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'ED 213°707 SP 019 869

TITLE - Dance: Creative/Rhythmic Movement Education. A Conceptual Approach for K-1/ Curriculum

Development. . INSTITbTION Wisconsin State Dept. Of-Public Instruction,

Madison. ' SPONS AGENCY Department of Education, WashirIgton, D.C.

REPORT NO Bull -2119 .., PUB DATE 81

NOTE . 86p. ..> EDRS. PRICE MF01/PC04 Plus Postage. DESCRIPTORS Administrator Responsibility; *Curriculum Development; *Dance; *Educational Resources; Elementary Secondary Education; Instruction'al Materials; Learning ProceSses; *Movement Education; Psychomotor Skills; Skill' Development; Teacher Responsibility; Teaching Methods; Teaching Styles

IDENTIFIERS , "Wisconsin

ABSTRACT This guide proposes a comprehenSive, sequential development of a kindergarten through twelfth grade dance education curriculuT. A discussion of the role of dance in education is presentedin the first section. The secondsection addresses the major aspects 'of the teaching 'and learning Modes, of planning for leitrning, and of concepts, skills, and knowledge basic to dance ,education.,ThiR,section emphasizes and details the nonlinear integrate, RL -of the cognitive, motor, and affective learning domains. Included TR this_section are modelgqor lear'ning units and a proposal foi'a,retrieval system which makes quick access to dance resources, information, and activities possible., Fhe third section Outlines supportive roles and responsibilities of administrators and teachers for the development and implementation of dance education programs. Physical facilities for dAnce, scheduling, and time.allocationS are disCussed. Rebommendations concerning .the knowledge and competencies necessary for danCe education teachers are also addressed in this section. The guide concludes with.a list of various resources for dance.educators. (JD)

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1110MI 1111 CREATIVEMH'YTI-IMIC MOVEMENT EDUCATION U.S. DEPARTMENT OF EDUCATION "PERMISSION TO REPRODUCE THIS NATIONAL INSTITUTE OF EDUCATION MATERIAL HAS BEEN GRANTED BY ED 1CATIONAL RESOURCES INFORMATION CENTER (ERIC) A CONCEPTUAL L. IarmA1vck. 1This document has been reproduced as APPROACH ;eceivel from the person or organuetfon °none ting it FOR K-12 - Minor changes have-beentmade to improve CURRICULUM reproduction (Nobly DEVELOPMEN TO THE EDUCATIQN'AL RESOURCES Points of view or opinions statedin this docu INFORMATION CENTER (ERIC)." ment do not necessanly represent official NIE position or policy

PUBLISHED BY WISCONSIN DEPARTMENT OFPUBLIC INSTRUCTION2HERBERT J. GROVER, STATCSUPERINTENnENT S

The following page references were deleted due to a last minute editing error Please revise your copy according to the following information

'Page 5 The schema (figure 1, page 6) on the following page visually . Page 7 These goals are defined in Figure 2, page 8' Page 10 = (See Planning-Learning Schema, page 37) Page 12 (See Dance Education Content Cognitive. Motor, Atfectie Skills and Knowledges on pp 20-29 ) (SAkillsand Knowledges on p. 30 ) This may be organized on kevsort cards (see Keysort Retrieval System on pp, 33-36) or listed on inde \ cards or m'catalogs (See Learning Unit Organization Form, p 41.) Page 31 The recording of this information on Iseysort cards (see Key- sort Retrieval System, Figures 3, 4, 5, 6, pages 33, 34, 35, 36) provides... Pgge 39" The planning for learning process moves from left to right on the Planning Learning Schema, page 37, and necessitates... (Conceptual Framework1pp. 14.19 ) (Concepts for each gra4e /level listed with each Generalization, pp. 14-19.) Page 42 These examples utilize the Learning Unit Organization Form, figure 9, page 41.

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4 4 . . DANCE: CREATIVE/RHYT4MIC MOVEMENT EDUeATION

A CONCEPTUAL APPROACH :FOR K-12 CURRICULUM DEVELOPMENT

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This project was supported m part hs funds appropriated under the ES FA Title lb. P 1. 95 561 no amended The itpiniont expressed hereindo nottlecessardy relleit the win r pole,f the' Department of Education and no official endottemeilt by the U S Departme4t of litolucation should be inferred y ,

Bulletin No 2119 TABLE OF CONTENTS

SECTION I: OVERVIEW

Acknowledgements 2 Authors= -Statements of'Beltef .)zi 2 Preface 4 - 4 ,Introduction: Purpose of the Guide . 5 ., f Philosophy and Goals 7

SECTION II: CURRICULUM STRUCTURE, CONTENT; PLANNING AND C INSTRUCTION Explanation of Teaching/Learning, Modes in Dance Education ., , 10 Preparing for Curriculum Planning 12 Conceptual Fram'ework , 13 Daiice Education Content: Cognitive,'. Motor and Affective -Skills and Know ledges0. 20 Retrieval System for CurriCulum Planning .... 31 Planning for Learning Schema 37 Examples of Learning Unit Content 38 Planning for Learning: The Teacher's Viewpoint 39 Learning Cnit Organization Form. `) 41 Learning Unit aamples 1 42-

4 SECTION ADMINISTRATIVE IMPLEMENTATION

Roles and Responsibilities. 50 Dance Comp(meht of Artists-in-Residence Progiam 52 .Scheduling,-Staffing and Class Size 53 Physical Facilities. 54 Alternative Spaces 55 Special Needs..,. - 56 Recommended Knowledges and Competencies 56

SECTION IV: INSTRUCTIONAL RESOURCES

Audio Visual 4 '. , 62 Articles in Journals or Magazines r . 77 `, Books 69 Arts and Dance Organizations, '..4 .., f 79 Facilities, Services and Supplies... 80 Periodicals , 81 Wisconsin Dance Publications 83 SECTION I:' OVERVIEW

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1 Photo contrib led byAlencanAlliance for Health, Physical Education. Recreation and Dance

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- 1# 6 eof ACKNOWLEDGEMENTS

This publication is one of the first state K-12*development and writing of this document. Their dpce curriculum guides developed in this nation.. statements of of are included' in order that the Its conceptualization and development was a pio- reader may unrstand that each of these ndivid- neering effort ft4' the writers. While the format of uals brought their own philosophy and expertise to the guide is one acHocat6d by the Wisconsin bear on this publication. Through discussion and Department of Publii. Instruction, the philosophy( resolution they were able to develop a guide which and content had to be struggled with and shaped is fundamentally consistent in structure, rich in into a comprehensive dance education curriculum. content and educationally sound. This searching and struggling required consider- , able dedication and effort on the part of the writing STATEMENTS 01 BELIEFS committee members. The writing of this guide began in 1977 and con- Virginia Bryant WellerDance is an art form siderable ach ice arid input 'was contributed by the which can provide for per,sons.of all ages, races, following person;;: sexes, and religions and aesthetic experience through bodily movement Suice it needs no Virginia BrNant Weiler, Dance Education Curric- external instrUment, itis 1 perilve in its ulum, Committee Chairperson, FoUnder of Dance basic educational form The time has come for' ProgramAlrerno College, Currently teacher of dance to become an intrinsic part ,of. every Special Edfication in Dance. persqsn's educati'on as an art form equal to that of music and art Judith Carlson, Elementary Physical, Education Specialist(trade., 1-8, Richards Scluml, Whitefish JuditB ('arlson, MNt)uchingre fleet's a Bay movement education appriguli which clo;e'ly a allies the-three areas of human development: Susan Hughos Holgrasso. Assistant Professor of the motor, affective and cognitive learning Theatre Arts Dam e, I 'niversit of 6Visconsin-Ste- domains, and honors a strong commitment Co vens Point the total education of the child believe that MOLTment Carol La Bre( k, thetrcrEducatiOn find Director the more personall meaningful of Projc;c0Flesta, a projcc t for gifted and talented: expenenees are for cratdren, the ,i.,,reater the effect physical education u have on the Mu- of Wisconsin, Ra4rFalls .. L'nu'erstt cationof today's child Joan Mills Maas, Dance Specipli 1,,ylames Madison Memorial High School, Ma !son.' Susari Hughes GingrassoI feel that dance can

S eItend the personality, develop the self, and Nirschl, Teacher of Physical Education promote a balanced concept of life Dan«e and Dance, Kaukauna High School, Katikatim , should be a part of education from the earliest grades through high selejl and beyond. Per- Miriam Shastadklodern Dance Teacher, fo'r- haps the best way to describe my contributions merly at the 'Inlversit y of Arkansas, board t44 thisguideis to say that I have taken csideas member of the Milli aukee Modern Dance Council and concepts from !filter committeeWMers, , and a board member of the Wisconsin Dance reuvrkcol and Shaped them into cogent and Council practical contributions

Photographs contributed by Joan'Mills Maas - The valto5.4' of dance educa- American Alliance for Health, Physical Edu- tion are many, and 4ndepth dance expe'rtences, cati6n, Recreation rin d Dance (cover 'photo taught by qualified instructors, should be and other.,) offered to all students at all levels of education.' Susan Gingrasso,, Assistant, Professor The- Kinesthetic' (wordless, fundamental move- atre Arts; I W Sfc,vens Point ment skills, ,creative activities, and perform-. ance experiences are/too often neglected in our This writing project was chaired by Virginia schools toilay. Dance education should be Weiler who with wisdom and perseverance pro- advanced to a status comparable to that of the. vided effecti1,7e leadership in resolving questions other arts'.This' curriculum project is an and keeping the project on task. The persons iden- attempt.' o shoo phf this should he done and tified below were primarily responsible for the how-to accomplish this goal

2 Whileserving as the facilitator of this project I Dance Council and the College of Fine Arts, UW- have been impressed with the insights and knowl- Stevens Point. edge of the above individuals and' I have found it to be Sri educational and rewarding experience. The development of this publication has been a Earl L. Collins, Project Coordinator cooperative effort supported by the Wisconsin State Supervisor-Art Education Department of Public Instruction, the Wisconsin State Coordinator-Arts and Humanities

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Contributed by Susan angrasso

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1 PREFACE The Wisconsin_Department of Public Instruction has a long history of 'A ipport mg arts ediR at ion as alnportant and basic part ofcomprehensk e h -1'? school program. I belie\ e that learning most effect k e YY hen-it is integrated and experiefltial. All aspects of human perception nd capability must he involved in the learning process. Dance and create movement ha e ays been a necessary and important aspect of human function and expression'

Ph% mo\ ement has been an integral part of Wisconsin schools for many Nears. Social and *et !In' m, of dance hp, e been offered by most of these schools/but dance as (Teate e pr-e'lsion and as an art form is not generally provided. The lack ofcomprehen- siYe dance education curriculum guidelines has undoubtedly, contributed tothe lack of a total dance education program.

