attitude of the adults involved has dance for boys. wants to learn. more bearing on the response of the The development of dance for boys at If there is a difference in the attitude of children than any other factor. the Adeiphi University Children's Centre boys and girls toward learning, it is that demonstrates how a community can be boys seem more eager for results. Boys A dance curriculum was set up at the Packerinfluenced to support this work. When I want to do, rather than to be told how to Collegiate Institute in Heights that in-joined the faculty in 1951 it seemed neces- doIt is easier to teach girls process and , cluded boys and girls in grades K-4. There sary to call my work "movement The techniques. Only the specially motivated ' were two classes at each grade level. The chil-coed classes in movement won enough boy will submit to the "long working dren responded to the dance program with acceptance by 1953 for us to call them toward" period that is the essence of

54 66

training a body for profeional dance. just for little girls. When children are asked The term "creative dance" seems to manyto explore the movement possibilities of to be a problem in relation to boys. I their own bodies, to become aware of the recognize this but have nevertheless used rhythm of theVown movement, to recog- it to describe my work with boys because nize the relationship of the rhythm of their creative dance refers to the area of dance movements to sound rhythms, to find ways that allows the participant to move impul- of ordering their movement, and to recog- sivelY.It uses a problem-solving approach nize the possibilities of the expre.siveness to dance. When the child is challenged to of human movement, they are dealing with find a new way of moving, he is solving a dance as a meaningful, appropriate experience. problem creatively.It may be as simple as Dance as an art form is neither superficial working out how to change the,direction of nor irrelevant. Many students and educators a movement; it may be making use of throughout the country are currently asking imagery; it may be finding a way of bringing for relevance. Unfortunately, most of them a story into movement terms; it may be are confusing superficial familiarity with making use of human actions or feelings. relevance. Many people are unaware of the When the participants select and develop value of the fine arts and the creative arts the moaments for their dance, then that experiency. They seek relevance and de- dance must be appropriate for them. structura$ization, forgetting that the fine In a special summer workshop, "Creative arts deal iivith significant human experience Arts in Action," directed by Grace Stanis- and that the creative art experience is based treet at Adelphi University, we deal with upon the creative process developed by the boys and girls 5 to 12 years old, under- students themselves. Creative teaching is an graduate and graduate college students, and aspect of the creative art experience that Photo: George H Meyer, Wes tbury, New York teachers who have bean in the profession fordevelops flexible structures for thoughts and many years. When I have taught the dance feelings. section of these workshops, the adults A program of dance can be implemented involved are worried about how they will in the public elementary schools. The prin- handle the dance activity. They also express ciples and techniques of teaching creative great concern about how the boys will dance can be learned. Courses are offered, respond. Their preconceptions that only especially in summer sessions, by colleges young girls will like and be able to dance arc and universities. Now is the time for the founded upon two erroneous ideas: that giant step forward. Dance as a creative art dance is what is seen en television and that experience can include and be appropriate dance is a stylized form of movement., for boys. When Americans realize this, the When dance is approached as a fine art, great benefits of the dance experience will rather than entertainment or stylized move- be available to all of our children. ment, it is appropriate for all peoplenot

56 63 Chapter 6 Folk and Ethnic Contributions

Introduction

Gertrude Blanchard Richmond, California

ti

For many teachers, folk dance is the by feats which require great skill, training, at the beginning will find joy for both her- easiest form to teach, partly because they and agility; feats with flaming torches or self and her students. The patterns in folk have been members of adult folk -lance drawn swords or with incredible challenges dance are combinations of walks, runs, hops, groups and partly because the movements to gravity. Soma of the time the people skips, slides, gallops, and jumps done moving and music are exert and 'prescribed. Ele- need to speak to their gods through dance forward, backward, sideward, or turning, ments of control are inherent, and there is to speak of thankfulness or sorrow, to wor- limited by a musical phrase; with two, three, a peaceful symmetry about everyone ship or supplicate. four, or eight people working together in moving togethereven if Johnny is on the All of Euphoria's dancing is ethnicit lines, circles, or squares. These basic ele- wrong foot. Touches of costume add comes from her people and speaks to her ments are encompassed in fundamental glamour, ano when it is all put together it people.It speaks of I-story and current movements and should be taught before makes a pretty picture. The uses of folk events, of flora and fauna, of worship and folk dancing.If you begin with the dance in elementalschools are many: war, of a way of life. One part of her concepts of locomotor movement, direc- demonstrations fcr the PTA and assemblies,, ethnic dance is folk dance. Thi.; :s dancing tions, phrasing and floor pattern, and refine performances at spring fe.tivals aisd physical for personal pleasure. The Euphorian, to the point of a grapevine, schottische, education programs; and as an adjunct to however, does not choose to watch folk and turn, you have a dance called the the study of Greece, Spain, Norway, India, dance when he wants to be entertained. California Schottische. Africa, or the Orient. Are these the real He looks for something more difficult than In this age of "instant" everything, it is reasons for teaching folk dance? Whal was he, himself, can dosomething spectacular important to get the children dancing man's original need for moving in simple, and thrilling, something professional, albeit quickly, for the joy is in the doing. If the exact patterns with his fellow man? still Euphorian. Then there are those poig- children have not had basic movement Let us speak for a moment of the mythicalnant occasions when the ritual of life or preparation, walking dances are a good country of Euphoria, nestled in many green deatii must be commented upon, not for place to begin. The fun in dances depends valleys with blue lakes and mcuntains personal pleasure, not for exciting enter- en floor patterns, moving in and out, stepping down to the oceanIts principal tainment, but because the emotion evoked touching and separating, changing partners. town is a picturesque seaport which devours is beyond words but must be transmitted. Such dances as Greensleeves and Glow Worm and regurgitates tourists, The Euphorian Ethnic dance is their total dance culture. are examples. Preparation for American nation is ancient; its language and culture Folk dance is that part of ethnic dance whichsquare dances can be done with a number have remained quite unaffected by the is done for fun, for the joy of moving, for of walking dances t at teach corner-partner changes in most of the world. The people the personal pleasure of interrelating with relationships, grand light and left, swings, still observe the significant rites and rituals others in rhythmic patterns. and promenade. Bingo and Irish Washer and find entertainment from native sources We are concerned with children's dance, woman are examples, although skipping From the beginning of Euphoi ian time, and the area of ethnic dance in which most instead of walking is sometimes used in the dance has been an important part of living children participate is folk dance. Whether choruses.If you have an uneven number Some of the time the people dance for fun Mexican, African, Finnish, or Korean, it is of boys and girls in your class, you need for the fu-, of courtship, in celebration of that part of a dance culture which is done dances for threes, such as Troika, Pop Goes a good harvest, or in imitation of come of for fun, and as such, should be pit..;ented to the Weasel, and Oklahoma Mixer for Threes. thee animals Some of the time the people give pleasure to the participants. Pace is important in planning a folk want to be entertained by dancingimpres--d A teacher who has th,- patience to begin dance that will be fun. Start with something

57 69 The American Indian

Edith De Angelis Boston State College Boston,

The American Indian is a fascinating subject for children.It is important to provide opportunities for children to learn about thv American Indian culture and heritage so that the a will be a better under- standing and appreciation of this people. The rich heritaga of the American Indian has been vanishing rapidly. The that everyone can do with a minimum of discussion on folk dancing. If you are an legends, dances, music, artistic skills, and instruction, even if it is a Grand March. Whenanthropologist, researching and recording religious ceremonials are nearly the Grand March is done in groups of eight, for posterity, it is a very important word extinct; therefore, it is imperative to pre- it i$ easy to march into circles, squares, or If you are an elementary classroom teacher serve what we know of the authentic Indian longways sets with partners. Then you are or dance specialist, belaboring authenticity history and life activitieswhich can be ready for a familiar dance or review, which is questionableIf a black child instinctively studied through dance, a means of expres- should be followed by your teaching for intrcduces a "hump" and firIger snar at the sion frequently used by the Indian. the daya new dance, or special work on end of each turn in Korobushka, if a There are some 263 tribal groups some step o, formation in a familiar dance. Mexican child adds a little zapateado to throughout the United States. Each has Try to end the class with a request from the Have Nagilla, if another child prefers to distinctive customs, dances, dialects, etc. children, even if it is a repeat of something substitute a countdown and blast-off for Indian customs and contributions abound already done. Movement should be at a the 13-1.N-G-0 in the dance of that name, in our everyday life and can be found in maximum, teacher-talking at a minimum. the teacher's concern should be whether it every part of this country. Laughter and talking are more important is adding to the fun of the dance, rather Throughout history, the Indian's life for the children than perfection. Folk than whether it was included in the direc- was interwoven with nature. Nature was dance is for the pleasure of the participant, tions. predominant in his material culture, social rather than for the pleasure of an audience. We are accustomed to having to justify organization and activities, and ceremonials Changing partners is a good experience. our curriculum with a.:ademic declamations Survival was based on the Indian's knowledge If your teaching comes from a basic move- that the idea of putting happiness in educa- and understanding of ecology. Symbols ment background, then the concepts will be tion :.3metim es make s one feel guilty. The representing natural phenomena were used well established before you get to specifics. developing child has need of joy. The extensively by the primitive artists and are However, there are always some who do not Ingredients are in folk dance, but the still used by contemporary artists in pottery, connect in a progressive dance. Do not teacher must put them together and bake weaving, jewelry, and other handicrafts. panic. Let the music play and the dance the cake Games, poetry, legends, music, chants, continue for those who did connect The ND, dances, and ceremonials also reflect the unclaimed can go to a "lost and found" in Indian's close relationship to nature. the center of the circle, find new partners, The interrelationship of nature and and step back into the dance at any point Indian culture is probably more evident in in place or pattern that they can manage Indian dance and music. Even musical If you can let them struggle with the instruments were made from the natural problem without assistance from you, materials indigenous to the geographical they will learn a great deal more about region of the tribal groups. The most human relationships than can be taught in common time beater was the rattleThe many a montt. If the children who have coastal tribes of the Northwest made their connected are having fun, the "Icst and elaborately carved rattles from wood, in found" will be more eager to make decisions contrast to the leather g -urd rattles quickly and return to the dance. commonly seen in the tribal groups of the Authenticity rears its Hydra head in mny plains and the Northeast Although much has been written on the mie accuracy. The mind, body, and emo- experiences for children. Suggested class- history of American Indians, a very limited tions become so completely involved in the room activities include the following: amount of accurate information, is available physical act of the dance that they combine 1. Study the history of the various tribes pertaining to their concept of play and to create a "oneness of being." At times, and their geographic location. dance and the psychological and sociological the involvement is so great that the perfor- 2. Study games, dances, competitive dimensions of the dance mers become almost delirious.It is not activities, and other physical skills. In !BIN the Bureau of American Ethnol- uncommon to find the divine healer, also 3. Make designs, drums, rattles, baskets, ogy published Games of the North American called the shaman or medicine man, the dolls, rugs, pottery, regalia, jewelry, clothing, Indians. This book provided the first com- most skilled dancer of the tribe. masks, totems. and sand paintings with prehensive scientific study of Indian games. For thousands of years, Indian life, with indigenous materials. The songs, dances, and ceremonies not only all its intricacies, has been expressed through4. Compare music and chants of various expressed every phase of Indian daily life dance Dances were an integral part of the tribes. Learn about and play musical but were also a means of appealing to the hunt,tenting of crops, harvest, and almost instruments indigenous to these tribes. gods for special favors and blessings and a every other daily activity of the Indian. 5. Learn about the power of music and means of showing appreciation to the gods Some dances were purely religious, others dance to the Indian as a healer for the for favors received. The annual Thanks- were competitive, still others were for physically and/or psychologically afflicted. giving program for the first flowing of the entertainment. The Indian used dance as 6. Transform the classroom or recreation maple sap and the ceremonies for the a means cf expressing and solving problems. room into an Indian village or a series of planting and ripening of corn are but two Indian dances are still performed today villages representing different tribal groups. examples of the spectacular rituals prac- with great ceremony to signify major periods ticed by the Indians of the life cycle: birth, puberty, marriage, The out-of-doors also lends itself to the and death. Some tribes perform dances study of Indian lore. The campfire circle is The blessings derived from practically imitating animals as a sacred ceremony to an ideal setting for the reconstruction of all ceremonies were brought about honor their supernatural guardian spirit Indian customs. The teacher can take the through dancing Dancing served the animal. To some tribal groups, music con children to archaeological digs to study how same purpose for the Indian as a religious tains power; it is more than entertainment, the Indians livedhow they built their service or church procession serves among it is basic to ritual. The Navaho, in particu- shelters and campfires, made tools and Christians Many people today have the lar, believe that the power of music can cooking utensils, gathered food, and idea that Indian dances were conducted bring a successful harvest or hunt and can dramatized legends and ceremonials through in a wild savage manner without any provide protection and curative powers. chants and dance!: around the campfire. ' fixed pattern or plan. This idea, of Opportunities should be provided for course, is wrong, for Indian ceremonial visiting museums and reservations and seeing dances were rigidly conducted within a Teaching Indian Dances documentary movies. The American Indians fixed pattern. They were complicated, themselves provide one of the richest difficult to learn, and required long and To gain a better understanding, apprecia resources available. intensive study and practice A good tion, and personal motivation, a teacher It not only makes good sense to provide Ire.:n dancer was both an artist in should engage in some basic authoritative children with enriching experiences relating and an expert actoi.1 research on the American Indian before to the Indian cu:ture, but it is also our obli- introducing the dances to children. Because gation and responsibility to set the Indian Dance is the Indian's ultimate artistic every phase of Indian life is reflected in the story straight' Physical education, recrea- attainment. Indian dances provide us with dances, they should be taught in context tion, and dance are disciplines which can, concrete examples of natural expressions with the lifestyle of the Indianhis art, and should, provide one of tile most effec- through dramatic presentations and rhyth- music, religion, philosophy, and reverence tive and appropriate vehicles to open new for nature and things. Indian lore vistas of understanding and appreciation of a 1Ralph B Raphael, The Book of American Indians provides endless opportunities for correla- people who have provided us with a rich and (New York Arco Publfshing Co , 1959), p 90 tion with a wide variety of educational valuable legacy