. This publication has been developed in response to the need for 1<-12.-danceeduca- tion guideline,: Itis 't he first dance curriculum developed and published by thte Wis- consin Department' of Public Instruction. It encompasses all of the major aspects of danqe education and itis based on the Department's advocacy of experiential and conceptual learning. The I. urriculIll committee -has developed an outstanding guide Yhich clearly describes the teaching/learning process. content. and needs of dance education. I encourage schools to utilire this guide as the basis forplanning and dey eloping their l< dance education offerings.

Herbert Grocer State Superintendirlit (4' Public Instrudion

L/ 'INTRODUCTION PURPOSE .0.F .THE GUIDE ( Seeds sown on dry, hard, rocky ground fail to dance education curriculum guides. The following, develop. Seeds sown on moist tender welcoming soil section contains detailed information fur local blossom into beautiful plants with the strength to school district curriculum development. regenerate. . This guide proposes a comprehensive, sequen- So itis with Dance Education in the public adevelopment of a K-12 dance education curric- school systems across the country. For years, denied the status of a fine art, dance was plastered with ulum. In Writing the guide, the authors chose to throttling stigmas. Considered as commercial present the ideal nu)del for,dance in .Nducation in entertainment or relegated to the role of developing anticipation that quality programs Alined in the physical skills and coordination, dance tooka back present might be realized in the future. The model seat to the other arts and physical education activi- emphasizes a conceptual, holistic approach rather ties. Although must schools had dance activities in than the traditional imitatke methods Used in the curriculum, they consisted only of imitative, dance education. . non-exploratory forms like folk, square, and social The firstsection establishes the philosophic dance. These activities provided convenient w ys to position of the committee toward dance m educa- transmit proper social behavior between the exes tion. Goals derived from t his philosophic iewpoint and traditional value' concerning public physical' appear in a schema which focuses on individual and -contact. Rarely were dance activities used or recog- societal needs. nized as vitql to the total education of the indi- The second section thoroughly addresses the ,vidual. The seeds of dance as a means to integrate major aspects of the teaching/learning modes, of the cognitive, motor, all ect ive and spiritual self has struggled for existence in a hostile environment, planning for learning, ofconcepts, skills, and until very recently, when a significant segment of knowledges basic to ei'dance education. It empha- our society began to turn the tide toward recog- sizes and details the nonlinear integration of the nizing this necessary mtegration. Concerned about cognitive, motor, and affective learning domains. the loss of self-image and self-esteem in this age of This section includes models for planning/learning overwhelming technical accomplishments, they units and proposes a retrieval system which makes have urged educatorts to incorporate the fine arts quick access to dance resources, informatiym. and into the curriculum. nut as fringe activitiesobeas activities possible. This section concludes with the the core from which traditional academic studies "nitty gritty'' of how to turn concptual n14,terial spring. into practical leaning units and lesson Dance, as the probable mother of the arts, has The third section outlines rules of suppOrl and gradually shed its stigthas of entertainment, social responsibilities of administrator, and teachers for culturalization, and skill development. It has begun the development and iniplementat ion of dance edu- to achieve recognition as a primary means to inte- cation programs. Physical facilities for dance,- grate and expand perceiving, learning, doing, and scheduling, and time allocations receive deserved knowing. This is only right, because our movement patterns and dances reveal us to ourselves and to attention. Recommendations concerning the one another more simultaneously and totally than knowledges and competencies necessary for dance does our ,linear, discursive language. The effort, education teachers have also been addressed in this section. T shape, weight`, and timing of our movement! deter- guide concludes with a substantial mipe the degree of success, working, and learning. listing of ous resources for dance educators. Dance has at last begun to find a receptive ero,iron- -The schema (figure I, pageI on the following .. ment in education. page visually focuses the varied aspects of dance The purpose of this guide is to sere as a into a holistic awareness and comprehensive educa-, resource for the development of local school district tion.,

10 CAREER AWARENESS APPRECIATION AS AN AUDIENCE

SELF ACTUALIZATION SPECIAL EDUCATION GIFTED TALENTED DANCE THERAPY RESOURCES ARTISTS IN THE SCHOOLS BOOKS,FILM, MEDIA, MATERIALS, CONCERTS

PARENTS STUDENTS TEACHERS JUNIOR-HIGH / ADMINISTRATORS MIDDLE SCHOOL D.P.I. PERSONEI. SECONDARY PROFESSIONAL COLLEGES PREPARATION PERSONNEL POST-GRADUATE PHILOSOPHY

Dance is movement .elevated to an aesthetic Choreography experience. From the first cry of a baby, to the last feeble'gesture of life, the human being moves and 'Choreographing a dance requires not, only the reveals a personality through movement. Lire's knowledgable application of learned movement experiences then, supply the source material from skills, but the ability to integrate fiirin and content which the dance creation springs. Dance provides a It requires extensive knAledge of self,the under- universal mean:(olexprqssing all that cannot be put Isanding of one's inner feelings, emotions, ideas, into words Friim the beft,inning- of history, dance and per eptitms of, the \yorld. Only then- can the has played" a dominant role in cultutal. develop- chOeo rapher make disck.rnimg,choices fur the ment, as worship, as -ritual, as play, as art. Dance proPe movement symbols with which to reveal the reflects man's aesthetic need to create tutd appre- dknce intent. 0 ciate beauty and form. Since the instrument for The choreographer learps to look at rriovemo-nt that artistic expression is the him-Ian body,. many with critical eyes and realizes the pain and joy of conclude that dance ranks as the mother of all other self achievement. In the process, he/she also learns art Wins. to appreciate and, respect the rnher life and unique- ness of not Only the self but of others as well. Most importantly, those eiiiitged ia the total danceexpe- Benefits rence become more receptive to the creative challenges and cognitive functions ot the mind. Persistence and disciplinC lea e their,mark on all who activelyrengage m dance experiences. Those Role of Dance In Ethication involved in dance seek to become more flexible. to learn finer comtrol .ot various body parts, to The .rule of dance'in education is to provide all strengthen and coordinate the entire body, to :students with an opportunity to experience a wide, expand the capacity an_,..i I range of movement vocab- varied, and in-depth exposure to dance as an art ulary, and to develop xodiesand minds as finely form. Dance educators have a commitment to teach tuned instruments of !notion. All of this takes a students how to use movement as a medium of consistent aad- prolonged period of time which can expression, to integrate the motor with the cognt- only be accomplished by Ire.quent practice. tive, to explorb the bond between personality and experiences free the bud, from inhibit nilA einem, and '10' stretch the tradqional bormda- tions and tensions, promoting ease and sureness for ries of the educAional processes. To be realized as- the de\ elopment of a more integrated total self: an integral part of education,-the dance experience Dance is a j) r ht runic expressio'n of the emu- .must de clop. Progress. and grow toward clearly tiunal sell througliLmo\ einem. stiinulate4 the defined goals-. Most important ia.t he establishntent- imagination and pro\ ides d Self-sat peri- ut. these goals .s th,it t he! he resi;onsk e "e(7t he needs ence Dame fosters :In Lipprec iation for the bod,'s and interestsf earll'andkIdual student. Fur rea- capacity and potential for mo ement. Danc6 offers suns suite as,th .se, dance should be ilitrn.sa to t he the opportunit, tor aestheti, and critical growth_ echrcation of all students at'all.grade levels. These and social development -goals are de4ined in figure 2, page

7 AESTHETIC DEVELOPMENT HOLISTIC WELLNESS CAREER AWARENESS SOCIAL DEVELOPMENT APPRECIATION OF PHYSICALITY OF PERFORMING DANCES RELATING TO RHYTHM SECTION II: CURRICULUM, STRUCTURE, - CONTENT, PLANNING AND INSTRUCTION

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4 14 EXPLANATION OF TEACHING/LEARNING MODES IN DANCE EDUCATION

Feelings, understandings. beliefs. attitudes, and teacher verbalizes, care must be exercised lest they

behayleirs related to major ideas (generalizatinns) get an exag-Zerated impression.. of their own self- and concepts about dance are taught and learned in importance. two modes. IIseof the creative (problem solving) or divergent teaching mode stimulates conceptual Nature of Dance in Education learning processes, while teacher-directed (imitative) or convergent teaching encourages learning by The nature of dance in dflocat ion requires that imitative processes. The total picture of learning in the primar> emphasis of the teaching/learning pro- dance education consists of a d>namiOialkince cess centers upon perceR ing,experiencing, synthe- between these two teaching/learning modes. sizing, creating. and eiduating. Cognitive knowl- Cognitive, motor, and affective objectives can be edges, motor skills, and, principles of movement aqomplished ,th rough either the cons ergent or occur simultaneousl> in the teaching/learning pro- diergent teachl'itg mode. The emphasis and choice cess. Students absorb concepts,,Ideas.anti vocabu- of mode will hilt according to the nature of the lary as they move and the dynamics of moving stim- concept. the` objeetke and the selection of motia- ulates full comprehension of movement ideas. tional resources and learning activities. Moist Final results, while generally considered less important,however,is that one's teaching evm- impOrtant than processes and experiences, plity ati\ plify consistently one's philosoph> of.education and important part in personal assessment and overall view of how students learn and develop. evaluation. Either cos ert or overt results appear in relationship and in proportion to the predominant .'Divergent Teaching /Conceptual teaching mode used. Learnfug Mode Factors of Divergent Teaching/ The reatil.-e or divergent method requires that Conceptual Learning the teacher draw from a rich storehouse of ideas. feelings, emotions, and perceptions which the stu- In planning the dkergent.teio hing/conceptual dents transform in) nak ement s> !Iliadic oftheir learning mode, the teacher sele( is and organizes a own feelings, emoti ns, ideas, and perceptionsThe ariety of informational. motivational situations in teacher mustraw on his/her owncreativIt to ,which students immerse themselves. (See Plan- stimulate the students when planning and imple- ning-Learning Schema. page ). These exper- menting the lesson iences should arouse new ur heightened awareness and understanding of multiple fack;rs upon which Convergent Teaching/Imitative. the objectives, concepts, and generalizatiops are being focused. The teacher guides the student Learning Mode through selected learning activities which spring The teacherdirectedor comergent teaching from the resources. e.g., pictures, colored paper, mode is most f requetitk used for the 'teaching of materials of different textures, sculptured figures, technique. This method requires that the teacher slides, movies, elastic bands, and scat? es. Addi- possess an abate average dance technique as well as tional motivational situations to observe movement theo-bility to build lessons on clear developmental might include: field trips to construction sites. zoos, stages and degrees of technical difficulty. This farms, circuses. lake fronts, rivers, museums, learning process which depends on observatin and musical concerts. and, of course. dance concerts. duplication, should help students refine and master These experiences constitute just a fraction of the the technical skills of dance. The imitative learning motivational resources from which to draw excel- process also pre vide;; a basis for learning move- lent movement ideas. , -ments choreographed by others. The teacher then selects %learning activities to Limitations of imitative or convergent teaching synthesize the wealth of material collected from the suggest that teachers must be cautious not to use motivational experiences. The teacher might pose this merely as an opportunity for perfecting per- specific problems or ask pertinent question. which sonal technical skills or ego fulfillment:Secondly, if evoke individual moement responses Students students are chosen to demonstrate movement explore, discover, and choose w Inch movements because of their advanCed skilts or because they are they will do, their qualify, timing. sequence. shape, quick and agile at demonstrating movements as the and space. The teacher continues to develop and

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I shape the pnceptual experience with additional Role of Observation in Dance questions which guide the learning process through its several stages to completion. . Inherent in the conceptual and, inductive The teacher must lz,p careful in structuring 'teaching/learning mode is the necessity for both problems, and questions.Noo much freedom, espe- the teacher and the learner to he keen observers. In 4 cially fo'r the beginning student, results only in con- addition, the teacher must he sensitive to the high fusion, chaos, and discouragement. Problems and low points in a learning situation, appreciating should be short and uncomplicated, have a specific the individual as a unique personality, not only in objective. and deal with material to which the stu- terms of individual movement responses. but also dents have previously been exposed. At the K-2 in terms of each student's distinctive learning level I,e.g., this may utilize the basic locomotor mode, encouraging each with cont ructivecriticiim. movements of walking, running, axial movements These understandings provide the teacher with an of turning, the effort of pushing; referring to ani- aid to determining the content of lessons, gain mals they have observed for movement 'ideas, or instructional insights, 'and assistin, the essential moving to familiar songs, stories and poems. As stu- evaluation of the student and teacher behaYior. The dents develop and grow in cognitive and motor teacher must know dance, be able to observe dance, knowledge and skills, previously learned material and be able to articulate what has been seen, in can act as a springboard for further exploration, order to facilitate learning. The learner tfitist while problems and quest ions can and should ha.ve become aware of ,the feeling, meaning, significance multiple and more encompassing objectives. ' and joy of dance experiences as a performer and as. More comprehensive problems might include: an observer. What makes the dance experience different from other forms of physical education is the 1. Revising a movement phrase originally done purpose and the way in which theilearner uses the in one quality in another quality. content. Movement, as the content of the dance experience, is used fqr expressive purposes and as a 2. Using a particular step pattern previously means for communication. learned as a basis fat;io, eloping an interesting movement phrase or dance study,with variations on that :step pattern. Role of Evaluation in Dance 3. Using the rhythm of $.heir names on which to The Inocess of synthesis and evaluation should construct movements. help the learner to comprehend the implications of what has been experienced and also Permit other '4('hanging the spatial patterns of a previously mbers of the group to share their understand- learned sequence. ings. feelings, and resulting .products with one another. This group sharing will broaden each indi- On the highs( hoolle el. when a irfoundation vidual's viewpoint and permit "testing- of' their in movement education from an aesthetic view- beliefs. Evaluation should also permit the teacher point has been established, the carious facets of to determine to what degree he/she has been effec- dance which have been studied individually will tike in orgahizing and facilitating the learning pro- come together in more advanced and complicated cess. problems. Problems on this level might be: Covert responses such as valuing, appreciating, and contemplating are personal and difficult to 1 Constructing a dance in ABA forms. Stu- assess. These responses form,t he basis of self-actu- dents will previously have read about, dis- alization and educational growth. Progress in these cussed and fully understood this particular areas will be exhibited thrpugh student attitUdes form as well as haye developed movement such as enthusiam, commitment, involvement, con- vocabularies and understood the difference templation, acceptance and physical changes such between a dance study and a dance. as postural improvement, movement efficiency, and increased coordinatidn in the demonstration of Deeloping a dance which is abstract, based original movement. Achievement of covert objec- on feelings resulting from various colors. tives usually will be based on inference from student behavior. 3 Emphasizing shape as a focal point, build a Overt responses consist of tWo possible types: dance in rondo forrn. immediately obser'vable acts related to the acquisition of specific skills or knowLedges; and long range 4Building a dance around the idea of destruc observable acts utilizing and practicing acquired tion and despair. skills and knowledges. s

16 J Alt . \ . - Performancein dame 'class pro\ ides. an inert motor accomplishment. :Tests mill.' he written, oral, means of sharing with 'others that which has been mot qor aesthetic in nature.re .s>nthesized and ( reated In the earlier grade levels, S dance is a performing art, it does require performance,should emphasize sharing of the expe- that students have an opportunity to perform.. rencewith others of the (lass. In the later grades, However, utmost care should be exercised in han- the performance can become more formal in struc- dling the performance experience. While profes- ture and setting. Videotaping (lass demonstrations, sional dance rests on nd values the product, which compositions, rehearsals, and performances offers is the performance, dance in education places acceptable means tor the performer and/or creator greater emphasis on the process of learning. This to view and evaluate his/hv work. process enriches the qualit of life and evpands, per- Pre-tes,ts and post-tests provide another means sonal horizons. for students and teachers to evaluate cognitive and

PREPARING FOR CURRICULUM PLANNING

4 Conceptual learning based upon exploration, motivations, informations, activities, and discos er,. and application requires many and processes related to the (inject n, es of learning varied resources. Imitative learning based on repe- experience. This may be organized on tition requires different approaches and resources keysort cards (see Keysort Retrieval System from those used in planning for conceptual on pp. ) or listed on index cards or-in cat- learning1-1( -ever both modes share certain ele- alogs. 1` ment5. essential for planning a meaningfuhindividu- alized learning experience 5. Development of appropriate planning form/ al s for use by-teachers in organizing learning units.(See Learning l'nit Organization Essential Elements of Conceptual Form, pp. ) Curriculum Development 1, Development of a conceptual framework Additional Elements for Imitative stressing the major ideas in dance education. Learning In this guide, the framework has been broken down to cover areas of learning The choice of informational resources, learning appropriate to each grade/level. Additional activities and means of evaluation constitute the concepts should he developed which reflect major differences between planning conceptual* the majoi area of awareness for each level. learning experiences andeimitative learning experiences. Additional considerations in planning for 2. De\ elopment of basic subject matter content imitative learning experiences should include: (skills, facts, materials, activities) to he used by the learner as a vehicle to form responses, 1. accurate, clear demonstration of movement communicate meanings and feelings related material W.: teacher or qualified student/s, to the concepts and major areas of aware- 2. accurate, clear, imaginative explanation of , 4tess. Skills and knowledges basic to a comprehensive curriculum in dance education movement material as necessary by teacher, should he established for the cognitive, motor, and affective domains of learning for 3.sele\cti'ibnand use of images which might heighten student awareness and feeling of ,each level. (See Dance iplucation Content:. Cognitive, Motor, Affective Skills and movement material, Knowledges on pp. 4. consideration for the sequential and devel- 3. Development of evaluation methods to assist opmental nature of a technique class. the teacher and student in comprehending Manuals outlining the various approaches to the effectiveness and meaning of the learning the organization of technique classes are experience. (See Skills and Knowledges on listed in the bibliography, and PP. ) 5. careful attention topi)sitive, constructive 4. Development of a retrieval system permit- corrections on alignme,nt, placement, executing quick and easy identification of varied tion, performance for each student in every 'resources which will serve as a library for class session.