59 7 Black Dance

Gwen Lewis McGregor Supervisor, African and Oakland Recreation Department Oakland, California

experience," which makes black people a different, distinct, and unique race of people. Leaders of black groups in dance, or any other subject matter, should be concerned with this. However, a leader should also be aware that the less a black child is allowed to develop and grow in his ethnic culture, the less he will be black in manner, movements, and modes of living. One of the values of being reared in an urban ghetto is that you are surrounded by similar types of people and life styles. (Urban ghetto is defined by Webster's New World Dictionary, Second College Edition as: "Any section of the city in which many members of the same minority group live, or to which they are restricted as by economic pressure or social discrimination.") In the black ghetto, or the black communities, a child listens to black sounds, sees black styles of living and learns black gestures. In contrast, in a so- called "better neighborhood" where the environment is diluted by other subcultures, the child will most frequently undergo less of a "black experience." This p Ant must be stressed, because an instructor cannot antici- pate similar reactions from a black child, with an Anglo-Saxon middle class back- ground, in a white suburban school as from a child with a truer black living experience. Blacks should be leading blacksIf their Ethnic groups are distinguished by cus- education, background reputation, and toms, characteristics, and language. The quasi-liberation haven't alienated them too ethnic group I will be directing my attention much, black instructors are usually a part to is black American children, and the ethnicof the "black experience.- Their culture for dance is black oriented More specifically, I the most part has probably been rooted in will not only be making reference to childrenthe black community. Therefore, they of African descent, but those who have been usually identify more with and better allowed to develop their blackness, whose understand their students black movement environment has played an absorbing role in and mannerisms. black culture. Black culture in America like Nonblack leaders have a unique responsi- all other subcultures manifests itself in bility when leading black dance groups. music, art, language, movement, and modes Their role (as it would be in teaching any of livingThe black style of living creates ethnic groups) is to learn as much as what I will be referring to as the "black possible about the experience and back-

60 ground of their students. (This should be an instructor puts on a soul recording Leaders of ethnic groups are accounta- done without loss of identity by the leaders.)and watches black kids do the latest soul ble for establishing positive images. The While American black culture has its roots dance. The closeness to the earth, undu'3- more teachers can he positive :n the selec- and its traditions, it is also constantly tion of the torso (like the Jerk), or joint tion and presentation of books, pictures, enriching itself with cultural patterns that involvement (like Nulty Gully or the films, music, games, and -tot ies the affect ethnic movement. Leaders of black Typewriter) are blended into a total better will be their students' movement groups should be in tune with :Lich con- movement experience. These inherent artistic experiences. temporary patterns. Most important is the styles will be sustained as black children dance instructor's responsibility to take move into other areas of dance, although Resources advantage of every opportunity to inject They will vary in degree and intensity from pride, dignity, and a sense of identification child to child. A dance class should use Dietz, Betty W and Olatunp, M. 8 Musical Instruments of Africa New York John Day, in the black youngsters they reach. Simple these movement qualities. Music with a 1965 A LP mord accompanies the book African folk dances or other movements distinct beat yet rich in flavor will impel that relate to the black heritage or culture black children to move. Many black Film Portrait of a Black Artist. 16mm, 20 min., should be the nucleus of the lesson plans. children have low arches or insteps so they b&w Rental from Oakland Recreation Dept 1520 Lakeside Dr., Oakland, Calif. 94612 Instructors mist constantly ask themselves, relate easily to dances that call for flexed "How does this dance situation enhance feet. Isolated joint movements are diffi- the positive black imager" In interracial cult for all children until they are 9 or 10 Additional examples of accounts of Folk and classes, instructors should make ethnic years of age. Until then, they still move Ethnic activities in progress may be secured groups feel that their heritage counts, that big body parts, i.e. the whole arm, leg, or from the following: their differences are recognized and body. It is difficult totally to isolate head accepted. Once children know that their movements from chest involvement, or Burton, Diane E. "Square Dance Calling." teachers respect their culture without shoulder and hip movements from those of Journal of Physical Education and Recrea- trying to be assimilated into it, they will the torso. Basically their maturation level tion 51:9. be more comfortable and happy. will not allow them to achieve such diffi- Codman, Karen. "Teaching Folk Dance." Jour- But what is it that makes ethnic groups cult coordinations. Older elementary nal of Physical Education and Recreation move differently? For example, what are children can better perform isolation and 50:7. some of the characteristics of "black dance" polyrhythmic movements. As students Dance As Learning. NDA Conference Proceed- become more experienced, instructors can that make it unique from other forms? To ings. Reston, VA: American Alliance for play with these characteristics, making analyze contemporary black styles of move- Health, Physical Education, Recreation and them more intricate, and perhaps adding ment one must immediately go to the roots Dance, 1980. of all black dance, the African traditional other movement qualities. dance. The movement characteristics It is important to be aware of the fact which are innate in these dances are 1) that children frequently come to dance undulation of the torso, 2) polyrhythmic classes for many reasons other than the pattern, 3) flexed position for the feet, desire to learn dance steps.If a class is 4) emphasis on joint movements, and 5) called "" for example, emphasis on the down beat Although students who come to it might be saying African dance varies in mannerisms, "tell me something of my heritage," or emphasis, and subject matter from region "let me finally relate to something with to region, these characteristics are found which I feel comfortable The true throughout the continent. Not only are substance of the class then should be a they the nucleus for African movements cultural exposure. The more students are in Africa, but for all black movement aware of the reasons an art form exists, the universally deeper the involvement in relating to the This fact becomes most evident when form

61 Mexican American Culture

Magdalena Cantu Program Coordinator 9allet Polklorico Mexicano Richmond, -Plifornia

dance have been acquainted since the begin- sional. The group has a complete collection of ning of time. As time passed and man pro- regional costun.as of Mexico and has often gressed, dance becaMe an important part of performed in schools and the community. his life. Ethnic dancing provides three main In the development of our program we elements: self expression, art form, and found that we have awakened the desire in cultural identification. Many nations have our young people and children to learn adopted dancing as part of the curriculum in more about their heritage. This has made their school system. them proud of their background-so much Since 1921, the Mexican government has that they want to share their new discovery recognized the importance of its native folk with other people. The program is impor- arts as an in. al part of its cultural and tant to our young people and children, and national heritage, and folk dance was made to the Anglo community as it learns to a required part of the physical education understand us better. program in all its schools. Through the We believe that it is the duty of the school Mexican Federal Department of Education, system to help us carry on these programs folk and ethnic dance information is dis- and to implement them in the general tributed to rural and city school teachers. education system. In order to do this it is In this way the child learns through dancing important to make funds available to about nature, Indian legends, and historical acquire the necessary materials and teachers. events. Our historical heritage has been Let me introduce you to Mario Vargas, enriched by the emphasis on folk and lovingly called by his parents and relatives ethnic dancing in our school systems and "El tapito" because he is small for his age. has carried over into our communities the Mario started dancing at the age of four and art form of folklore. has continued. According to his teacher, a pro- The Child and La Danza (The Dance) In 1968 in Richmond, California a group fessional dancer from Mexico City, Mario has of parents sponsored by the United Council learned almost to perfection the intricate Dance has always existed and been used of Spanish Speaking Organizations formed "zapateado" steps from Veracruz and Jalisco. to express human feelings. Primitive man a cultural development program for the Many of us remember Mario as the shy thought of himself in relation to the gods, youth of the community. The purpose of little boy who thought everyone was making rather than in relation to other men Dances this program was to teach our children to fun of him We remember the first time he were performed in celebration of a god understand and appreciate their cultural came on stage to perform-at the sight of through traditional rituals. Forces in nature background. We hau quite a task ahead the audience he became petrified and could such as the sun, the wind, the rain, were also of us. The program was planned to include not move a leg. Mario is not shy anymore. incorporated in dance rituals. The child, the whole familyFolkloric dancing, music, He has performed in schools and colleges influenced by this environment, learned fromsinging, drama, history, and sewing classes and teaches children when the teacher is a very early age to dance by instinct and alsowere included in our curriculum. Eighty- absent One of his favorite dances is Los by imitating grownups Later, the child five students were enrolled in the classes. Viejitos, a religious dance of Michoacan; he learned to consider dance as an integral and Since no funds were available, teachers and also dances La Raspa, and Chiapaneces. necessary part of his everyday life. Through workers donated their time. All expenses (Note: See Resources section for dance dancing, the child acquired the attitudes and were met by the parents and contributions sources ) expressions of his cultureIn order to par from fund raising activities. ticipate in certain dances the child had to Many of the original participants are teena- learn to obey orders, to get along well with gers, college students, and parents. There are other children, and to express emotion. A folkloric groups in most of our county schools child knew that he was an important part of and colleges. There is even a Ballet Folklonco his society So it was that the child and th' Mexicano of Richmond that is "quasi" profes-

62 74 Chapter 7 Dance-Art-Dance

The Where of Dance

Nik Krevitsky Formerly, Director of Art Tucson Public Schools Tucson, Arizona

For several summers the Tucson Public Schools have held fine arts programs in elementary schools qualifying for Title I funds. The dance sections have been conducted by high school and college aides under the direction of Virginia Robinson, a master teacher. Among their objectives was involving the student in movement experiences through which he would have the opportunity to understand better his physical capacity. Basic to the entire program was a deep concern for increasing the student's self-awareness through his orientation to space and his movement in it. Many novel methods were attempted, and often the study of space was heightened by the yuung students fresh explorations. The use of objects to delineate space was a per- sistent factor. Although several of the young teacher aides used the same materials, each achieved unique results. Children were concerned with extending their spatial world:, by a wide variety of group-constructed environments, usually in a classroom or multipurpose room setting, although patios and playgrounds were some- a times used. Where one was in relation to the total space, as well as tc , le specially designated space, was always evident in the way the space was usedwhether this involved sheer gauze-like scarves, transparent plastic screens, parachutes, elastic bands, ropes, scaffolding, natural objects, or merely the furniture in the room, or the equipment on the playground. An extension of concern Photos Virginia Robinson Tucson, Ariz. for space was introduced in discussions

75 63 around phenomena like blowing bubbles to bring the diversified teaching concepts of and making clay impressions of the textures her fresh young aides to successful fruition of objects. Imagination was stimulated, by providing reinforcement as well as curiosity was piqued, activity was engaged materials. in, and language resulted along with move- Whether these brief summer encounters ment patterns. Often the most involved had, or will have, any long-range effect on student became the most vocal. In many the young children would be impossible to cases, students talked about their experi- evaluate, for indeed to most it must have ences. However, this was not always the been a fleeting summer adventure. That it case. Many of the younger children were was an awakening experience for the teacher- content merely to do their thing, leaving aides, however, was immediately apparent. the verbalizing to others. Their enlightenment and enthusiasm was Over the three-year period of these 'rewarding to observe. Those who partici- summer programs several children planned pated in the project more than one summer group efforts climaxed by performances for grew in their understanding of the process themselves. These group choreographies of education and what dance has to offer exercised the imagination in unusual ways. as a potent force. More than one has Most gratifying to the administrative decided upon teaching as a career, and staff was the rapport between young aides among the undecided are those who know and their younger students. None of the themselves better through a consideration college and high school aides was bogged of where it all is. down since they had no teaching background or training. What they had was imagination, courage, freedom to work in their own ways, and a coordinating master teacher who al- lowed them to do this in a creative manner. I They met often and shared experiences. These meetings led to an extension of their mutual successes. Their failures also were shared Most important to the initiation of a program of this kind is the master teacher, who must be a person of experience and extreme sensitivity, one who can truly coordinate rather than control, one who can encourage freedom and individuality and give support where it is needed and assis- 1 tance where it is desired, one who can help IN

PhotosVirginia Robinson, Tucson, An,

64 76 Dance and the Related Arts

Gene C. Wenner Program Associate Arts in Education John D. Rockefeller 3rd Fund New York, New York