12 at CONCEPTUAL FRAME.WWi

4t The concepts identified under each of nine This hierarchal structure describes the learning broad generalizations h,ak.e been developedIsequen- process at any age and provides a framework for daily The format cho,,en to introduce the concepts organizing the learning experience. The GENER- for each level is: ALIZATIONS and variant CONCEPTS should be used as a beginning resource in developing local Level I ( K-2(j Eipe;iencing -school, curriculum. 'Additional GENERALIZA- Le WI II ( 3- 4)' Discovering TIONS and CONCEPTS should be identified ag Level III I 5- 6) Understanding the sensitive teacher selects and organizes learning Level IV ( 7- 9) Knowing experiences which are appropriate and stimulating Level V (10-12) Applying to the unique needs and capabilities of his/her stu- knowledge and dents. skills

13 c CONCEPTS GENERALIZATION LEVEL $ CONCEPTUAL FRAMEWORK

A ES THE.I.1 ';111( Nlo einem in an open. MO%elnent Is the medium rem'. 0 cm, ironment oftexpression in dance. it is can be a 10%Iof. aes essential that it he enioed t het is experience. as a purel\ sensor%, ,Ies- theticexperience. ev In- sive of a utilitarian goal

ELEN1ENTS The ele- 'Hie human bcid-v ments of tune. space. ,rnd capable of locomotor energy. t he «ignitie and or a\Ial. move- well as attecti'e sense. mem must be folk understood to ccune to a hill know' ks ledge of dan. e(1, an art form The dancer must de- elop a mo einem()calm lar,to communicate elo quentl

KINETICS --The laws of The haws of physic's physics, ie gra% it v. can be experienced In centrifugalforce,torque. eer\da moements. balance. et c appk; direct l% to anymovingboth. The, kind of understailding enables the de%eloping dancer to perform with the greatest -4?-flicienc and economy of energy.. ,r

E,1,1..-.AWARENESS The human body is achieve the greatest per- capable of experi- sonal potential in every- encing particular ways day living. itis necessary of moving dependent to come to know oneself as on pint action and a moving being bylearning. skektal-muscular) one's 'strengths as well as structkire. weaknesses This includes tapping both phvsiTctI as well as creatn.e potent' lines.

as 19 14 i'ONCEPTS CONCEPTS CONCEPTS CONCEPTS LEVEL -II -III - IV LEVEL - V

erin,4(ine t 11( nity, ledge id the ((if Knov, led g(and ((ant 'Abdo \ti, per( et%e the art, in( lea,e, 't het a pricer indent Ina niptilat iitt iie,t het n element, e underi tht le pre, ee, e\ t en,i, \,Still for pand thAigindi (dual de,t het it element, ilid en pnd abilit \t4I mat putpet ie, II at.,

ae,t het le repoin,e Nance, the quallt lit., re Sill ild to one- stir. het n( 1,011111:: op( to and alulit% her (Lune per (oh ( tonndut and to ere ( horeogtaph in a ( ate dam (t,%%111(.11 are till\ el \ at at (talk pleaing tna'n netrehiring the' (Lill«. to of her art lur111 and 111tke pus -able the ( nth al et\ al nation of (lamp vsurk,

(' HAT 11) The tnampulat itkh( I he 'de \ )11flient ol Thcmm1[1)(11,01°11of \cmenI.( reale element, of mit et,t inn tuned111II I hit (dement, of (Lin( ILO tern, and enr..r, 1 altel - not\ ( nitit the 1)(1d\ e he( 1)\ Ilie\\ ell Itint (iIti

nlentp t \ Io lleI he .11lumen 1)11 lvdc. ,1 Ile\ 111C.111- till \ prestet,

IIiit II\I I\

The (\ of the", Through prat !lie, tine ( 117 IIg huv, to mu\ It The kno% legahle prut( iple,ofph\ ...in, understand the pi nude, ('lift lent 1\,, In( reae ph( at Ion et OP' 1,iVs of ( urrelat e, \kith awl re- needed for (Ali( lent lint\ ( he r,111;2,e(if:111()\ ph \.,i/ pr 1(111( the in( ((rue,t he tsen,or\ molt Melll 11(1..111110k, (n Innquine( penep e in mu\ e- ter (Ali( lent e (i I1t1 e11 inent and er( rerytionof (Lin«.

'tt

.4a Iti,(A)er, take, pla( e tnder,tandIngI he pre Further total de\ ecup- A !flat uringIn(C.ntnt throli01 a keen do.e1- ce of creating /no% einent mew of skills bated 'skill make, ( ()mit: 111)Ment(ifa\\arene.. pattern, andpert urrning upon 1 he knuvt, ledge of ten( e pusslble inail of hange. In usetit combinat ,ing IN. and lavis and kiln-i- pi\ inttanifighil or 1),1( Inlet, and en NA, ith other. ha I lenge, t heti( awarene.. (at a .ganliat ion et thought eri4N, one's imaginatiun, one's tune of great ph \ 1 and feeling, Into at, phy,ireal (apahilitie. and ( al and etnot tonal t het «)III unes saicial de\ elopinent e hanger are demand MIMI( 1111)11,I11(1 pro

I g. imulat mg, and mote, ,e11-(untiden«,

e II gi p ett 1 1 1 \ in urd mar% rum- hal «minium( at lull CONCEPTS GENERALIZATION LEVEL -I CONCEPTUAL FRAMEWORK

KINESTHE'l'l('S Our Rods movement is a series provide lot h pleasurable experl- surable and purposeful in- enet: formation about ourselves 4' and our environment. The sensory. modality of primary importance to mo e- me ntisthe.. kmest het u sense. ThioUgh this sense and related sensations from the skin and muscles. perceptions of body posi- ( tions, of directions of movement through space. of speed of tht, motion, of degrees of telion and relaxation, and of Hi\ thimc movments can 'become more acute

StiCIALIZATION In Mo einem s creatsd moving with others. a so- and./or performed 'by cial sense of unity and co- one person can stimu- a. ope-rationis developed late the movement of and achieecr This is not of hers. only apparent m the performance of a dance, but also in the give and take required for the creative efforts of group composition.

4 41

CUETURAUZATION Participating in Th6 study of folk and et h- 41a/ices from different ilk dance provides an op- cultures as well As our vorturtity for the develop- own is physically, ment of ,good, citizenship mentally, and emo- because it develops an in- tionally stimulating. terest not only in one's own culture, but abio in that of others. Otir future will depend on greater international tmderstanding and knowledge, and any means of accomplishing

$. this 411 be important.

A. 16 ('()NCE131'S l'ONCEPTS (2()N('EVITS LEVEL -II -III -BEVEL - IV LEVEL

s l)itee an (list .. er Through in( teasing k Het ...mini. more ,,itire Ihro4,1gh the eon tIuoughno.% ement t bet Witte po,st (nal. spat s( tems nt.uupulattun t htr,..teneral relation-, mews elitIlt° [Writ,I( trt einp),11.1and energ ofhod%position. ship ofI;od N.parts rat el\iitrtf teclaril I cidilimshir, willre speed of .im4t and loint a ttgls, speed of on! rolled illtin more k imrdr- degrees of tensions mot tort. and degree of- ed edit t and ref," at ion...t he emag mot ernent expresso. e nut ore (.1 dance qs refill/et!

A 4 4 41 0

)m«, pr(,, ,des an op- \, }It'lla (1 a 111N,t 1, 1 /1' 1 1.11(. i huts Ii( le total (lam e prodiu port um t k /rIlled ( ,1111r11lit r ate a nilpertiir in °,) t roilrequire,t he , tntorinatiun a1111111 stand thatt'1 1)( 1,1,0 (Link requIrc hot It ledtzahl tipplica- other people uttuti -d l 11111)10 t ,tilt `to I in t e u (I( o-. tiou ett luk 'attribu- t he -:*(1(( ess ot that per operat ion tions and «toperation fornNiu litoreogrdp hers, pertormers. -et de, signers. lighting de- ,igners, stagehands.

. dire( tots, producers, program and costume -designer.s,publicit% director., And ticket sellers to result in a suk(esst111 etenl

Perhatmam e en«mr- *Folk and et hm«lant es fit authenticating the C horeog ra p Ana ages one to het ume fa- prt%).de a basisl or untlier- ultural (fm ironment nto.dat oftradi- miliar with thet ul- stand mg t be philosiiphit al in w hit h t he pert orm- tional stn les for stud Jural sett ing w here the beliefs, sot ial -a, stems and an( e ntwhi (I( ( ter, one and performance pur- dances originate and mot ement norms of (ohm an be ome a part of poses promotes ac- to het ome ariouk cultures and lor e an pa r the i allure where t be ()ther acquainted witht he Ing these with our own11 dant es originate lures. diminishes people who perform . intolerances of other them people, and ourc.eb. and opens the door to t be del elopment of e relationship, between ourseli es and others

, yt 7 2,, CONCEPTS GENEItA1,1Z.VITON -

'Mb CONCEPTUAL FRAMEWORK A (' . 'I'I V I'I'1 open en \r((l- Problems ( mit !mu in;.; 111(.111, one e perien( e, (let \\ mil \be ino \ (anentforino\ e- through «in,,t 1011 \ le meta 's sake and 1, tree at 1% et hulking ough sol nluemrnt the itetof (rent problems lids many men t (t\I)erlf11(11I it loll. .olut OI problem ,(III mg. imp! o ,at ion. andI ompo,it ion one I,reciti red to make hoice,. di,crimin,ite and` be able to torn) ment, into phrase, ,iml larger conipo,,it ions .1, II A to e%'.11(1,ite indr 1(1(1,11 and group ell or 1,

.\ I) I) 4 I \ I.1 t Sharing inturinal per Though he( ()hang d pH, 11,rniain te,,ion,11 ddni et\\ illhe II((I'.pi,a\nle, an en the goal of old% d \ el%I e\\ h. hung learning e pc performing otlei, e\ II 10 lent I. (IR 'dual the1)1)1)44'1unit \ to better 11Ild t 1.,1,1Ild r (Lill((10'114)1'111,111( 1\l ben itI,\ It.\\ Ed 110,1 I tqi (lane(' ,inch(11(e, hltr,, perm de `,,orel needed The %le\\ mg of the \\ (irk. of real itrti.t., in turn gke, ha( k t under,landing mid en I the loll((' lion,.

23 18 1

CONCEPTS CONCEPTS CON('EpTs CONCEPTS LEVEL -11 LEVEL -III LEVEL - IV LEVEL - V

.tpt Il tti% Iron n1,!III1ll,titnunum. t hnkt\\HIt t he printI The applit at tun td Hit lit,,Ht, th.t nit nt., ttnt tin Is tui 111),11 itin meat t 'thug htIt, t ot hrtiliL;h the trt,,t tier.tkInd the tit \.t pri iv ide, the net t,sarN, the print iplii. of «im

IIt pr t that t,111 I,lpriit it IIt it 11;2,,t It tntuLt inm. hit h the pw.atitin pru\ idt, the III\ tylt ntpr-,ftlt to dant e .7,111(1% dant tt helm, idea is nece,stin, rameiAttrk h ini ill% itelinc,d and de% eltped 1m, Which individual dance statementcan he expressed eit her in a IrradIttonal or an or4mal torm

Ifir ,H,41, h.t r.01,,11. Oppurt unit lc-Iii .11t%I.,1,,p V\ I i i N;i11(1 t 1 1, Tilt, planning tant1 tAt. it;o rt,,r-rnAnt t ,,r{t tzht, itt%,titt,it ktimk tht (h.( Mlitic tut Hitt Id ttir ma I - 1N,trtiii t dam ten thlt nth. nn ,,1pert i'q111,1 0 e dance program de t .1 W., Ku% IlIItlll litrahu11' !nand,. ,1rigue,ert-rs TR It ant t awl Iii ipprt t LittI ht Iltc image (.1 plipe trim] all per .01n f, % Ft former,

19 2,i r

DANCE EDUCATION CONTENT: $ COGNITIVE, MOTOR AND AFFECTIVE SKILLS ANDKNOWLEDGES v LEVEL I LEVEL II t

I. COGNITIVE .1 Principles of MoVement I

-%% here Join t-s are -raiige Of pint,: -right/left -balami' -inward: out %%ard .. - deign tor one 0 , , -bodypart,, Imo \ -leading -or' amlat ion of ,,, -supporting lime 1- -recvi% mg Ar...1 --, -gra% it v __...- ,....)

1.2 Locomotor Movement

-alk -"Lie turns -run -hopsaI step- hop) -hop -'chat t ische ,., -jump -simple polka' leap -pram e -skip v -slide A -gallop -I

1.3 Axial (body) movement .. -push, pull -flexion -rise, fall -extension I -ttArn -isolaonti -stretch .sustainede -swing -collapsing -punch, strike -percussive -sway -twist , -dodge -shake 4 -bend -sit -kneel -crawl -roll at

20 -25 r LEVEL III LEVELIV. LEVEL V

) r I . / td i

-abduction . -centrifugal force -elevation -adduction -centripetal force -stage space t -circumductiori :torque traditional , i -alignment -design for large non-traditional f -inertia groups environmental 4.4 "design for small tr breath rhythms groups .1 -motor rhythms

-leap turns -jump turns -refined, more rr -skip turns -spotting for turns articulated turns s. -waltz turns -beaten jumps -refined nmving -true polka -formal carriage of elevations: -triplet runs upper torso /arms a. 2 foot takeoff, e. -grapevine -combination of 1 foot landing 4- - -waltz jumps, leaps, turns b.1 fqot takeoff, . - tango, rhumba -Moving falls 2 fOot landing V P , samba G .0 -moving falls from . elevations %or I

-lunge -contraction - refinement /clarity -gesture -release of axial -Movements -stimulus -combine 2 axial -axial movements in -impulse movements in different combinatid with 0 1 -suspension parts of the body locomotor movements -vibratory -clear articulation- whiareounter- of all body movements balance -multiple focus for axial r movements

0 4

21 n . 1 s. 26 1 LEVEL I LEVEL II ,,,,

1.4 Space

-Directions -patterns forward, backward, air, floor ._...-ii sideward -diagonal direction -shape -levels 4 symmetry/asymmetry vertical ( straight line horizontal curve line -general/personal space roundness -directional facing ) circle -focus figure 8 -range square close/far triangle small/large -parallel -design negative space positive space ,

1.5 Timei

-slow/fast ' -beat/pulse -gradual/sudden =tempo (speed) -short/long -measure (meter) -soft/loud -rhythm -accent -phrase -quick -duration -non-meter -pattern , -rests, pauses stillness I

1.6 Force (Quality)

-weak/strong -percussive -swinging/shaking -sustained i -sharp/fluid -pendular -soft/hard -collapsing N. -stillness/activity -weight -rest/motion -touch (firm, fine)

or , 2-/ 22

41 t 4 LEVEL. III LEVEL IV LEVEL V

mass -st age -use of performing %ohmic -direct ions space -planes upstage traditional design downstage non traditional parallel mu% (TIMM stage riglit"e environment contrasting stage left -direct, Indirect center stage -angular -tit agedesgn \..

rh t h m -anat. rusis -dance accompaniment resultant -accompam, others principles of a« unilAt 1%, e with percussion playing -syncopation \ ocal sounds composition of accompaniment, tape manipulation -selection of sounds for live J accompaniment

-suspended kinesthesia -passive / act ive -dynamics -tension/relaxation -flow (bound, free/ -projection of movement -energy of movement

23 2 LEVEL I LEVEL II

1.7 Form

-singifig games pantomime -repetition -unison movement -exploration with h -lead/follow single elements -sequential movement of time, space, -antiphonal movement energy .variety -periodicity -simple folk dances

1.8 Performance Skills The performing skills listed below are general in natureand apply to show1ngs, demonstrations, or performances at any gradelevel. 1. concentration while performing 2. learning correct facings in relation to sightlinesof viewing audience 3. learning correct focus in relation toaudience 4. learning to appear in performing area precisely ontime 5:realizing the importance of rehearsals .4 6. projection 7. learning to work cooperatively withothers

1.9 Creative Skills

-explorations,* -explorat ions -problem solving -problem solving -improvisations -manipulations

1.10 Dance Heritage/HistoricalPerspective

(1"- -singing games ;simple folk dinces b -artists-in-schools of many nations io$ with background information -artists-in-schools

2i 24 LEVEL III LEVEL IV LEVEL V I

-choreograph -harmonyAalance -random form _ - movement theme -climax -organic form -sequence -pre-classic -rhapsodic farm -transition -dance forms -fugue - phrase AB -style -cunt rast ABA -complementary manipulation round movement abstraction rondo canon \ ground bass t heme/variat ion" 1

-phrases which -short dances' -longer dances express abstraction of greater depth ideas -literal -experiment with feelings -choreograph using makeup/lights emotions props/costumes -ary phrases by changing elements of: time .space energy -experiment with props/costumes

-complex folk . -relate folk dance -contemporary trends dances of many to court dances, -dhncers/choreographers nations with ballet -artists-in-schools backgroundinATnation modern -art ists-in -school tap/jazz ethnic -artists-in-schools

25 14^"

9e. ir

'LEVEL I LEVEL II /

1.11 Dance Appreciation

-general response to -verbal response other's dancing posit ive stressed facial expression if negative, applause must suggest attentiveness how to improve attendance at J dance performances

2. MOTOR:, 2.1 Principles of Movement Experiences with all items listed under "Cognitive."

2.2- Loc motor movement Expel.'ces with all items listed under"Cognitive" for each level plus the following under ch level. --..""...... "."...... LEVEL I LEVEL II -Simple 2 form ,Heel-toe Polka combinations -More complex 2 form combinations -: ;'and 4 form combinations -,.

2.3 Axial (body) movement Experiences with all items listed under "Cognitive" for eachlevel.

11. 2.4 Space Experiences with all items listed under "Cognitive".for eachlevel. t

IP C

LEVEL III LEVEL IV LEVEL V

bring in -readmg lists -%%ritten critique re% iev.s 1)% -discussiiffl of professional r(bcriginid -attendance at performance dance critics dance concerts -attendance at of professional dance concerts companies attendance at Glance performances

11111=1111=MINNEW.

1,VEL Ill LEVEL. I\ LEVEL, V -Other more Iomple\ combinations -Specq. techniques Maximum -Aligmment, projection in all styles de%elopment flexilidit, strength -Landings, ele% at ion, of hock tor flexibilit, -Emphir,,is on technique endurance strength. -Variations coordinations and endurance

I 2.'1110VOR: (cont.1%; (

2.5 Time Q Experiences with all items listed under "Cognitive" fo each level,plus the following under each level. LEVEL I LEVEL II

-Rhythmic patterns from-1,ocomotor patterns children's names from rhythmic patterns from simple poems Rhythmic pat terns and songs from locomotor meters 2/, -1/-I pat terns -Meter :1/4 All items listed under "Cognitive'' -Experiment with simple- percussion, insttiMients with above items

2.6 Energy Experiences with all items fisted under 'Cognitiv" foreach level

2.7 Form Experiences with all items listed under "Cognitive" for'each level.

2.8 Performance Skills Experiences with all items listed under "Cognitive"which are appropriate for the grade level and type of performing experience.

2.9 Creative Slgills Experiences with all items listed under "Cognitive" for eachlevel.

2.10 Dance Heritage/Historical Perspective Experiences with all items listed under "Cognitive" foreack1941.

4.2.11 Dance Appreciation Experiences with all items listed under "Cognitive" foreach level.

33 o

28 ; LEVEL III LEVEL IV LEVEL V '

-Meter 6/8 -Meters- 7 /4. 9/8. P2/8. Nothing additional ,-Play percussion to 5/4. 1 / 4 accompany mu:, own -Anacrusi, movement =Accompany others with -Use vocal sounds to percussion and vocal accompany one's own sounds movement

29 34 AFFECTIVE:

. , . 3. Affective responses to dance experiences at an grade lei-A. in addition to the cognitive and motor development. are a aludble and essential means of tAaltiali'pr(igraill effet I iN eness. Such' open ended inquiry subjectively elicits one's inner feelings and emotions.