Historically, dance has been related to 3) individual artistic experiences that demands that the artistic experience and other art forms, such as music, visual arts, encourage relationships beyond the activity. form be of high quality. theatre, film and other media. However, Typical examples of attempts to correlate the relationship of dance to other arts in subject areas include. using Indian dances to the school setting has not been nearly as Correlation Activities accompany a unit on Indians in the third widespread or successful. In some elemen- grade, or performing the minuet during the tary schools no form of dance is included in The term "correlation" has been used in Early American unit in social studies. the curriculum. In other schools, it is elementary education for many years. It Although these are perhaps the most com- included as a part of the physical education implies that more than one subject areacan mon examples, the results can range from program in the form of movement or calis- be related on an equal basis. The problem horrendous to exaltingdepending on the thenics, and at times, within the music programwith correlation is not in the definitionor skill with which they are presented The as creative movement. intent of the word but in the implementa- problem in correlating activities IS to provide More recently dance has been included as tion of the conceptnot in the theory but a dance expenence that is both meaningful an art form, teamed with other arts in exper- in the practice. In many correlation activi- and educational. imental pilot projects in which the arts were ties the various subject areas being related Other activities relating dance to music included as an important part of the general are not treated or perceived as equals. One or the visual arts potentially provide the education of all children. The project subject area is used to illustrate another. same type of problem. These attempts are schools of the Arts in Education Program of The use of one subject to explain concepts typified by the creative movement activities the JOR 3rd Fund and the five school dis- or facts in another subject area is education- sometimes used in music classes A recording tricts selected for the U.S. Office of ally sound, but more than likely, the stu- is played and the children are asked what Education Project IMPACT are good exam- dent will ultimately value the subject the music makes them "feel like doing." ples of dance being included as a vital part toward which the learning is directed more The answer to such a question could call of a total arts program.12 The specifics of than the subject which is being used to for the teacher to honor any response, like: how dance was related to the total school assist in that learning. "It makes me feel like going home." This curriculum can best be learned from the The arts have generally been relegated to is not to say that activities in which music schools themselves.3 The general problems the latter status and social studies, arithmetic,is Jsed as a stimulus for dance or movement in relating dance to other arts will beex- reading, writing to the former. A major are not valuable. They can be if, and only plored in three general ways: 1) correlation effort on the arts side is usually required to if, the dance experience and the music with other subjects, 2) problem solving, and effect an equal status. Correlation also experience result in learning about music

1Kathryn Bloom, "The arts for Every Child," Dance Scope 6 2 (Spring/Summer 1972), pp 6-25 Toward an Aesthetic Education (Washington, Walter Terry, "The Impact of IMPACT ," Saturday D CMusic Education National Conference, Review 55 6 (Feb 5, 1972) 1970) "Columbus Arts IMPACT," Today's Education and 60 8 (Nov 1971) pp 20.24 Stanley Madeia, All the Arts for Every Child (New York JDR 3rd Fund, 1973) 2Araminta Little and Gene Wenner, "IMPACT Interdisciplinary Model Programs in the Arts for Children and Teachers," JOHPER 43 8 (Oct 1972), pp 27-32

3For further informationsea Lydia Joel, "The Impact of IMPACT Dance Artists as Catalysts for Change in Education."

77 65 t

and dance, and each student's response to ing. The dancer attempted to devise prob- Internalized Relationships them. To accomplish this goal the student lem solving activities in dance that would must first hear and identify with specific lead to a clearer understanding of the In both correlation and problem solving, elements in the music and then relate these problem at hand and provide some alter- the teacher deliberately structures the elements to common expressive qualities in native sAitions. Most of the problems experiences to effect or lead to relation- movement. The questions should be: "Why selected were in mathematics. According ships. In this third area the teacher has no does it make you feel?" and "Why does the to both the classroom teachers and the intention of making relationships but they movement express that feeling?" The dance company most of the areas approachedoccur anyway. Integration of learning takes answers to these questions constantly redirectwere concluded successfully. place within the individual. The artistic the student back to both art forms while cre- Problem solving processes used success- experience has direct meaning to the atively incorporating his own background offully in one area of the arts may also be student; it is internalized and relationships listening, feeling, and moving experiences intoextended to another art form. A task to other, similar experiences occur. These the activity. involving the manipulation of materials relationships are more genuine than those On the other hand, dance experiences in to solve a spatial problem in painting can that are extraneously induced. Hence, some which music is used as a stimulus, and very often lead to the satisfactory solution of a teacher's best attempts to3elate subject relatively little attention is paid to how it of a spatial problem in dance experience. areas are rejected by students because they relates to movement and feeling, suffer from The basic difference between problem come from the teacher and not from within a similar lack of validity. Therefore, correla-solving activities and correlation lies in their themselves. Dance has taken a prominent tion works most effectively when all of the focus. Problem solving tasks relate to dis- place beside the other arts in elementary subject areas involved are treated equally by covering methods of solving problems which schools. the teacher and the relationships are drawn are transferable to different content areas, by the students. rather than establishing the relationship of content in one art form to content in another art or subject area. As in correla- Dance and Problem Solving tion, the most effective relationship or transfer is in direct ratio to the quality of The second area in which the arts have the experience.If:ationships are kept only been related is in problem solving. Some in the mind of the teacher, they may not be aspects of the problem solving experience perceived by the student. Therefore, many are related to correlation but the basic alternative activities may be necessary to premises of these activities are quite differ- solve the problem. Effective problem WE. ent. The end goal of problem solving is solving activities demand greater flex itility not to relate subject areas, but to relate and knowledge of the art area by the teacher problem solving processes in one subject and sometimes presuppose some experience area to those in another.It assumes that in that area on the par', of the student. When during the creative process it is possible to these conditions are met, there is no ques- perceive relationships among similar tion about the significance of the problem abstract problems. solving approach to understanding in the At the Glendale IMPACT site the Bella arts and other subjects. Lewitsky Dance Company spent an entire The third experience area includes morning demonstrating the validity of the activities designed to be presented in isola- problem solving approach Each dancer tionthe teacher does not structure the worked with a different classroom teacher experience to directly relate to anything and her class. The teacher selected a else but during the course of the experience problem area that the class had been having the student himself makes connections some difficulty in understanding or master- with other experiences 78/ Dance Reflects Feelings Chapter 8 Making Dance Maids L. Riggs University of Massachusetts Amherst, Massachusetts Approaches to Dance Makmg

Ann Zirulnik Wayne State University To dance with joy involves not only Detroit Michigan skills and ideas but feelings for dance. Because young children usually feel good about moving, they often do dance with _ joy, Dance as a creative art can be especially spontaneous and pleasurable, and the nurtur- ing of this affective dimension is particularly rewarding for the teacher. The teacher must, however, pay explicit attention to Many objectives of a movement educa- learns to memorize or recall, thereby how the child feels in dance and about tion program, such as awareness of body improving or perfecting his own creation. dance. This cannot be left to chance. parts, knowledge of movement structure, Such primary experiences enable him to Young children bring a natural curiosity and-development of a good movement vocabulary,understand something about the creative marvelous sense of imagination to movement.and joy in movement, can be uniquely under- process and its components They like to (1) make movements and (2) stood through dance activities. They empha- Another approach to dance experiences make movement happen. By applying size certain aspects of time, space, force, and is through "known" movement. Activities these two areas to emotions, by bringing sequential flow in ways which enable involving work, sports, gesture, and func- feelings out in the open, and by being students to identify these elements in a tional tasks may be manipulated to gain new curious and imaginative, children and different context and discover new artistic kinesthetic awareness. By analyzing known teachers can learn to uncover, discover, and and aesthetic meanings and relationships movement through such devices as exaggera- use feelings as they do the skills and ideas ofMovement experiences which are musical, tion or distortion or altering the time factor movement. Freedom to feel facilitates com- artistic, and communicative, and which utilizethrough slowing it down or speeding it up, munication of feeling. It is fallacious to think the vocabulary of artists, poets, and musi- fragmenting it, or changing its normal that children, or teachers for that matter, can becians help to strengthen children's ideas sequence, the child finds new understandings separated from their aesthetic responses. To about movement. Thus, as the child as well as another source for creative move- dance with joy is, then, to become aware of,experiences range and dimension, level, ment. responsive to, and responsible for the skills, texture, focus, accent, and dynamics in The use of props is helpful in discovering ideas, feelings, and aesthetics of dance. Thus ismovement and recognizes aspects of design ways to manipulate the body. In all move- experienced the ecstasy which accompaniesthrough changes in shape or space relation- ment problems, the teacher needs to set the discovery of one's essence and the realiza-ships, he can be helped to see new relation- limitations so that the discovery is actually tion of its potential as an art form. ships in his world noted. In using a prop, the limitations are Particularly in the primary grades and determiner oy its nature. A prop tends to preschool experiences we should aim to focus attention on discovering the movement increase the child's powers of observation potential in relation to it. Hoops, scarves, and sensitive awareness to all kinds of ropes, elastic tubing, newspapers, and large mov, ment, sound, shape, texture, and pieces of fabric all lend themselves to rhyt in his environment. His individual exciting exploration and interesting manipula- create 'e responses should be zealously tive experiences. Props used as extensions of regarded and activities should be planned the body, joined to other people or other to nurture his creative potentialThrough props, and manipulated with varying energy, Problem solving in dance activities, the form the basis for meaningful dance studies,

is. child has the challenge of organizing 404111. often strikingly sculptural. In addition, experiences into form, especially when working with propsmaking comparisons working on the structuring of a number of and recognizing particular characteristics (it sequential parts into a whole. In solving floats, spins, slithers, or travels in circles) such a problem the child experiments, gives the child new ideas and helps him makes selections, joins movement, and identify similarities in dissimilar things, a

Photo Virgima Robinson. Tucson, Ariz.

67 79 vital part of creative thinking. fresh discovery, and new understandings. Using music, percussion instruments, and Children can make dances from many vocal sounds to accompany movement can different approaches. Some suggestions are: become a natural part of the teaching environment. Children can accompany 1. folk dances or similar simple dances based themselves and each other. Making per- on locomotor movements cussion instruments can be a correlated art 2. children's songstape their own voices project, and thus many instruments with and use them for accompaniment unusual sounds could be available for the 3. ac.ivity themesi.e., seasonal, occupa- children to use. Making vocal sounds as tional, special occasions well as stamping and clapping is great fun 4. literary themespoetry, action words and helps children to catch the feel of a 5. aspects of sculpture or design movement, develop their , and 6. factors of time, space, and energy enrich their dance experiences. Rhythmic 7. prop manipulation acuity improves noticeably and movement 8. sounds of various kinds becomes more dance-like when accompanied 9. rhythmic components by music. The music used should be 10. imaginary situations clearly pulsed and phrased and possess a mood, quality, or dynamic that supports Making dance studies helps a child to the particular dance activity. Moving to organize his knowledge and allows him to music ought to feel like singing with your respond to a problem in a variety of ways body and be reflective of children's natural and to work with others in tasks requiring tempo rather than to the teacher's tempo. decision making and verbal communication. Imagery is a vital part of the creative To assure success in this type of experience, dance experience since it helps to motivate, the teacher needs to set some limitations. clarify, stimulate, and identify the com- For example, she should require that the ponents of movement. Therefore, the study: meet a space limitation, be of a teacher needs to find images which elicit certain time length, consist of a given refinement of the action. To be objects number of parts, include several specified outside the human experience is quite actions, fit a certain piece of music, and/or difficult, except for the very young. convey an idea. In other words, the challenge Learning can take place instead through to solve a specific problem is the core. The recognition of the action or movement teacher should allow the students enough content to be found in the object, its time to work on the study and offer guid- construction and behavior under a variety ance as sparingly as needed. of circumstances. It is vitally important to help children Children should learn to make dance discover the potential for creativity within studies, not for the purpose of performing themselves. This process of discoveryits before audiences, but for the rate, depth, and realizationwill vary accord- to create an artistic product tha is uniquely ing to the child's own rate. their own. Such experiences teach children The recognition and development of the cre- to make choices and to organize materials ative spirit can be a significant catalyst to all into a logical progression, thereby creating learning. The learner involved in the creative a whole unified structure. These dance process comes alive, and becomes an active studies need not be long but should repre- participant in the awakening of the "need to sent a bringing together of acquired skill, know."