3.1 Pbssibleiquestions to eoke aflectii.e responses might include: What is it like to moe to,music? What did_you discoer about your body and its parts? . How much space (Spes your body need when you move? How do you feel when someone invades yourespace? Do you prefer moements that are Strong and forceful or light and soft? Tell what it was like to create a dance. l) Id all% thing happen that made you frustrated or happ!? kxcited or happY Elaborate' Dd piti feel like ou "belonged- to te.group? What is it like to work together to share ideas and create a dance? How is dance different from other things in "gym-9 Do you enjoy dance experiences? Wiiy? Why not' How do %oil feel when you express .ourself in dance? Does Clan( e help i.on toe\ply4s Hour "inside- feelings? Is rhythm important to you? Why? How do you feel about yourself in relation toothers4.-10 the environment' 3.9 Possible areas to pursue affective inquiry at the appropriate le\ ej of development might include: cs.4' App.reciat ion for the potential of the human body. Enjoyment of dance movement for its own sake. Appreciat ion of the significance of nonverbal communication all human interaction. ,Increaseda%\arenessof qualities-of movement and their expressive meanings. Respect for dance's contribution to the development of a positive sell-concePt.'' Satisfaction of performing for an audience; sharing creative exploration. Development of poise and confidence through dance. Enjoyment of positive interaction in human relationships through dance experiences. Deepened aesthetic perception and appreciation of dance and its relation to other art forms and disciplines. Appreciation of one's own cultural heritage and the unique offerings of.others cultures. Sensitivity to details of styling in the performance of social, folk, ethnic, historic, stylistic and modern dance forms. Enjoyment of eXperienCes in using dance improv-isatinn as a tool to dancemovement and form. Awareness of performer-audience interaction. Enjoyment of participating in solo and group choreography) Respect for the enduripg qualities of dance. ; 30 RETRIEVAL SYSTEM FORCURRICULUM PL NING

The conceptual approach to curriculum devel- The selection of eategories, placement on the opment requires that the teacher coordinate a card, and relative importance should he consistent variqy of resources, informations, learning pro- with the dance curriculum which is de% elopA at cess&activities, and .evaluationisynthesis proce- the'local level. . dures Which allow for a reasonable variety of indi- 4 vidual respOnses .to * problem. In developing curriculum at the local level, the volume of Materials resources and dance processes would become too cumbersomec,and inflexible when printed, bound, or 1. Keysort Cards K5S-3-71N-503/W17963CH placed on index cards. The recording of this infor- Ordered in lots of 1,000 or 2,500, from mation on keysort cards (see Keysort Retrieval McBee Systeuns / 611 N. Lynndale Dr. System, figures 3, 4, 5, 6, pages , , r, provides an informational retrieval system which is Appleton, WI 54911 compact and permits retrieval of all information (414) 793-7671 relater(' to the instructional program according to /2. A long tray or drawer to house the cards .r generalizations or a variety of other categories. Since each piece of information related to th, which is no wider than the horizontal length instructional program is placed on a separate card of the cards. '- and notched for retrieval according to appropriate categories, the system allows for. a curriculum 3. Notching punch to notch the cards. This resource 6a'nk which is constantly evolving through mechanism can be obtained from McBee the modification and elimination of the cards or the Systems. inclusion of new information. This system allows for great flexibility, eliminates the need to "plow" 4. A 12"-l4" cyclindrical metal rod no larger through the same ground each time the curriculum than the diameter of the holes on the card. is revised, and provides a variety.of choices which Slender knitting needles work well, or IBM pertain to a patticular situation. , makes a metal rod specifically fOr this kind of Thisinforn?ationretrieval system is not an end' retrieval system. f in itself but rather a tool which will enable the dance educator to utilize his/her planning and Notching the Cards teaching time more effectively and imaginatively. 41 The organization of curriculum information This Note in Keysort Retrieval System figures (3, 4, manner requires that the usei be personally 5, 6) .that, each card is notched according to the involve& in decision-making, which- is not always nature of the information on the card. Notching the case when curriculum guides are princrd, several items on a single card acts as a cross-refer- bound, and placed on the shelf. In addition, a ence system. Notching several categories also variety of printed statements or guidelines may be- means that cards do not have to be grouped in the developed from this resource bank:which may serve tray by individual category. Cards of any category such purposes as lesson units for teachers or stu- can be located anywhere in the tray and still-De dents working independently. retrieved quickly. Categories in the System Step-by-step Procedure The categories indicated on each side of the card correlate with the structure and content The object will be to find several bits of infor- presented in this turriculum guide. The organiza- Mationto Organize a learning unit in aesthetics. tion of theixategoriesand placement on the card seems appropriate and consistent with the contents 1. TO find the generalization on aesthetics. of the guide. While the categories wider "All Gener- alizations," "All Concepts," and "All Objectives" a.Refer to Keysort Retrieva) System; Aes-, will remain standard in any curriculum, those listed thetic Generalization figure 4). under "All Resources/InfOrmation," "All Activi- b.Insert rod into all cards in the tray ties /Processes," nd"AllSynthesis/Evaluation through the notch marked ALL GEN- ERALIZATIONS. Procedures" are e arnples of the many possibilities 4 which exist. c.Lift all cards from tray.

31 d.Cards with category ALL GENERAL- 3. To find all OBJECTIVES for Level es IZATIONS notched will fall from the a.Refer to Keysort Retrieval System; Aes- rod into the tray. thetic Objectives for Level I. e.Remove the cards from the tray before b.Insert rod into all cards in tray through replacing the cards remaining on the either under ALL rod. OBJECT ES BY GENERALIZA- f. Since there are only nine generalizations TION or LEVEL I under ALL OBJEC- in this guide, one can easily sort TIVES BY LEVEL. throught the nine cards which have c.Repeat c, d, and e under #1 above. fallen from the rod to find the Aesthetics d. By additional sorting one will discovdr Gederalization. . all Objectives for the Level I concept in Aesthetics. Additional objectives should 2. To find the Level I Concepts for the Aes- be identified as the need arises and 1 thetics Generalization: placed in the system. a.Refer to Keysort Retrieval System; Aes- thetic Concept Level I. To build the Learning Unit. b.Insert rod into all cards in the tray through the notch under ALL CON - The next steps involve procedures similar CEPTS -BY GENERALIZATION to those described above to find appropriate marked AESTHETICS. motivations, activities, skills and icnowledg- c. Repeat c, d, an11'e above. es, and evaluation procedures. Theteacher d.Since there are only five CONCEPTS must then make active choices to determine under each GENERALIZATION in this the most appropriate order and use of the eguide, one caTi easily find the Level I materials tip build the Learning linit and in- concept. dividual lesson plan. e.This concept could also have been found by inserting the rod through Level I below ALL CONCEPTS BY LEVEL.

'0 3'

4, 32 KEYSORT RETRIEVAL SYSTEM

mrsiaus& KNOWLF.DGES BY LEVEL GRADE LEVELS

V IV 111 II V IV III II I nALL

ALL RESOURCES/ INFORMATION- , EXAMPLES) - ALL GENERA117.ATION BOOKS - - ALL CONCEPTS RECORDS - FILMS- - AESTHETICS ITV- -ELEMENTS

MUSICAL 1NSTRUMUNTS: -KINETICS AR'NORKS- -SELF AWARENESS

SLIDES/TRANSPARENC1ES- -KINESTHETICS

COSTUMES/PROPS- -SOCIALIZATION

FIELD TRIPS- - CULTURALIZAT1ON - CREATIVITY DANCERS- - APPRECIATION CHOREOGRAPHERS-

ARTISTS IN SCHOOLS-

GEOMETRIC SHAVES - - 1

ALL ACTIVIT%/PROCESSES- EXAMPLESI EXPLORING- EXPkRIMENTING- - IV

IMPROVISING- -V

PERFORMING- -ALL)OhJECTIVES

OBERVI NG- - AESTHETICS TOUCHING- - ELEMENTS

LEADING/FOLLOWING- - KINETICS

PAINTING/DRAWING- -SELF AWARENESS

READING/WRMING- -K1NESTHETICS -SOCIALIZATION PROBLEM SOLVING- - CULTURALIZATION SOLOS- - CREATIVITY DIETS- CROPS- -APPRECIATION

COMPOSING/PLAYING MUSIC-

DESIGNING SETS/COSTUMES-

DESIGNING LIGHTS-

OTHERS

tt; .1, ALL SYNTHESIS /EVALUATION 5 A g ro PROCEDURES(stamples) 11. p , 1 q z i g_ 0 0 0 05g Figure 3 33 33 KEYSORT RETRIEVAL SYSTEM AESTHETIC GENERALIZATION

1 7 4 2 1 .. 7 4 2 1 7 -4 2 , w 'Iva,:R" 13;R 1./: R2 E. RS PI R7 P2 R,

0.--T , T- .., ii 7',.

0-. f' 3. - ,, . 3- .. 0-,,' !1'--, 0.,,,, r' 'iGENERALIZATION # 1 1." Aesthetics ,3- 0,.49., Since movement is the 7:-, 11.medium of expression. in .9,,. ":= dance, it is,esse.ntial that it -''''". -7- be enjoyed as a purely sen- '''- 4 N:sory, aesthetic experience, 3-, b-.2 exclusive of a utilitarian 3- -f. goal. 1?- .*-= 1!-:'-, 11N,2 7,-'- ... 3: 0^,94 'I- *-,7: -. Nz .!!- .A Wiz , 0'74 ri" .14 T- '4 2-I 'Z °, +. ios 0^r4 2.1.

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71. .11 KEYORT ,RETRIEVAL 'STEM AESTHETIC CONCEPT LEVEL I

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35 40 KIYSORTRETRIEVAL SYSTEM AESTHETIC OBJECTIVES LEVEL I

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LEVEL I ii ,-.-:., OBJECTIVES FOR '.- AESTHETICS l':',- GENERALIZATION -... LEVEL I i?!., 7'. 1. To Ith/Ve Creel\ and u nsell- ?' consciously\\ it hoot inter- 17.-0 fering tvit h an one eke's - AESTHETICS movement. freedom or I° ALL OBJECTIVES 9. To discover the Joy of loco_ 70 motion.