1

68 601 Composing Dance With Children

Gladys Andrews Fleming Virginia Commonwealth University Richmond, Virginia

Today a new emphasis is emerging in fantasies, faces, perplexities, and questions.s.to perfect movement skills necessary to dance for children. From community to All of 'fhese elements malt,: up the inner and make their bodies do what their emotions community, dance is gaining prominence outer-Worlds of boys and girls. The "It" is dictate. Such experiences should be com- with offerings for preschool children, tele- sensing and responding to that which makes mensurate with what is known about vision programs, and teachers of dance and the difference to them. "It" is inside and physical and psychological development. professionals going into the congested urban must come cut in some tangible form; or Boys and girls become secure in movement centers and camps to present various kinds "It" may be an outward sensitivity which as they have opportunities to understand of dance for children. There has been an calls for a response to something real, their movement and to analyze movement increase in folk dance festivals, and in many something to be looked at, heard, or felt. in terms of how it feels, how it looks, and areas children are being transported to*" At times "It" seems important only for a hoW to invent combinations of movements. theaters to see dance. It is gratifying to moment and is expressed in dance form As this happens, they are discovering and find acceptance and appreciation of dance which belongs Within the child's private fashioning their own individual storehouse as well as greater understanding of the con- world and may be appreciated only by him of movement. tributions dance makes to children. While at a specific time because he has been the Movement experiences-can be initiated the current situation is wholesome, it magical conceiver, producer, and performer and presented in such a way that children poses new problems and increased responsi- of his dance. Children have many such are anxious to respond to new and more bilities for leaders in dance. moments. At other times the individual complex situations. This involves thinking Children profit from meaningful dance wants to share his dance with others. about Movement of the self rather than activities in multiple ways. These values Whether the performance is for self or for just aboth the self and "how I look." Dance should be cherished and nurtured since an audience, the "It" can be intense and that is based on movement is not concerned dance may well be one of the last frontiers the work of launching can be so potent with developing movement in a vacuum but for helping children in nonthreatening ways.that the reflection remains with children rather with developing, inventing, and con-

It offers opportunities for recognizing . for a lifetime. The same qualities may be trolling movement simultaneously with self, for belonging, for aesthetic involve- true for group activities. thinking, sensing, responding,-feeling, and ment, and for individual achievement. Such The "Its" (ideas, thoughts, feelings, inquiring. It is moving through, with, and potential values are important for all reactions) which go into each child's human in dimensions of space, and moving with chile-en whether they reside in the ghetto computer are not the problem in dance. various degrees of speed and intensity.It or in suburban communities, in small towns The difficulty tends to come in recognizing, is moving to control and to change oneself or in large cities. There are broad, basic, andsharing, accepting, channeling, clarifying, at will, going through space with time not fundamental values to be realized. Those and extending the "Its," and then helping because it is good exercise but because there who teach children's dance need to clarify the child to portray "It" in the form of is so much to discover. The development purposes to be served and values to be dance. The problem is for the adult figure of the imagination is ignited and creativity attained in dance. to know how to help boys and girls dance. is uncorked as inventiveness and selection of Children have plenty of "Its" to dance abcyrt movement are used abundantly. For all of or to dance out. The role of adults is to this to come about, adults must understand encourage and to help children begin. and respect the uniqueness of boys and girls The Essential Quality: "It" , Adults must learn to listen and to lookto at various stages of growth and recognize Dance that makes a difference in and to see and to feel what children have performed.that no two children have the same struc- the lives of boys and girls is dance con- ture, the samemakeup, the same potential. ceived and performed by them in their own They mlist enjoy movement and present way. Although difficult to define, this Dance is More Than tviovement endles,. progressive, satisfying opportunities essential quality has been labeled by for children to explore and i.ivent move- children as "It." Tremendous in scope, Movement is not dance, but all dance ment possibilities; and they must offer "It" encompasses ideas, thoughts, feelings, involves movement. Children must be able movement Opportunities according to the hurts, longings, earnings, projections, con- to move easily and readily in order to com- interest, motivation, and sensory perception ceptions, urges, imaginations, concoctions, pose dances effectively. They require time of all children within the group.

69 81 -.. A' The teacher is essential in fostering dance chances; extensive exploration and the use for children. He makes it right for children of many of the explorations in improvisa- to be themselves and to express themselves tions and dance studies; opportunities to through their movement repertoire. improvise spontaneously, to solve sensory Teachers help to establish ideas the are and movement problems, to figure out to be communicated by talking with ch'ldren,sequences, to combine elements, to stylize raising questions, providing varied and mean- movements; and experiences to portray ingful movement opportunities, and by help- from the quality called "It." ing to clarify that which children themselves want to build into a dance. Without this clarity of ideas (of the "It ") and without a child wanting to design and to build, there is little meaning in dance for children Teachers listen and take many leads from Students' responses. Children may say, "That was a real dance because we Meant it from inside."It is the "inside" which makes dance. "It feels goon and we think it should look good because it is our dance Teachers IC; need to assist children rather than try to fashion them in an adult stageUnfortunate- ly, some adults often show a lack of appreci- ation for the children's coelcentration on finding ways of moving their bodies. At times these adults try to superimpose on children their own form or system of tech- niques or patterns of dictated movement This is not the way to assist children to realize their own potential of quality in movement. Instead, teachers should help children dance what they most want to dance, rather than what adults think they should dance. In a way, the teacher is With students the teacher plans ways of constantly evaluating and assisting boys developing dance studies and compositions and girls in their self-evaluations which emerge naturally from dance songs, The teacher's role-as an expediter movement discoveries, spatial designs, and remains constant. The,essential ingredient rhythmic responses. This is quite different is for the teacher not to be in a hurry to get from having boys and girls dance out stories involved in the process of composing dances or ideas befOre they have sensory'experien- with children before the children have ces to which they can respond with move- acquired a small repertoire of movement, ment and before they are comfortable with some awareness of the great phenomenon of their movement venturing. This is quite space and rhythm and can respond rhyth- different from presenting a dance program mically; some degree of control of that humanin a school, studio, or children's theater just communication system flowing continually because it is Spring, May Day, Chfistmas, or within, a willingness to invent, to take because a prodrarikis expected father than

70 because childr n have completed meaningful compose many dances on variods subjects cation. Often explorations develop studies composition; which they cherish and want in solo and with groups. Their fondness for which combine to form an interesting to share the skip composition, however, which had dance composition. In the process of he:ping, teachers need its beginning as it spontanece,sly emerged, One must be prepared to accept what to be continually watchful that childre^ do was not forgotten. In fact, much time was emerges when involved in improvising, not take on more than they are capable of spent in refining and perfecting before they inventing, discovering, or selecting move- handlingIt is suggested that teachers make shared it with an audience. ment or thematic material. This is true of it possible for the composition to grow by The world of a 9-year-old is so different any age group. In the beginning, what helping children clarify what they are from the world of boys and girls of ages 11 occurs may appear to be "groovy," brash, trying to say, by keeping the ideas simple, Ind 12. Some of the most expressive or trite. In time, with enriching and and by helping them build their ideasCare inoments have come from 11- and 12-year- appropriate experiences, quality will be should be taken to prevent children from old boys. They share realizations of honesty,developed. Care must be exerted to keep becoming overwhelmed with too much at power, and depth of living reflected it their the compositions short and to the point of once For example, a sixth-grade compositions. Through dance, boys communicating the central statement. wanted to portray their conceptions of ano girls are invited to reveal themselves as Children need help in not cluttering their Thanksgiving in a dance They began with they are in their environment or the envi- compositions with extraneous substatements explorations which came from the pumpkin. ronment in which they would like to be which go on and on. This led to more involved ideas about harvestCare must be taken continually that this This does not mean, however, that one and terminated I.3 larger piece which they invitation is riot withdrawn. if this happens, settles for just anything. Instead, one works refined and perfected into their dance of they only dance what they *link adults toward the kind of excellence which par'4 "Thanksgiving Proclamation Ultimately, want to see or hear or know about them. ticular children can achieve in their com- they asked to share it with the entire school Children have shown, regardless of ay., positional work. Children desire quality. It would be fascinating if we could cap- that they are able to handle details in Quality can come through readily because ture in words the exhilaration and spon- sequential and organized ways. The/ see young children .-.re not adorned with taneity of meaningful dance which so often relationships and make associations gimmicks and clichés. They can be them- erupts from youngsters saving, "Can we just Abstractions such as love, happiness, hope, selves and can portray through dance their skip?" Here is movement magic Here is anger, brotherhood, or democracy mean dialogue of self and movement. When they rrr cement conquerabilityHere too, is little to children and are usually merely decide to perform, this calls for practice, dance composition emerging. This happenedwords. If such adult concepts are given to perfecting certain sequences of movement, with a group o third-grade children who them, their responses tend to bt. superficial. and provision for transitions. At this time, translated their Can we just skip?" into The concept must be associated with some- the teacher's role becomes one of critic "Our Skipping Dance This dance had the thing real such as "The Happy Time at the ratner than expediter. He helps children to recognizable eiements of composition Fire Station," "The Angry Bumblebee," understand the refinement necessary to reach various grouping and regroupings of "The Fireflies Keep HopingThey Won't a desired and appropriate performance level. children and interesting spatial patterns Turn Off." Having reached this level of skiiI in dance they charted graphically so they could more There are many levels of maturity for and hazing developed mutual trust and effectively remember the sequence Variety dance composition among children in a respect between teacher and children, boys was achieved not only by the accompanimentgiven school. The younger they are, the and girls are then ready for other dance to their arrangements of high and-low and simpler the statement and the more clearly experiences which may involve compositions fast andsluw vat rations of skip, but also in allied to their particular world at the introduced by the teacher. the q'., lity and styles of skippir jIn coat- mom..nt. As youngsters mature, the quality There are times when a group (or individual) posins this dacce, the chhdren had a strong of experiences can yield dance cc nposition needs to perform This calls for awareness of feeling for unity and for organatinnThey of a more sophisticated nature. factors involved in communicating to others, remarked that they were "i danc.ng Other compositions emerge rom dis- projecting oneself, arid for refining elements rhe,i skips'Before the year was over, this covery of selected combinations of move- in the particular dances to be shared. group of children had opportunities to ments from exploration or out of improve While working on dance compositions,

71 children and teachers together can learn, derived from th,.: ibove sources include: participating in various dance forms; but laugh, feel, and share goose bumps, pene- "The Crack in the Sidewalk," "The Human most of all, and more importantly, will emerge trate realms of curiosities, tackle problems, IBM," "The Shortest Distanc 9etween Two boys and girls with "feelings"aesthetic un- and experience achievement. How different Points," "My Line Goes For , .1alk," "How derstandings and appreciations. this is from the adult being on the sideline the Scabernachel Got His Name," "A Visit Additional examples of accounts concerning watching, telling, and manipulating to the Green Men on Mars," "From making dances: Columbus to Glenn," "Dialogue with r,rokofiev," "The Story of the Wheel," Magruder, Ella. "Imagery and Improvisation in Sources for Children's Compositions and "Come Ride on a Rocket." Dance in the Schools." Journal of Pt /sical Costumes as trimmings can contribute Education and Recreation 52:3. Sources for dance compositions are mul- to a dance composition, but covering up McColl, Sharon Lee. "Dance as Aesthetic Edu- titudinous. Children do not have to resort the magnificent moving bodies with un- cation." Journal of Physical Education and to fads, clichés, or unrelated elements be- related costumes should be avoided. Recreation 50:7. cause their world is full of the "It" which is Children enjoy costumes which enharce, Zirulnik, Ann, and Young, Jane. "Help Them to be danced. Thesources have to do withextend, and intensify the dance. Simple Jump for Joy." Journal of Physical age, activities. surroundings, and feelings of costumes include hats, masks, patches Education and Recreation 50:7. boys and girls. They are different for each over the eye, sashes, capes, and tied-on group and each child within a gioup. The helium balloons.If the costume is what sources are real rather than hypothetical is important, as the children say, "forget Angelo, a four-year-old whose whole world it." The dance is all important! has been one Hock long, dances about that Simple props often add to the setting which he knows This is quite different for children's compositions. Again, these from the world of four-year-old Pete who should contribute to the dance and the travels the township with his dad on his child's realm of reality, rather than hinder garbage tuck :Sara, who lives in the middle or detract from his dance. of the ghetto, and Jeff, who journeys with Do not be in a rush to make boys and his dad, a diplomatic attaché are also girls into, adult performers. They must be differentYet, all have much to dance. allowea to be children who are not afraid Compositional sources are suggested from of dance, who want to dance, and who can the world of outer space, children's expre.s themselves with sensitivity literature, history, poetry, folk songs, Adults should want quality in children's dances, and tales, field trips, holidays, dance Children should want to ask, How mechanical and electrical wonders, science, can I dance "It" better' pets, museums, work, customs and Out of all children's dance will come traditions, lives of people, and the exciting some of the artists of tomorrow, performers, world of music, sound and color Some master teachers, teachers of children's specific examples of children's compositionsdance, dance crtics, writers for dance, choreographers, and people who just enjoy

72 S i Moving Ah6ad

... t 40 u % / ::" i::::: .-_v.. foeor Jo 4.13 .. 0..%

-17

73 85 Chapter 9 Lake of the Ozarks Conference on Children's Dance, Excerpts from Proceedings

Leadership for the 1980s

Robert S Virginia Commonwealth University Richmond, Virginia

When we look ahead we must continue to program of elementary physical education public and private schools, as well as institu- view the role of education with great anticipa- and dance tions of higher education, is a persistent tion. Vast new developments are rrojected in 4Request your state director to inventory concern This occurs at the state, regional, all facets of life. Such developments relate to and report outstanding physical education and national levels What are the require- population, urban centers, uses of technology, and dance programs in elementary schools. ments for an accredited elementary school? family life, the workweek, and education Im- 5 Encourage each state meeting to present Must it have space for movement? plications for physical education are extensive. a children's dance program An elementary physical specialist? An The work of the Lake of the Ozarks Confer- 6 Arrange a meeting between elementary emphasis on dance as well as physical ence emphasized physical education, includ- school physical education specialists and education? Must ;t provide an opportunity ing dance, as a vital component of the total principals to clarify cl,rections and under- for planning between the classroom teacher curriculum. it concerned a curriculum charac- standings about children's dance and physical education teacher? The follow- :erized by: 11 Continue work with groups concerned ing activities illustrate some ways of moving about certification. Although this is a com- ahead in this area: 1. The dignity of each person plicated area it must be viewed and studied 2. Specific, dear and vital content which has a as a major means of facilitating professional 1 Public school accreditation movement base It maximizes sensitivity. preparation. a Review the status of existing pro- 3. Emphasis on all aeas of knowledge. 1. Review the status of state certification cedures. 4. Concern for quality performance for all chil- policies. Identify clearly concerns about cer- b Clarify in ways to provide more dren. tification. Solicit help in relating them to adequately for elementary physical administrative leaders. education and dance. Leadership i. needed to help remove bar- 2 Arrange meetings with other institutions c. Make several school-approved visits to riers which inhibit progress. These barriers are in your state to find commonalities in the study the problem. often complex and difficult to remove; yet, to state certification problems. d. Discuss evaluation accreditation with move ahead they must be recognized The fol- 3 Communicate with schn.31 superintend- your state council. lowing suggested activities appear to offer ents concerning needs in this area. e. Encourage and invite teachers to promise for removing barriers and establish- 4. Arrange for a meeting with state certifi- participate in several school evalua- ing strong, vital activities cation directors which reflects unity and tions. consolidation of state problems A. Establish positive and ongoing relationships 5 Encourage AAHPERD to identify new with state education agencies certification developments in various states 2 College accreditation 1. Each state unit is urged to call a confe- and to communicate them to other state a Encourage active participation of ence of state officers to consider the status groups public school personnel in college and importance of children's dance 6 Arrange for the certification problems to accreditation procedures 2. Make certain that state meetings are appear conspicuously on the state direc- b Solicit data from public schoolsoabout concerned with a dynamic thrust in move- tors' agenda and conferences. recent college graduates. ment, dance, and the arts. cEncourage AAHPERD to sponsor state 3 Request your state director to organize C Continue to study and work with accred,ta- and regioral conferences on accredita and attend a clinic in your state on a quality von groups at all levels. Accreditation of tiJn as it relltes to phvsical education 11.

74 86 Our Concerns for the Profession

Gladys Andrews Fleming Chairman, Task Force Children's Dance

and dance programs in elementary E. Encourage and support research efforts. Over the years AAHPERD has created a schools. The absence of research thwarts develop- setting in which various groups could express d Encourage AAHPERD to sponsor with ment. No profession can survive without a interest, look at differences, and develop other groups, ncluding those from the strong research component to give validity pans. But until lately it has been difficult arts, a conference dealing with a new and power to its field. Emphasis should be to move ahead in a concerted way with a look at accreditation. given to all facets of research which help national thrust in the elementary school teachers relate to children in meaningful area ways. In 1930 at a conference in Boston, pro- fessional educators were working on many D. Continue and intensify work on evaluation. 1 Design programs to help teachers be- of the same important ideas for helping We have a new emphasis on evaluation come more intelligent consumers of re- children as we are today. Do you know Increasingly it relates to budgeting, planning, search. that at the 1930 convention of the National space, and qersonnel Many are now sensi- 2. Develop publications which deal with Sc..;aty of Directors of Physical Education tive to the need to refine and develop new research on: movement, skill development, for Women, Dorothy LaSalle made a plea and creative approaches to evaluation The aesthetics, early childhood, and uutdoor to college directors for greater interest and Fitness Test is often "the" test. We need education. attention to dance in elementary schools? much more effective instruments and tech- 3 Develop a research design for your pro- Asa result, she was appointed chairman of niques in many areas gram. Make it a case study. a committee to develop a report on dancing 4. Analyze relevant research reports at fac- in elementary schools. In its report the 1. Review methods for evaluating programs ulty meetings. committee emphasized re need for more and explore other sources of data 5. Build a research shelf of accounts of ef- scientific study of objeftives, particularly 2. Develop a variety of effective and simple forts to improve children's dance. social objectives; child interests, future evaluation procedures. 6. Have conferences in which you raise experimentation with dance for boys; 3. Conduct local clinics on ways of evaluat- questions. Use such questions to solicit teacher preparation; and standardized ing programs help from your university. terminology and bibliography. Some 40 4. Find ways to involve children, parents, 7 Describe the impact of children's dance years later, history is repeating itself. and other teachers. on other aspects of growth and learning We have moved a long way since 1930 5. Examine the record system in a school Leadership in the 1980s will be concerned in terms of organizationDance nas an to determine if it communicates anything with helping people in large cry vided cities. important place in the Association as a about a child's aesthetic or m-vgment quo- It will work on many fronts, it eluding early Division. Our concerns for children's dance, tient? childhood education, many facets of special however, are about the same as they were 6. Encourage college personnel to assist in education, world understanding, commu- four decades ago. We still need to recog- developing procedures which sharpen nity focus for year-round schools, new con- nize that interview procedures and observational cept: of the arts, and new concerns for techniques and which focus on comprehen- health. It will oe a world in which the disci- 1. Dance prograMs should start with pre- sive evaluatici. plines will certainly not separate but instead school and elementary aged children 7 Develop ways of encouraging case con will work cooperatively for the well-being of 2. Assistance needs to be ;given to public feren ces. all children schoo I-or ienti-people

75 Competencies of the Teacher of Children's Dance

Ruth Murray

3. Movement, Ind ding dance, is basic to Dance is an art and must be taught with qualities of movement and its relationship all physical education. an appreciation for its unique values as art, to other experiences in drama, art, and 4. Aesthetic, expressive activities are not merely as another motor activity. What music in other words, children's creative essential in fostering positive feelings about are some of these values that dance, alone dances self and others in physical education, offers to children? According to statistics, 89% of the ) 5. A common terminology is necessary We use the words creative, imaginative, physical education specialists seeking K.12 expressive, and aesthetic to describe these certificates have had one overall, cover-all Today our most pressing concern is to values, but how do we affect children's course in elementary physical education. Of build dance and other forms of physical actions so that these qualities are developed those of you who are in that category (o/ education for children in terms of who they specifically through dance?I believe it can were, when you were in college), I should are, what they are like, where they are, and only be done if teachers themselves have like you to consider hovit-rfi"any times in what they are interested inLet us begin had experiences in their professional your professional training you handled a building and directing our programs from training (and hopefully before that) which basketball compared to the number of the bottom up rather than from the top parallel and supplement the expressive, times you skipped to music. Wliat children's downLet us provide for children to be imaginative uses of movement that dance poetry or rhymes, songs, or classic literary boys and girls, not mini-adults. Childhood can offer. characters do you know? What do you is too precious to be abolished. Children A professional curriculum for the regular know about nature and its creatures? How are dignified, unique personalities who have elementary teacher which offered such many dance performances of any kind have the right to request that viable, meaningful, experiences would not be as great a depar- you seen? What would you say is your and developmental programs be offered to ture from the norm as the preset curriculumaesthetic index? them for the physical education speciast.It I am sure you did not come to this con- As we face the future we must would have as its core the total developmen- ference to find better ways of making realize that dance is here to stay, that boys tal pattern of the young child, which physi- varsit / sports players out of children, but and girls like to dance, that teachers need cal education studies often omit The rather to find ways of bolstering their self- special preparation, and that dance requires elementary education program also usually esteem, impro -ng their ability to move in time, space, resources, and competent includes courses in children's literature, art, different ways, ant' broadening their crea leadership and musicIn the past, physical education tive and aesthetic 1,.prizons And before the This conference is concerned with a new courses for classroom teachers have included conference is over, you may be willing to look at professional preparation We need to everything from Looby Loo to relays A try to motivate them to accept expressive, come up with some clearly defined, practical, course in basic movement education, how- imaginative, creative, rhythmic movement and relevant ideas and begin pitting them ever, is now appearing in some Jf cs being at least on a par with movement into action in a cooperative effort W- these programs After this Conference, it that is athletic, gymnastic, or acrobat', cannot afford to wait should spread throughout the "..ountry at Perhaps a glance at some of the Guide- least as fast as did the new mathQuite lines for Children's Dance is now in order . logical, then, would be a sequel to such a What specific competencies does a teacher movement course which would carvy the need to perform adequately in at least elementary education student into the some of the following areas? expressive, imaginative, and textural See Chapter 2

76 Guideline 1. Children should have experi- Guideline 2. Movement exploration, im- ficiently. But we are beginning to find that ences evolving from the use of the move- provisation, investigation, and invention, there is more to the field of physical educa- ment elements of space, time, force; the using dance ideas such as those evolving tion than mere athleticism even though many development of an awareness of sequential from experiences with movement of us still cling to sports and games as repre- changes in body shape, and the relationship elements, from imaginary and literary senting the "be-all and the end-all" of our of the self to others and to the physical sources, from properties of various kinds, existence. environment. or from music and other types of sound accompaniment. This Guideline ties in very closely with Guideline 3. Experiences with movement the movement education program which in This Guideline inquires some knowledge which help to synchronize it with musical a sense is basic to dance, and should be of children's literature, poetry, and tele- structure, such as pulse, accent, phrasing; basic to all physical education activities vision characters and aaventures.:t also the development of sensitivity to the quality the functional as well as the expressive entails experience with music, songs, and of musical sounds, and the ability to relate ones. Whether these experiences are part various sound accompaniments, and com- to them in many different ways. of a movement or a dance lesson, however, prehension of the use of props as catalysts will make some difference rn the approaches for creative movement. More importantly, For many years the importance of this and emphases used. The dance teacher it means acquiring a sensitivity to children's area has been acknowledged by both music should be interested in departures from the spontaneous expressiveness, the recognition and physical education teachers through expected response, dramatic or emotional of imaginative rather than imitative uses of activities such as rhythm bands, rhythm overtones in movement performance, in the movement, and the ability to plan these drills, and other rhythmic actions too textural qualities of movement as well as things into the dance period. numerous to mention. The word "rhythms," the skill, and movement which, even though How is such competence achieved? Only, a nonword intended to disguise dance awkward, shows the characteristics of I believe, by affording such experiences to activity, relates, or should relate, to this inventiveness. phyt. Jai education majors who intend to Guideline. According to the Task Force There is a danger that teachers who have teach or be associated in any way with Status Study, all of these are designated as had no creative dance in their training and young children. Courses, or perhaps better part, or in some cases, as the total dance who have been taught only to look and yet, some kind of comprehensive integrated program for elementary school youngsters. work for efficient, functional movement, course in music, art, and drama should be a The ability to make an accurate response will not encourage or even be receptive to a par. of their study programwith creative to rhythmto feel and to follow the beatis different kird of movement response. They dance leading the way in these art experi- every child's right. Otherwise he misses out will not see a child's work for what it is, and ences. It should not be necessary to add on so many of life's delightful experiences, may even suggest some kind of remedial that this should include men as well as including music and dance. A teacher who practice so that the problem is solved more women if their interest lies in teaching has had courses in music (where he has been adequately according to their standards childrenIt is true that it is considered less encouraged to sing and play simple instru- rather than the child's. virile in our culture to dance than to knock ments), and in dance (where he has been The second Guideline takes us much moresomeone over on a football field, less manly encouraged to listen to accompaniment and specifically .nto dance-like experiences and te be conversant with the classics in chil- find many ways to move to it accurately) is probably represents the greatest gap in the dren's literature than to know the batting more apt to find plentyf opportunities for preparation oPphysical education majors averages of world series' players, less mas his children to have funwith rhythm.I say and elementary classroom teachers culine to sing than to box or wrestle. But "fun.' advisedly, as I hae seen too many in these days of unisex and Women's Lib, lessons of what was called "drum work," we lust may be able to change all that' where for the better part of a period children Children should feel adequate in physical performed locomotor movements to a series prowess, and enjoy the exhilaration that of loud, single, monotonous, drumbeats comes from performing athletic feats pro. until everyone was ready to climb the walls.

77 The Consumer Speaks Out About Professional Preparation

Gertrude Blanchard

So, let the children play the drums, and with children, the process is of greater other sound instruments, some of which importance than the product. One's ability they can make Let them sing and move, to "read" body movement, a major language let them listen, and then clap or tap or beat of young children, assumes great significance or sway, and soon supposedly arhythmic As reported in the brochure on the confer- children will be "'keeping time" as well as ence on Motor Activity for Early Childhood, everyone else Delores Curtis stated, "We need to give more I would like to emphasize one more consideration to the child's use of his body Guideline: as a mode of creative and human communica- In the past I have served as a tion."1 resource person and instructor for the I will finish by paraphrasing the excellent Richmond Unified School District in Guideline 6. The relating of dance move- article by Keturah Whitehurst in that same California in which some 40,000 chi'dren ment to other curriculum experiences, such brochure, entitled "What Movement Means are enrolled.I have conducted numerous as art, music, science, social studies, and to the Young Chi Id."2 What can dance mean teacher training courses in folk, square, language artswherever and whenever to the child? Certainly, it can mean some of social, creative, and modern dance. At appropriate. the same thingsself-discovery, freedom for present, I am responsible for about 50 self-expression, communication, enjoyment, in-school classes each week; I observe about Few attempts have been made to prepare and sensuous pleasure, and if only we will let 10 classes a week, substitute for teachers either the physical education or the dance it, it can also mean the acceptance of him- who are ill, and teach 4 classes a month. specialist to do this in most curriculums withself and of all others who dance, both with This kind of schedule keeps me constantly which I am familiar him and for him. in touch with both children and change. How is this possible when the special When reading the Saturday Review last Each year, I interview approximately 20 teacher is uninformed as to the other night, I found this little story in Goodman young maple who wish to teach dance on a curricular areas, either Structured Ace's columnA young philosopher came part time basis, from 6 to 30 hours a week, structured, which are part of the child's home from school every day with a skinned They come from universities, private day? And yet imposing discreet, fragmented knee. studios, and professional companies; many pockets of learning, unrelated to the rest of "Why do you fall down every day?" have a Master's degree in dance. Applicants the child's activities, is not at all in agreementasked his mother. seem to have two things in common: they with modern pedagogical theoryThis, then, He replied.Because I always run faster like to dance, and all have studied with the is another place where we must mend our the-) I can" Perhaps we all will need torun world's greatest teachers. Three other fences so that those who teach dance per- faster than we can, in spite of skinned knees, things are characteristic: they have great ceive the innumerable ways it can supple- or as Gladys Fleming said, we will be in the difficulty verbalizing about dance, they menAnd enrich other parts of the school 21st century, and children still will not be know practically nothing about children, dayAlt teacher= of movement must have dancing and they know on/ one teaching method the ability to observe each child's character- 1Delores o Curtis, "Conference Report," Motor demonstration. My problem is to discover istic ways of movinnIn physical education Activity for Early Childhood (Washington, D C whether they are raw material which can be so much attention is geared to the end- AAHPER, 1971) helpedso I probe for attitudes, imagination, product of movement --did he win the 2Keturah Whitehuru, "What Movement Meansto prejudices, and desire to learn. Can they race? Did he make the goal? Did he con- the Young Child." Motor Activity ,ci, Early work honestly with children? Can they see Childhood (Washington, D C AAHPER, 1971) nect with the ball? But in dance, especially dance as a developmental subject? Can