3. To discover the j((21 mo Mg all the various parts of t he 1)0(iy. ,CONCEPT LEVEL. I 4. To, delight in (laying gray--

- its'. 4 5. To enjoy watching other); nurve.

AESTHETICS

ALL CONCEPTS

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36 .et

rF PLANNING FOR DARNING

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MAJOR VARIANT OBJECTIVESRESOURCES I PROCESSES SYNTHE- AWARE- CONCEPTS MOTIVATION' ACTIVI- SIS I N E SS TIES EVALUA- (Gener- TION alization)

LEARNING (Affective-Cognitiv,p-Psychomotor)

Figure 7

4?. 37 EXAMPLES OF LEARNING UNIT CONTENT' $

RELATED OBJECTIVES MOTIVATIONAL/ I INFORMATIONAL APPROPRIATE RESOURCES movement exploration, LEARNING experimentation PROCESSES/ movement disror err ACTIVITIES creative response. him kboard skill development -geometric shapes motor learning musical Instruments examine beliefs records experimenting SYNTHESIS/ and attitudes -films --exploring behavior change EVAULATION problem sok mg questioning transparencies mor rig PROCEDURES values clardic at ion tape recorder decision making dancing audio tapes drawing cognitire learning about field trips subject matter content , -=ITV. construe wig displaying aesthetic' responses set pieces obser mg I sharing self awareness !inv.; 1 collecting compiling awareness of others costumes self anaksis sensor awareness -!-photographing lights discus,,ring goal setting indivtdualyation sounds smgil testing in.terai 11011 furniture «.inpfsing measuring books plan frig obser% mg pu tures .cbscussing 1 a( trig museyins classifvrig performing sculpture designing attitudinal responses architecture I positive interaction I reading animals listening natural object. toil( lung 10pen-ended possibilities) touching --performing . seeing leading 'SEE NOTE' 'tasting follow mg magazines impror ising newspabers probVin soli ing paints 4 I working singl transactional analysis v.orking in duets group dynamics working in trios art works groups art performances cornposing I1111,11 dance works -composing art Harks labanotat ion chorei)graphing phrases, skeletons studies, dances fulcrums machines pulleys performing spaces (blaek box, proscenium, environmental)

**NOTE **. The personal charter of learning in Dance Education which embraces the cognitive, motor, and affective phases of learning, does not Fend. it to a predictable, uniform, immediate, of totallyquali:tifible out- come. The major part of the S/E process willrelate to open rather than closed types of conclusions. 38 43 PLANNING FOR li,EARNING: The Teacher's Viewpoint

The planning for learning process moves from situation stimulated by the infor;ation left to right on 'the Planning Learning Schema, presented. These activities should encom- page old necessitates a sequent ial and develop- pass the three domaiO of learning mental e ()lot ion of fa( srelated to the categories stressing affective, sensory, and creative ex- inoeiated, periences. The content and processes may include any of the techniques,

39 44 Nature of Teaching Dance in Education ships' between student and teacher responsibility for creating the learning environment. Teaching, particularly in dance education, de- Dance teachers who are frustrated Oterformers mands vigorous interaction in which both the may do more harm than guod in an educational sit teacher and student participate in the decision- uation. Both teaching and performing are highly re- making process and construct the learning environ- fined arts which require extended st,udy and prac- ment. The Teacher-Student Decision-Making Re- tice. Neither should besiccepted a,-,11 second choice. sponsibilities figure 8, indicates possible relation-

Teacher-Student Decision Making. Responsibilities

: TEACHER HIGH LOW Responsibility for Decision-Making

LOW

Figure 8

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40 LEARNING UNIT ORGANIZATION FORM

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LEARNINGLEVEL

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, . OBJECTIVES: ,...-

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r RELATED APPROPRIATE SYNTHESIS/ MOTIVATIONAL, LEARNING, ' EVALUATION INFORMATIONAL PROCESS/ PROCEDURES RESOURCES ACTIVITIES e .

A. In the Classroom.'..

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B. Outside of the Classroom ... .

' .

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. ,

Figure 9

4 LEARNING ,UNIT EXAMPLES

What follows presents one way to: organize the learning process by ev,knts WITHIN or OUT§fIDE of the classri. derive OBJECTIVES from the variant CONCEPTS for a single GENERALIZA- These examples utilize the Learning Unit Orga- TION. nization Form, figure 9, page decide on Resources, Activities, and Eval- Additional concepts and objectives should be uations appropriate to the objectives. developed for each level. The resudices, activities, and evaluations listed represent a small portion of key OBJECTIVES with Dance Education the available possibilities. Individual lesson plans Content: cognitive, motor and affective to fulfill single objectives or parts of several objec- skills and knowledges. Numbers in paren- tives for each concept should be derived from these thesis which follow OBJECTIVES corre- larger learning wilts. spond to numbered sections in the Dance

.Education Content.

IP"

40"

, er

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4 . 42 . ) GENERALIZATION:, Since movement is the medium of expression in dance, it is LEARNING LEVEL I / essential that it be enjoyed as a purely sensory aesthetic experience exclusive of a i 'utilitarian goal. ( CONCEPT: Movement in an open, creative environment can be a joyful, aesthetic experience. OBJECTIVES:1. To mo e freely and unselfconsciously without interfering sith anyone else's freedom of movement.. 2. To discover the jox of locomotion: (1.2; 1.4; 1.5; 1.6; 1.7; 2 2; 2.4; 2.5; 2 6) .3. To discover the joy of moving all- the various parts of the body. 0.1, 1.3; .1:i; 1.7; 2.1;,2 3; 2.4; '^- 2.6) 4. To delight in defying gravity. (1.2; 1.3; 1.4; 1.5; 1.6; 1.7; 2.1; 2.2; 2.3; 2.4; 2.5; 2.6; 3.2) 5. To enjoy watching others move. (1.10; 2.9; 3.1) , RELATED MOTIVATIONAL, APPROPRIATE LEARNING SYNTHESIS/EVALUATION INFORMATIONAL PROCESSES/ACTIVITIES PROCEDURES' '.. RESOURCES

A. WITHIN THE CLASSROOM 1. pleasant, clean, nonthreatening 1. locomotor movements '1. performing it physical environment 2. axial movements 2observing 2. positive reinforcement espe- 3. exploring levels, directions. 3. displaying cially in initial stages by con- shapes . 4. discussing structive comments from en- 4. exploring movement glades 5. knowing thusiastic teacher like: -skills tests 3. teacher's participation and.en- --swinging written tests thusiasm - vibrating - moving -freezing - playing drum' pushing -voice pulling , -facial,expression -reaching 4. drum, other percussion instru- - bending - ments as needed .5. movements derived from ma- . o. shapes on blackboard and/or chines colored baper cutouts 6. exploring movements derived / 6. words denoting quality, force from animals .7. observing and sharing demon- 7.- watching others move strated examples by students 8. moving, clapping with rhythm of movement , 9. make sounds to go with move- 1 ments 10. clapping while others-move B. OUTSIDE THE CLASSROOM 1. playing with building blocks 1. painting using different quali- . . 2. looking at simple machines ties, shapes, levels 41. 3. watching animals 2. describe the movements of fa-fa- '4. listening to songs vorite animal 5. listening to stories 3. make a simple machine out of' paper tit /.' 4. use colored papers to make a picture of the body - 4 - locomOting in different shapes

4 .

.1 -- .

. r ...... al' / 43 A , 1 0 'V GENERALIZATION: Since movement: is the medium of expression in dance, it is LEARNING LEVEL II essential that it be enjoyed as a purely sensory aesthetic experience exclusive of a utilitarian goal. CONCEPT: Discoering one's ability; to perceive the aesthetic elements expands the individual's aesthetic "response-ability". OBJECTIVES:1. To discover the Joy' of varying basic movements by changing their speed, rhythmic pattern, and meter. (1.1; 1.2; 1.3; 1.6; f.8; 2.1; 2.2; 2.3; 2.5; 2.7); 9. To discover the Joy of varying basic movements by changing their floor patterns, air patterns, direction, range and level. (1.1; 1.2; 1.3; 1.4; 1.5; 2.1;,2.2; 2.3; 2.4) 3. To discover the joy of ,wiying basic movements by changing their quality and dynamics. (1.1; 1.2; 1.3; 1.7; 2.1; 2.2; 9.1 M) 4. To expand one's perceptual capacity to respond openly 0) the movement (if others (1.10; 2.9; :3.11 ti

RELATED MOTIVATIONAL, APPROPRIATE LEARNING SKNTHESIS/EVALUATION INFORMATIONAL PROCESSES/ACTIVITIES PROCEDURES RESOURCES

A. WITHIN THE CLASSROOM 1.see 1, 2, 3, 4 under Level I 1. structured improvisation with 1. concentrating 9.discuss time, space force ele- emphasis on the individual 2. performing Ments in dance 2. structured improvisation con- 3. observing 3.listen to sounds made,by differ- centrating-on specific time, 4. displaying ent percussion instruments space, energy elements 5. discussing .4. 4ten to different tonal quali- 3. solving.simple time, space, en- 6. testing ties of musical instruments ergy problems brines in pictures of pepple, en- 4. creating simple movement gaged in activity from: coMpositions -newspapers 5. leading, following -magazines 6. working alone, in duets, or -photographs small groups, or informally -books 7. discussing paintings, field trips, 6. look at films and video of dance sounds, instruments 7. working in theatre spaces 8. use pictures of people to im- 8. working innon-theatre spaces provise movement 9. working outdoors 9. use different sounds to impro- 10. artists in residence vise movement 10. accompany self while moving 11. accompany another person' while they are moving B. OUTSIDE THE CLASSROOM 1. observing others everyday 1. draw people as they are moving movement outside of class 2. paint or sculpt to reflect favor- 2. observingodovement and phys- ite movements, textures, quali- ical characteristics of dill:: yt ties, designs, shapes, lines typed of people 3. make simple percussion instru- 3. looking at paintings ments 4. looking at, touching sculpture 5. exploring architectural spaces 6.field trips to museums - 7.vattendance at dance concerts *examining more complicated' machines 9. study animal living habit