78 they work under close supervision with 8. effectiveiy apply what has been learned children, however, is like a pool full of constant evaluation and from a specific in their education concerning kinesiology, waterif you know how to work with them, manual? Can they accept and work produc- physiology, and mechanical principles. they will sustain you; if you do not, they tively with the shifting authority between will drown you. The problem of realistic- classroom teacher and specialis.? Can they Is this too much to ask of four years of ally preparing elementary specialists to be motivated to see the importance of college training?I think not, especially if truly serve the needs of today's children positive motivation? How much effort two years of that training could be accom- can be solved, not by massive legislation, will they put into trying to understand the panied by laboratory experiences with not by a revolution in the curricula, not b problems of language, minorities, poverty, children, manna from Heaven, or any other such affluence, defensiveness, large classes, and Theoretically, the student with a college mountainous thing. There is not time. diversity of achievement within a single education would have been exposed to most None of us, I am sure, has the power or class? In years of interviewing, I found only of this knowledge. All the answers are, no wisdom to make changes on such vast one whom I could send with a clear con- doubt, in books, but the student reads scales. What we can do is to light one science nto a class without first giving her books not to learn how to teach children, small candle, rather than curse the basic training. but to pass 3n exam. Since it well may be darkness. Specialists, whether they are in recreation, a year or several years before the student physical education, dance, music, or educa- has any use for the information, it is easily tion, need many of the following skills in work-forgotten. Theory and practice should be ing with children. We are looking for personsmoving side-by-side as partners, each helping who are trained to: the otherrather than Theory, sitting com- fortably at base camp, watching Practice 1. organize a class for teaching try to climb up through the shale, and 2 find the place to begin yelling for encouragement "Read Chapter 3. use dance as a tool for thinking as well as Nines moving Those who are going to prepare special- 4 verbalize about dance ists also need practice in working with 5. constructively evaluate a child's perfor- children if they are to make efficient use mance of the student's time. If you don't know 6. fulfill the needs of the children and the how to swim, it is frightening to be classroom teacher as well as the specialist thrown into deep water, if you haven't 7 know and use a variety of methods to fit taught children, it is frightening to be individual and group needs thrown into a classroom. A room full of

79 9 i Epilogue

The National Dance Association in the 1980s continues to reinforce our belief that Children's Dance is essential to education and aesthetic development. All children need to understand the importance of "me" plus the relationship of "me" to others and to the environment. As a vital part of education, Children's Dance comes from two equal parental linesart and science of human move- ment, the physical and the aesthetic. It is imperative that these experiences start early and continue throughout the educational process. We need adults who are able to think imaginatively and creatively. Science and the Arts should not be thought of as competitive but as cooperatively working together to build a better future. if Chil- dren's Dance was considered by all as a major part of the core of education and the right of every boy and girl, what a different world this would be! The knowledge about Children's Dance continues to expand. The interest has in- creased within the NDA membership, teacher preparation programs, and the in- volvement of classroom teachers. Activities during recent years have included a confer- ence on Dance as Learning, interest in dance therapy, and a growing emphasis in research. The Association is responding to the needs of all special populations includ- ing the handicapped. A., Dance is new recognized as an estab- lished art form and joins with other educa- tional organizations in the promotion of aesthetic education. There is an ongoing Commission on Children's Dance within the NDA structure. The National Dance Associa- tion is committed to the premise that Chil- dren's Dance fosters educational experi- ences that contribute to a lifetime of joyful living.

Betty Toman NDA President 1980-81 Board of Governors AAHPERD (0 Chapter 10 Bibliography and Resources Mary Rae Josephson Adamson Katie Manche Friedrichs Diane Pruett Jeanette Saurborn Arm Zirulnik

Because professional literature in the areaDimondstein, Geraldine. Children Dance in Russell, Joan. Creative Dance in the Pri- of children's dance is so extensive, inclusionthe Classroom. New York: Macmillan Pub- mary School. New York. Praeger Publishers, of an exhaustive bibliography is impractical lishing Co., Inc. 1971. 1968. in this publication. However, a suggested list of resources is provided which is illus- Farley, Pamela. A Teacher's Guide to Cre- Russell, Joan. Creative Movement and trative of the diversity and quality available. ative Dance. Sydney: Reed, 1969. Dance for Children. Boston, MA: Plays, Teachers are encouraged to continue their 1975. search and assessment of materials not Fleming, Gladys Andrews. Creative only in dance but also in allied fields of Rhythmic Movement Englewood Cliffs, NJ: Shreeves, Rosamund. Movement and Edu- educationhuman development, learning, Prentice-Hall, 1976. cational Dance for Children. Boston, MA. health, evaluation, curriculum development, Plays, Inc., 1379. creativity, and methodology as well as the Good ridge, Janet. Creative Dance and Im- related arts, such as music, art, drama, film, provised Movement for Children. Boston, Winters, Shirley. Creative Rhythmic Mrve- and literature. MA: Plays, Inc., 1971. ment for Children of Elementary School Age. Dubuque, IA: V m. C. Brown, 1975. Books Jones, Genevieve. Seeds of Movement: A Philosophy of Movement with Techniques Witkin, Kate. To Move, To team. Philadel- CreatiGe Dance Applied to the Beginner. Pittsburgh, PA: phia, PA: Temple University Press, 1977. Volkwein Brothers, Inc. Abe les, Jeanette, and Mc Doll, Sharon, eds. Zirulnik, Ann, an i Abeles, Jeannette (ed). Creative Dance Starters Quick and Easy Joyce, Mary. first Steps in Teaching Cre- Resource Lists for Children's Games. Michi- Lessons for the Elementary Classroom. Eastative Dance to Children, 2d ed. Palo Alto, gan Dance Association, 1980 Lansing, MI: Michigan Dance Association, CA: Mayfield Publishing Company, 1980. 1979. Laban, Rudolf. Modem Educational Dance Dance and Curricular Subjects Boorman, Joyce Creative Dance in the first2d rev. ed London: McDonald& Evans, Three Grades. New York: David McKay, 1963. Berlin, Anne and Paul. The Art of teaming 1969. Through Movement. Los Angeles, CA: Mettler, Barbara. Children's Creative Dance Ward Ritchie Press, 1971 Boorman, Joyce. Creative Dance in Grades Book. Tucson, AZ: Mettler Studios, 1970 four to Six. Ontario. Longman Canada Lim- Borton Terry. Reach, Touch and Teach. ited, 1971. Mettler, Barbara. Materials of Dance as a New York: McGraW-Hill, 1970. Creative Art. Tucson, AZ: Mettler Studios, Carroll, Jean, and Lofthouse, Peter. Creative 1970. Dance as Learning. Reston, VA. The Ameri- Dance for Boys London. McDonald & can Alliance for Health, Physic& Education, Evans, 1969 Mettler, Barbara. The, Nature of Dance as a Recreation and Dance, 1980. Creative Art Activity Tucson, AZ Mettler Chase, Marian The Contribution of Dance Studios, 1980. Fleming, Robert S., ed Curriculum for To- 'n the Education of Children The Need for day's Boys and Girls. Columbus, OH. Communication and,Creative Release for Murray, Ruth Lovell. Dance in Elementary Charles E. Merrill, 1963. the Individual American Dance Therapy Ab- Education, 3rd ed. New York. Harper & Row, sociatton. 1975 Fleming, Robert S."Learning from Looking Within. A Different Focus: Relating and Re- Dance as Education. Washington, DC The North, Marion. Body Movement for Chil- sponding through the ArtsChildhood American Alliance for Health, Physical Edu- dren An Introduction to Movement Study Education. May, 1972. cation and Recreation, 1977 and Teaching Great Britain McDonald & Evan, Ltd., 1971.

82 9 Gilbert, Anne Green Teaching the Three R's.Cratty, Bryant J., and Martin, Sister Mar- Dance and Children's Art Through Movqment Experiences. Min- garet Mary. Perceptual Motor Efficiency in neapolis: Burciass Publisning Co., 1977. Children Philadelphia. Lee and Febiger, Alkima, Chester J. Art for the Exceptional. 1969. Boulder, CO: Pruett Publishing Co., 1971. Humphrey, James H. and Joy N. Help Your Child-Learn the 3R's Through Active Play. Flinchum, Betty M. Motor Development in Anderson, Frances E. Art For All the Chil- Springfield, IL: Charles C Thomas, 1980. Early Childhood. St. Louis: C.V. Mosby, Co, d-en. A Creative Sourcebook for the Im- 1975. paired Child. Springfield, IL: Charles C Langhorst, Emma, and McPherson, Marie Thomas, 1978, Action in Learning. Oak Lawn, IL: Ideal Fowler, John S. Movement Education A School Supply Company, 1974. Guide to Teaching Children Ages Three Jameson, Kenneth. Preschool and Infant Through Twelve. Lavallette, NJ: W.B Saun- Art London: Cassell & Collier, 1976. Rogers, Carl R. Freedom to Learn. Colum- ders Co., 1981. bus, OH. Charles E. Merrill, 1969, Montgomery, Chandler. Art for Teachers of Gilliom, Bonnie. Basic Movrnent Education Children, Columbus, OH. Charles E. Merrill, Rowen, Betty. Learning Through Move- for Children: Rationale and leaching Units. 1968. ment New York Teacher's College, Colum- Reading, MA: Addison-Wesley Publishing bia University, 1963 Co. Inc., 1970. National Dance Association. Arts Education Advocacy Washington, DC: The American Rowen, Betty; Byrne, Joan; and Winter, Halsey, Elizabeth, and Porter, Lorena. Phys- Alliance for Health, Physical Education and Lois. The Learning Match Englewood Cliffs,ical Education for Children. NeW York: Holt, Recreation, 1976. NJ: Prentice-Hall, Inc, 1980 Rinehart & Winston, 1963 Snow, Aida Cannar,d Growing weh Chil- Walberg, Franette. Dancing to Learn Hunt, Valerie. Movement Education for dren Through Art. New York: Reinhold, Novato, CA: Academic Therapy Publica- Preschool Programs. Olivette, MO: National 1968. tions, 1979 Program on Early Childhood Education, 1972. Stokes, Edith M. Word Pictures as a Stimulus for Creative Dance. London: - Dance and Physical Education Logsdon, Bette J., et al. Physical Education McDonald & Evans, Ltd, 1970 for Children: A Focus on the Teaching Pro- Baker, Paul Integration of Abilities, Exer- cess. Philadelphia. Lea & Febiger, 1977. Dance and Literature cises for Creative Growth New Orleans Anchorage Press, 1977 Riggs, Maida L Jump To Joy. Helping Chil- Arbuthnot, Mary Hill "Poetry of the Chil- dren Grow Through Active Play. Englewood dren's Word." Children and Books, 3rd ed. Bauer, Lois M Dance and Play Activities for Cliffs, NJ: Prentice-Hall, Inc, 1980. Chicago. Scott, Foresman & Co, 1964. the Elementary Grades, New York' Chartwell House, 1971 Schurr, Evelyn L Movement Experiences Chenfeld, Mimi Brodsky. Teaching Lan- for Children A Humanistic Approach to guage Arts Creatively San Francisco: Har- , Burton, Elsie Carter Physical Activities for Elementary School Physical Education, 3rd court Brace Joyanovick Inc., 1978 the Developing Child Springfield, IL- ed. Englewood Cliffs, NJ: Prentice-Hall, Charles C Thomas, 1980. 1980. Jacobs, Leland B, edUsing Literature with Young Children. New York Teacher's Col- Cratty, Bryant. Movement Behavior and Sinclair, Caroline B Movement and Move- 'ege Press, 1965. Motor Learning, 3rd ed Philadelphia Lea ment Patterns of Early Childhood and Febiger, 1973. Richmond. Virginia State Department of Sikes, Geraldine Brain Children's Literature Education, 1971 for Dramatization New York. Harper & RoW, 1964

95 83 Whisnant, rharleen",':and Hassett, Jo Word Hughes, Langston. The First Book of Way, Brian. Eci.. cation Today. Develop- Magic: How to Encourage Children to Wrge-Rhythms. New York. Franklin Watts, 1954. ment Through Drama London. Longman and Speak Clearly. New York: Doubleday& Group, Ltd., 1967. Company, Inc., 1974 Jenkins, Ella. Thisals Rhythm New York Oak Publications, 1962. Dance and Basic Education White, Tissa. Visual Poetry for Creative In- The Arts and Compensatory'Education. East terpretation London MacDonald and Lament, May Lee. Music in Elementary Lansing, MI: Michigan Department of Eauca- Eyans, 1969. Education. New York MacMillan Publish- _ tion, 1979. ing Company, 1976 Try a New Face. A Report on HEW Wynard, Olga. Children and Dance and Superted Arts Projects in American . 1 Dance and Music Music. New York. Scribner, 1968. Schools. Washington: U S Government Printing Office, 1'EW Pub. No. OE 77- Arfdress, Barbara. Music in Early Child- Sheehy, Erma. Children Discover Music 32001, 1979. hood Rpston, VA. Music Educators Con- and Dance. New York: Teacher's College ference, 1973 Press, 1968 Association for Supervision and Curriculum Development. Perceiving, Behaving, Becom- Aronoff, Frances Music and Young Chil- Shaffer, Murray. Creative Music Educa- ing Yearbook, 1962 dren New York. Holt, Rinehart and tion. New York. Schirmer Books, MacMil- Winston, 1969. lan Company, 1976. Association for Supervision and Curriculum Development. To Nurture Humaneness. Dance and Dramatics A-Banek, Reinhold, and Scoville, Jon.. Yearbook, 1970 found designs A Handbook of Musical Bruce, Vilet.Roge. Dance and Dance Instrument Building. Berkeley, CA. Ten Drama in Education. Oxford, NY Per- Brandwein, Paul F., ed. Self Expression and Speed Press, 194p ganiman Press, 1965 Conduct. The Humanities. (Center for the Study of Instruction.) San Francisco, CA: Har- Bruce, V. R Movement In Silence and Gillies, Emily. Creative Dramatics for All court Brace Jovanovich, Inc , 1974 Sound. Soccer, 1971 Children. Washington, DC: Association for Childhood Education, 197?. Conner Linking The Arts and Basic Cur- Childrens Book and Music Center General nculun. Owqhoma City, OK. Oklahoma State Catalogue 25th Anniversary ed Los Goodridge, Janet. Creative Drama and Department of Education, 1980. Angeles, CA Children's Book and Music Improvised Movement for Children Bos- Center, 1976 ton. Plays, Inc , 1970. Dobbs, Stephen M. Arts Education and Back to Basics. Reston, VA. National Art Associa- Dobbs, J. P B, and Firth. Winifred. The McCaslin, Nellie Creative Dramdtics in tion, 1979. Oxford School School Music Books. (In- the Classroom. New York David McKay fant Books) London Oxford University Company, 1974. Docherty, David. Education Throvah the Press, 1970, Dance Experience. Bellington, WA. Educa- Siks, Ge,aldine Brian. Drama with Chil- tional Designs and Consultants, 1975. Doll, Edna, and Nelson, Mary Jarman dren New York Harper and Row Pubs, Rhythms Today Morristown, NJ Silver Inc , 1977 Fowler, Charles B. The Arts Process in Bas:c Burdett Company, 1965 Education. Harrisburg, PA. Commonwealth Standish, Robert Sunflowering- Thinking, of Pennsylvania, 1969. Gray, Vera, and Percival, Rachel, Music, Feeling, Doing Activities for Creative Ex- Movement and Mime for Children Lon pression Carthar-, IL Good Apple, Inc , Gerhardt, Lydia A. Moving and Knowing. En don Oxford University Press, 1966 1977 glewood Cliffs, NJ: Prentice-Hall, 1973,

84 Gowan, John Curtis; Demos, George D.; and Smith, Cam. Buckminster Fuller to Children Squires, John L., and McLean, Robert E. Torrence, E. Paul Creativity: its Educational of Earth. Garden City, NY: Doubleday & American Indian Dances. New York: Implications. New York: John Wiley & Sons, Company, Inc., 1972. Ronald Press, 1963. 1967.

Herbert, Cindy. Everychild's Everyday Learn- ing About Learning. New York: Doubleday & Children's Books for Dance Ideas Co., Inc., 1980. Folk and Ethnic Dance Arkhurst, Joyce C., ed. Haire You Seen a Humphrey, James H. Help Your Child Learn Durlacher, Ed. Teacher's Manual #2 for Comet? New York: John Day Co., 1971. the 3Rs Through Active Play. Springfield, IL:Intermediate Elementary Grades 4, 5, and Charles C. Thomas, 1980. 6. Freeport, NY: Square Dance Associates, Atwood, Ann. The Little Circle. New York: 1958. Charles Scribner's Sons, 1967. Little, Araminta. Dance as Education. Reston, VA: The American Alliance for Health, Physi- Gilbert, Celia. International Folk Dance at Bond, Jean Carey. Brown is a Beautiful cal Education, Recreation and Dance, 1977. a Glance. Minneapolis: Burgess Publish- Color. New York: Franklin Watts, 1969. ing Company, 1969. Madeja, Stanley S., ed. Arts and Aesthetics: Borton, Helen. Do You Move as I Do? New An Agenda for the Future. St. Louis, MO: Harris, Jane A.; Pitman, Anne; and Waller, York: Abelard-Schuman, 1963. Cemrel, Inc., 1977. Marlys. Dance a While, 5th ed. Min- neapolis: Burgess Publishing Company, Brandy, Franklyn. Gravity is a Mystery. New Madeja, Stanley S., ed. The Arts, Cognition 1972. York: Thomas Y. CrowJl Co., 1970. and Basic Skills. St. Louis, MO: Cemrel, Inc., 1978. Hofmann, Charles. American Indians Brown, M. W. Good -Night Moon. New Sing. New York: John Day, 1967. York: Harper and Row Pubs., Inc. 1948. Madeja, Stanley S., with Onuska, Sheila. Through the Arts to the Aesthetics The Cem- ICHPER Book of Worldwide Games and Brueghel, Peter. The Fair. Nev. York: Lip- rel Aesthetic Education Curriculum. St. Louis, Dances. Washington DC: American Asso- pincott Co., 1975. MO: Cemrel, Inc., 1977 ciation for Health, Physical Education, and Recreation, 1967. Carle Eric. Do You V si..nt to Be My Friend? .May, Rollo. The C,,,...rage To Create. New New York: Thomas Y. Crowell Co., 1971. York: Norton, 197j. Nelson, Esther L. Dancing Games for Children of All Ages. New York: Sterling Charosh, Mannes. Straight Lines, Parallel McVickar, Polly. Imagination, Key to Human Publishing Company, 1974. Lines Perpendicular Lines. New York: Potential. Washington, DC. National Associa- Thomas Y. Crowell, 1970. tion for the Education of Young Children, Nelson, Esther L. Holiday Singing & Danc- 1972. ing Games. New York: Sterling Publishing Connolley, Olga. Rings of Destiny. New Company, Inc., 1980. York: David McKay Co., Inc., 1968. Meams, Hughes. Creative Power: The Educa- tion of Youth in the Creative Arts. New York:Lidster, Miriam, and Tamburini, Dorothy. Eichenberg, Fritz. Dancing in the Moon. Dover, 1958 Folk Dance Progressions. Belmont, CA: New York. Harcourt Brace Jovanovich, Inc., Wadsworth Publishing Co., 1965 1955 Rockefeller, David, Jr Coming to Our Senses. The Significance of the Arts for Powers, William K. Here is Your Hobby: Ets, Marie Hall, and Labastida, Aurora. Nine American Education. New York: McGraw-HillIndian Dancing and Costumes. New York: Days to Christmas. New York: Viking Press, Book Co., 1977. G. P Putnam's Sons, 1966. 1959

9? 85 Frost, Robert. Stopping by the Woods on a McDermott, Gerald. Arrow of the Sun. New Spiers, Peter. Noah's Ark. New York: Snowy Evening. New York: E. P. Dutton, York: Viking Press, 1974. Doubleday and Co., 1977 1978. Mendoza, George. And I Mast Hurry for the Spiers, Peter. People. New York: Doubleday Haskell, Arnold. Nmnderful World of Dance. Sea is Corning In. Englewood Cliffs, NJ: and Co., 1980 Garden City, NY: Doubleday & Co., Inc., Prentice-Hall, Inc., 1969. 1969. Stevenson, William. Bush Babies. Boston. Mendoza, George. The Marcel Marceau Houghton Mifflin, 1965. Heide, Florence, and Van Cleif, Sylvia. How Counting Book. Garden City, NY: Double- Big Am I. Chicago: Follett, 1968. day & Co , Inc., 1971. Ubell, Earl. The World of Push and Pull New York: Atheneum, 1364. Hentoff, Nat. Jazz Country. New York. Nickerson, Betty. Celebrate the Sun. New Harper and Row, 1965. York: J. B. Lippincott, 1969. White, E. B. Trumpet of the Swan New York: Harper and Row, 1970. Hoban, Tana. Shapes and Things. New O'Neill, Mary. Hailstones and Halibut York: Macmillan, 1970. Bones. Garden City, NY: Doubleday, 1961. Wildsmith, B. Circus. New York: Franklin Watts, 1970. Keats, Ezra Jack. The Snowy Day. New O'Neill, Mary. Winds. Garden City, NY: Doubleday, 1970. York: Viking Press, inc., 1980. Zolotov, C. Over and Over. New York: Harper and Row, 1957. Keats, Ezra Jack. Whistle for Willie. New Rand, Ann amid Paul. Sparkle and Spin: A York: Viking Press, Inc., 1964. Book About Words. New York: Harcourt Brace, Inc., 1957. Kuskin, Karla. All Sizes of Noises. New York: Harper and Row Pubs., Inc., 1962. Rey, H. A. Find the Constellations. Boston: Records Lamorisse, A. Red Balloon. Garden City, Houghton Mifflin Co., 1976. NY: Doubleday & Co., Inc., 1956. The records listed below are examples of Rey. H. A. The Stars, rei. ed. Boston: classical, ethnic and folk, electronic, rock, Uonni, Leo. Inch by Inch. New York: Houghton Mifflin Co., 1970. and jazz music, along with music recorded Astor-Honor, Inc., 1960. especially for movement exploration and Russell, Solveig Paulsen. Lines and Shapes. dance. Some of the records are accom- Lionni, Leo. Swimmy. New York: Pantheon New York: Henry Z. Walck, Inc., 1965. panied by guidelines, instruction, and book Books, Random House, Inc., 1968. supplements. All records are 12" LPs unless Scheer, Julian. Rain Makes Applesauce. otherwise indicated. Mayer, Mercer. Bubble Bubble. New York: New York: Holiday House, 1964. Four Winds Press, 1973. Bela Bartok. Phillips. #SAL 6500-013 Schlein, Miriam. Shapes. New York: Wil- Mayer, Mercer. East of the Sun and West of liam R. Scott, 1964. Carnival of the Animals. Saint-Saens. the Moon. New York: Four Winds Press, Columbia. Stereo #MS 6368 1980. The Sesame Street Books. Boston: Little, Brown, 1969. Children's Comer Suite. Debussy. Colum- McAgy, D. E. Going for a Walk with a Line. bia. Mono and Stereo #MS-6567 Garden City, NY: Doubleday & Co., Inc., Sitomer, Mindell and Harry. What is Sym- 1359. metry? New York: Thomas Y. Crowell, 1972. Electronic Music. Philips. Stereo PHS 600- 647, Mono #PHM 200-047

86 jd Electronic Record for Children, The Switched on Bach. Columbia. Stereo #MS- Authentic Afro-Rhythms, Early Elemen- Dimensions 5 Records, Box 185, 7194 tary Through College. #9070. Features 16 Kingsbridge Station, Bronx, NY 10483. rhythms from Africa, Cuba, Haiti, Brazil, Stereo #E-141 Very Best of Don Messer. MCA Records Trinidad, and Puerto Rico. Description of MCA2-4037 dances included; teacher's manual avail- Fiddle Faddle. RCA Stereo #LSC-2638 able.

Four Swinging Season& Capitol Interna- Authentic Indian Dances and Folklore. tional. Stereo #SP-10547 #9070. A Chippewa chief narrates the his- tory and meaning of the Corn Dance, Rain Record Sources and Selections In Sounds from Way Out Perry-Kingsley. Dance, and Canoe Dance. Contains four ap- Vanguard Records. #VRS-9222 propriate bands of drums with chants; The records that are preceded by an asteriskmanual incl. (*) have been suggested as appropriate for Listen and Move Series. McDonald & Evans, movement and dance activities by teachers Dances of theWoWsPeoples. Two re- Ltd., 8 John St., London, W.C. 1. Four re- who assisted the Task Force in compiling cords, #6501-4. Authentic folk dance music cords (Green label) material for this chapter. Records without from the Balkans, Europe, Near and Middle an asterisk are included because they repre- East, Caribbean, and South America. Ac- Lotus Palace, The. Alan Lorber, MGM sent a cross section of dance materials of- companying notes include directions. Records Div., #V6-8711 fered by the company under which they are listed. Catalogs and listings are available *Dances Without Partner& Two records, MoogThe Electric Eclectics of Dick Hy- from these companies. #AR-32-33. Group dances danced in folk men. Command Records. Stereo #938-S forms, some with instructions, some w. Bowmar, 622 Rodier Dr., Glendale, CA music cues, and others with instrume Moving Percussion and Electronic Sound 91201 music only. Suitable for upper grades. ..- Pictures. Listen, Move and Dance, EMI *Children's Rhythms in Symphony. Great Records #CLP 353. Honor Your Partner Records. Series Two: ' music for movement and in- Record Series #201-208. Square dances for Music for Rhythms and Dance, Vol #4. terpretation, e.g., "Gavotte," "Polka," upper elementary grades. "Gigue," "Over the Hill." Freda Miller Records for Dance, 131 Fclkways/Scholastic Records, 907 Sy an Bayview Ave. Northport, NY 11763 *Rhythm Time #1 & #2. Two records, Ave,., Englewood Cliffs, NJ 07632 #023 and #024. Basic movement rhythm, Pop Corn by Hot Butter. Music:), Stereo and idea cctivities. *S-ands of New Music. #FX-6160. Or- # MS -3242 chastotion sounds associated with a steel Dancer's Shop, Children's 14"...,sic Center, f,cton bamyard scene, banshees, fantasy Popular Folk Tunes for Special Children. 5373 W. Pico Blvd., Los Angeles, CA 90019 in spar a, reverberation, and others provide Hoctor Dance Records, HCP-4074 A source of any dance record or book in oil, .a, )us creative movement possibilities. print. Catalog lists records under Dance *Sot Ids, Rhythm, Rhyme and Mime for Sounds of New Music. Folkway Records, Therapy as well as Dance. FX-6160 Chi Idrt#FC-14504. Instruments and rt,/thr-relating to African cultures are as- Educational Activities, Inc., P.O. Box 392, sociate', with sounds, sights, and rhythms Space Songs. Motiviation Records, Div. of Freeport, NY 11520. (Kim5o Educaticnal Re- of city ,it,. Children's own experiences can Argosy Music Corp. #MR-0312 cords also included.) he root dated in music and movement im- African Heritage Dance& #AR-36. Pres- Streetsong. Carl Orff, BASF Records, HC- provisuncos as a result of this association. ents music and instructions for some of the 25122 Tha '3 riy Rhythm" selection is effective in easier African steps and dances. usiric)80fis,feet, and body.

93 87 Hoctor Educational Records, Waldwick, NJ Young People's Records, do Living Lan- teaming Through Movement 32 minutes, 07463 guage, 100 6th Ave., New York, NY 10013. BIW, (SLF) Come Dance With Me. Virginia Tanner Many of these records are useful for very Looking For Me 1971, 29 minutes, BIW, presents her approach to creative dance. young children, combining as they do (EMC) Basic principles of movement and rhythm songs or cL.*nts which guide the action to are explored to music with such titles as excellent music. Recommended especially Move ft Approximately 30 minutes, color, "Words that Rhyme" and "Daddy's Car." are Building a City, My Playful Scarf, The (FI) One record is of music only. Little Fireman, Train to the Zoo, What the Popular and Folk Tunes for Rhythmic Lighthouse Sees, When :he Sun Shines, al- Moving/Making/Me 1972, 28 minutes, B/W, Movement Features orchestrated selections though all have value for children's dance. (RPF) compiled and directed by a dance therapist. Films Something Special 1977, 30 minutes, color, RCA Records. Radio Corporation of The letters in parentheses refer to film dis- (AAHPERD) America, 1133 Avenue of the Americas, tributors, listed immediately following. New York, NY 10036. /Order records Sure, I Can Dance (FI) through local record company distributors. Instructional (illustrating Catalog available for school and library ma- content and methodology A Very Special Dance 1976, 30 minutes, terials.) color, (AAHPERD) Being Me 1969, 13 minutes, B/W, (EMC) Adventures in Music. A 12-album record series (two at each grade level). Grades 1-6. Child of Dance 1970, 9 minutes, color, (FI) Motivational Films Primarily used by music specialists and (EMC) classroom teachers. However the great Art and Motion 17 minutes, color, (EMC) variety of classical selections provides a Children Dance 1970, 14 minutes, 8/W, good music resource for creative dance ex- (EMC) Christmas Crocker 9 minutes, color (CMH) periences. Few contemporary music selec- tions are included. Creative Body Movements 11 minutes, Dance Squared 1963, 4 minutes, color (IFB) World of Folk Dance. An album in .;olor (MMII graded series for elementary school chil- Esther Dances Helen Keller 10 minutes, Dance is 1978, 12 minutes, (slide tape), dren. color, (SCF) (AAHPFRD) S & R Records, 1609 Broadway, New York, Fantasy of Feet 1970, 8 minutes, color, NY 10017. Dance With Joy 1971, 13 minutes, color, (EBEC) (DF) African Dances and Games. In Ewe style Hai, Stones and Halibut Bones (Parts I and from parts of Ghana and Togo. Manual Dancers In the Schools 1972, 28 minutes, //) 1964-1967, 6 & 8 minutes, color, (SEF) available. color, (P) *Dance Music for Preschool Children. Hoo Ha 1967, 5 minutes, color, (RC) Presents original music to accompany basic Discovering Rhythm 11 minutes, color rhythm movements. Arranged by Bruce (UEVA) A Line is a Line is a Line 1972, (IFB) King, a leading dance educator. Early Expressionists 1965, 15 minutes, color The Loons Necklace 1949, (EBEC) Worldtone Folk Music International. 56-40 (CMH) 187th Street, Flushing, NY 11365 Once Upon A Time There Was a Dot 1967, 8 Free to Move (WSU) minutes, color, (CMH)

88 I U 0 Pee Pop! Sprinkle! 11 minutes, color, Fl Film Images Sources for Reading Material, Audiovisual (MMP) 17 W. 60th St. Materials, and Information New York, NY 10023 Snowy Day 1964, 6 minutes, color (WWS) or American Alliance for Health, Physical Edu- 1034 Lake St. cation, Recreation and Dance Thinking - Moving- Learning 20 minutes, Oak Park, IL 60301 1900 Association Dr. color, (BWF) Reston, VA 22091 IFB International Film Bureau 332 S. Michigan Ave. View and Do Film #1 32 minutes, B/W, Chicago, IL 60604 Country Dance and Song Society of (SLF) America MMP Martin Moyer Productions 55 Christopher St. You Can Compose A Dance (Parts 1 and 2), 900 Federal Ave. New York, NY 10014 10 minutes each, B/W, (SLF) Seattle, WA 96102 Dance Mart P Pennebaker Inc. Box 48, Homecrest Station 56 W. 45th St. Film Distributors New York, NY 10036 Brooklyn, NY 11229

AAHPERD AAHPERD, do NEA Sound RC Rapaport Company (Monroe) Dance World Books Studios 175 W. 72nd St. Box 10 1201 16th St. NW New York, NY 10023 Blawenburg, NJ 08504 Washington, DC 20036 RPF Realist Photographers and Film makers Dancer's Shop, Children's Music Center ASF Association Sterling Films ATTN: William Jungels 5373 W. Pico Blvd., 221 S. Olive St. 96 North Park Los Angeles, CA 90019 Los Angeles, CA 90007 Buffalo, NY 14216 New York Public Library BWF Bradley-Wright Films SEF Sterling Educational Films, Inc. Genevieve Oswald, Curator of Dance Col- 309 N. Duane 241 E. 34th St. lection San Gabriel, CA New York, NY 10016 Lincoln Center SLF S-L Film Productions New York, N\ CMH Contemporary Films/McGraw P.O. Box 41108 Hill Los Angeles, CA 90041 State Arts Councils I 330 W. 42nd St. Provide information on localiance re- New York, NY 10036 UEVA Universal Education and Vis- sources and personnel as well as funding ual Arts possibilities for workshops and other DF Documentary Films 221 Park Ave. S. dance endeavors. 3217 Troutgulch-Rd. New York, NY 10003 Aptos, CA 95003 WSU Wayne State University State and Private Universities and Colleges EBEC Encyclopedia Britannica Edu- Audio Visual Department Refer to dance or physical education de- cational Corp. Detroit, MI 48202 partment personnel. 425 N. Michigan Ave. WWS Weston Woods Studio Chicago, IL 60611 Uni-Pub Weston, CT 06880 P.O. Box 433 EMC University of California Exten- New York, NY 10016 sion Media Center Berkeley, CA 94720

I 0 i 89 United Nations Bookstore we are offering the following suggestions Carol Le Breck New York, NY for contacts: R.D. 3, Box 15 River Falls, WI National Dance Association of AAHPERD, Contacts for Children's Dance Judy Schwartz Reston, VA 22091 33 W. 93rd St. Katie Planche Friedrichs New York, NY 10025 The Commission on Children's Dance The Task Force recognized the National Dance Association, AAHPERD, Juan Valenzuela importance of identifying sources of Reston, VA 22091 535 Everett Ave., Apt 114 information, programs, projects, or activities In addition contact is suggested with the Palo Alto, CA 94301 emphasizing children's dance. members of the original Task Force of Communications were sent out to solicit Children's Dance; Various State AHPERDS data from state and district dance Gladys Andrews Fleming, Chairman chairpersons, the Executive Council of the Various State Departments of Education 4150 October Road Dance Division, and city and state directors Richmond, VA 23234 of physical education. Such activities were Alliance for Arts Education carried out in an effort to determine the Katie Planche Friedrichs John F. Kennedy Center for the Performing kinds of experiences underway as well as to Rt. 2 Box 26, River Road Arts identify places in which children's dance Covington, LA 70433 Washington, DC 20566 could be observed. Mary Rae Josephson Adamson The Task Force was gratified to receive Regional Alliances for Arts Education 14 Evergreen Road responses from people throughout the St. Paul, MN 55110 country offering to serve as contacts for Various State Alliances for Arts Education their teaching of some aspects of Children's Ruth Murray Dance. The assistance of these people has 8900 E. Jefferson Ave. State and Private Universities and Colleges been most valuable and their efforts have Detroit, MI 48214 greatly helped to advance Children's Dance. Various State Commissions for the Arts Sal Abitanta Many of the illusttations appearing in this 1046 Cross Ave, publication are a result of these contacts. National Endowment for the Arts Elizabeth, NJ 07208 Because of these efforts the members of the Dance Panel Task Force feel encouraged about what is The Commission on Children's Dance Washington, DC now happening in Children's Dance. (1981-82) However, during the interim since this Sharon McColl, book was first published, many projects 3313 N.W. 52nd have been completed and extended into Oklahoma City, OK 73102 programs, many new ongoing programs are in existence, and boys and girls are Ann Zirulnik having opportunities for dance. In many 25322 Parkwood cases the former contacted people have Huntington Woods, MI 48070 moved or retired and there are now many Susan Stinson additional contacts. 2303 Yorkshire Drive The original book, Children's Dance Greensboro, NC 27406 included a chapter on projects and activities and another on Personal Contact for Lilo Fauman Children's Dance. In this publication these 25685 York Road two chapters have been deleted. In its place Huntington Woods, MI 48070

90 102 Photo Credits

Photographs appearing on the pages listed below were submitted by the following

Page iii Agnes I. Michaels, Fredonia, New York 52 Agnes I. Michaels v Agnes I. Michaels 53 Agnes I, Michaels vi Protect HOPE 54 Bruce King, New York, New York yin Nik Krevitsky, Tucson, Arizona 55 Bruce King Agnes I. Michaels 56 Bruce King x Shirley Ririe, Salt Lake City, Utah 60 Gladys-Andrews Fleming 1 Gladys Andrews Fleming, Richmond, Virginia 62 Magdalena Cantu, Richmond, California 3 Linda Hearn, University of Oregon, Eugene 63 Nik Krevitsky 4 Shirley Rine 64 Nil' Krevitsky 5 Anne and Paul Barlin, Claremont, California 67 Nik Krevitsky 6 Gladys Andrews Fleming 68 Shirley Ririe Shirley Rine 70 Gladys Andrews Fleming 8 Shirley Ririe 73 Shirley Ririe 12 Joan S Tillotson 80 Gertrude Blanchard 16 Joan S. Tillotson Barbara Mettler, Tucson, Arizona 23 Gladys Andrews Fleming Louise K. Turner 25 Gladys Andrews Fleming 81 Anne and Paul [Wm 27 Gladys Andrews Fleming 28 Gladys Andrews Fleming 29 Gladys Andrews Fleming 30 Gladys Andrews Fleming 32 Gertrude Blanchard, Richmond, Celrfomia 34 Ruth Wilson, Cheyenne, Wyoming 35 Ruth Wilson 37 Shirley Rorie 39 Shirley Rif .e 40 Louise Flotte, Hammond, Louisiana Katie Manche Friednchs, Hammond, Louisiana 42 Tommye G. Yates, La Fayette, Georgia 43 Louise K. Turner, Auburn, Alabama 45 Shirley Ririe 47 Dorothy Mozen, Berkeley, California 48 LOUIS*K. Turner Shirley Ririe 49 Shirley Ririe 51 Shirley Ririe

Editor's Note. We wish to thank all contri- butors of photographs and other material. However, because of space limitations we were unable to use all contributions.

t03 91 Other Dance Publications Available from AAHPERD

vi Sexuality and the Dance A monograph dealing with a variety of perspectiveson sexual- ity and the dance. Presents views of the philosopher, therapist, . and student of dance. Encourages greater exploration into the depth and breadth of sexuality and the dance. Coversa variety of topics, such as, foundations of the dance therapyprocess, dancing and sexual identity, and sexualresponse and the Graham contraction. 1980. 32pp. (243-26874)

Aesthetics and Dance A monograph dealing with aesthetics froma broad-based ap- proach to dancer's, dance educators, and to physicaleducators concerned with the philosophy of sport. Views movementarts and the human body from an aesthetic standpoint. Some of the topics covered are the role of the choreographer and teacher in the aesthetic process, and dance perceived from the audience's and performer's perspective. 1980. 4Opp. (243-26732)

For prices and order information please write: AAHPERD Promotion Unit 1900 Association Drive Reston, VA 22091

105