) 43

44 GENERALIZATION: Sin( e mos, cilium is the medium of expression in dance, itis LEARNING LEVEL III essential that it he emoxed as a purel4 sensory aesthetic experience exclusive of a utilitarian goal CONCEPT: Experience in all of the arts increases the indix idual's understanding of the aesthetic elements vd enhances the quality of his/her dance experiences. OBJECTIVES:I. 'Co understand the toneon bases between dance and the other fine arts, espe( ially music and dam e. 11.2-1 9; 2 1-0.71 ...-. 2. To understand ate ddierences between the other. fine arts. especially music and dance. (1.1-1.9, 2.1-2 71 2 ]'o understand how the other fine arts, especially music, has,e been related to dance in the past. 11.9; 1.10: 2.8; 2 91,f a 3 4 To explore and understand the relationship of dance1.to the other tine arts in the communication of life experiences. (1.8; 1.9; 1.10; 2.7: 2 8; 2.9)

RELATED MOTIVATIONAL, APPROPRIATE LEARNING SYNTHESIS/EVALUATION INFORMATIONAL PROCESSES/ACTIVITJER . PROCEDURES RESOURCES

A.WITHIN THE CLASSROOM_ 1.se!(' 1. 2.2. -1 under Level I 1. structured solo improvisations .1. attentive listening discussion of tune, space. en- _ using transferring of time, 2. attentive observation er*'in dance as related to mu- space, energy elements from 2creating and performing swift. sic andisual arts *other works of art into move- dance works which'deal with. .; discussion of nature and princi- ment -emotion ples of (hence, ac(ompaniment impros ise as-above in duets feelings discussion (,;(.1Alosoph, 01 art and small'groups --ideas and aesthetTcs 2. compose solos based on the . -shapes dis(assion t-vt essences of mans folowing. -tieS'igns ,0 'different art forms ' -piece of music -rhythm 6.diSCUSi.s4)11 of relationship of --"people" observations -different energy qualities language to the mox people -painting 4 observing others in perform- more; funct mallkfnd art isti- static sculpture .1/4 ance callY -kinetic sculpture 5discussion of own and other's 7. discussion of Ac hiteuture, to re-c --outdoor sculpture dance works lations'hip to wav[people nine: 4. create solo based on various 6.test ing: art istica,lly and tduct dancelorms listed in 1.2; 2.2' orally- 8. discussion of .how other arts' 5. create percussion accompani- skills can become stimulus for dance ment for own solo works -performance works 6. perform solo fiances for class --written 9. discussion of dance as a "the- members atre art- 7. perform selected solos for other 10. discussion of the "art- and skill people of performing -'8.' compose musical acconiepani- meni for another student's solo work 9 accompany solos vocally 3 1. B. OUTSIDE OF THE CLASSROOM 1. attendance at dance concerts 1'.make percussion instrument 2. attendance at music concerts wiA several different tones, and other mugical events gm. 2.write a short piece of poetry, 3. attendance at poetry readiiw, short story, or dramatic scena- 4. attendance at plays rio 5. listening to music, reading. po- 3,paint, sculpt nonliteral forms etry, drama .which embody movement 6 attendance at art galleries 4.design an ideal home, work space

45 I GENERALIZATR N: Suite moxement is the medium of expression in dam e. it is LEARNING LEVEL IV essential that it b mo\ed purelx sensor aesthetic experience e clusixe of a utilitarian goal CONCEPT: Knowledge of the formal aesthetic propert wis.,'proc esses >and, one's alulitx to respond to one's surroundings and to create dances which are aesthetically pleasing. OBJECTIVES:I. 'Po expand one's knowledge of the formal aesthetic proi lilt-, of WWI t dii IuIU1,, and

theen. ironment. 1 1.1: 1..1; 1 7, 2 I. 2 :"rt To expand one's sensor and aesthetic -response-alnlax bxt reating dame's who II result trom sensory input as well as formal aesthetic choices tI 2.I.1. I I.I.5. 14, I9, 2 2 2 s. :1 To de. clop one's capabilities to create meaningful and aest het !callbalam ed dam es ho groups.I 1.7;1 8; 2.6; 2.7; 3.2) -I To extend the ability to perceixe and 1,,es, ones allectc responses to all lac els. of fixing 1,1I.

5, 'l'o expand one's capacit to synthesise and (4 alliatsen,orx dm1 aesthete u,,e -, dud experiences. 13.1; 3.2)

'RELATED MOTIVATIONAL, APPROPRIATE LEARNING SYNWHESIS/EN'ALUATION INFORMATIONAL PROCESSES /ACTIVITIES PROCEDURES RESOURCES

A. WITHIN THE CLASSROOM

1 see 1. . 3. -1 under Lex el 1 I technique classes in I goal setting for own lite-axe discuss affect'. ei cognitive na- ballet goal setting taic !eat ix c en ture of internal, external envi- modern dea.or, ronment ja7/. goal setting to 1411..1111,M«, 3. discuss bio-teedback ,1,111(1,11(1,

4read / discpss aboutholisttr 1)1 (11,(11 ,11)(m1pet ie of li,te -square forming 5. read /discuss concept and role Social .)perform own dame' and must( of imagery in life and art de. 'sing own impro\isation compo.it ion. 6.read, discuss x ariet of notions based on selec te Asti.\ at it'll t; obscrxe pertoiniam e, ut others about art. beautN. aesthet is 3create short solo slant es basedon perform in ant a het 's 7. read/discuss different . ---ABA and, or music t ompaition points about nature of creative rondo dt,cu,, and inlortn,(111. ex ,thhit process -round own and other,' dant e mu! MU 8.discuss group dynamics - --canon sic( ompn..01,,n . 9.read/discuss transactional theme /variation analysis in relation..t.Aaes- -1. create phrase vhich is aestheti- thetic/moral choices cally harmontous: ()he VhichIs 10. presence of artists' in residence aesthetically discordant 11. read/discuss major events and 5. develop characters through styles in dan'ce history movement 6. create dances for small -group,- 7. create small group dance,' based on allot her work of art movement styl.e.s historical styles,of movement 8. compose mdsic.lor own group dances / 9. design costumes/sets/properties for own dances B. OUTSIDE OF THE CLASSROOM 1. attendance at: dance concerts musical events --poetry readings art galleries museums 9.field trips to. manuratt tiring plants ,3.field trips to different 'theatrs to see "behind-the-scenes" work 4. working "behind-tfre-scenes" (r, for dance concerts, plays 46 5. GENERALIZATION: Sin«, mo%ement is the medium of expression in dancl,. itis LEARNING LEVEL V essential that it he elloNed as a purely sensory aesthetic experience exclusive of a utilitarian goal CONCEPT: Km ledge and competent manipulation of the sensory and gopert le, of ae Nt 11(1its enables one to choreograph in a c reatRel expresske manner relating the dance to ofr art fors and makes possible the critical evaluation of dance works.

0 13.7 ECT I V ES: I To'To choose appropriate dance themes and to.chorecigraph dance, using -a n, r% input, intuitive guidance and applying principles of formal, aesthetics. 11.8, 1.1, 2,8, 2,10; .i1, :3.2) 2 To Choose appropriate accompaniment, costumes, properties, and staging ha a dance. (1 6; 1.9; 2 6: 2 9) 3 To participate in the production and performance of a formal dame concert or lecture- demonstration. (3.1)

1 To extend one's ability to informally critique dances of classmates. (1 8-1 10. 2.8-2.10; 3.1) 5 To write formal critiques of dance performance's. (1 \1 10; 2.8-2.10; 3.11

RELATED MOTIVATIONAL, APPROPRIATE LtARNING SYNTHESIS/EVALUATION INFORMATIONAL PROCESSES/ACTIVITIES PROCEDURES RESOURCES

A.WITHIN THE CLASSROOM

seeI.2, 3,1 under-Le% el 1, 1. technique classes sec Level IV 1 see 1-8 under Level IV adequate space tone to com- for luting of styles 9.discuss feelings before, during, 9. plete protects , experiment/improvise with a after!. performance 3listen to a %ariet% 4'nusit al %anety of: :3. Critique show mg:: stles w it h score -costumes respect ideas of others A 4 discuss thematic Content of -properties 01111ess to Ile ideas and dance lighting as of mu% mg t;% aluate a piece of mush in re- impro%ise to contrasting musi- 6 sharing comments made by au- non to its appticabilit v to cal and sound scores dience Members dame 4, choreograph/perform a,strue- 4.re% iew ideo- t ape of rehearsal/ 6. ,read, discuss books and %Lew tured improvisation performance and critique. films on ditlerent aifproaches to compose dances based on mul- the choreographic. process tiple elements of time, space. 7. read/discuss lustor% of ballet/ energy modern dane e 6, experiment with the use of 8, read/discuss philosoph% of con- many facets of large group rela- temporary choreographers. tionships 9. read/discuss %iews in Dance 4. write a igscription of own Magazine, Dance Dimensions, dance; o others' dances New York Times, other news- 8. practice projection papers 9. practice bows 10. experiment with making tape informal showings/eritques recording of,sounds and/or 11 experiment with lighting, col- MUSIC ors, intensities, fades, blackouts IL- access to tape recorders and 12. participate on production com- record players mittees such as: 12. access to good sound recording tickets equipment publicity 13. access to cassette tape of cho- programs sen accompaniment house manager 14. see video-tapes of previous stu- stage/light crew dent choreographies costume crew 15. discuss aesthetics of lighting for dance B. OUTSIDE OF THE CLASSROOM attendance at:, dance concerts musical events poetry readings plays art galleries museums 2. attendance at local/national dance-conventions/conferences

47 .4 , c IMPLEMENTATION -

ROLES AND RESPONSIBILITIES . .provide guest speakers for in-service programs.

FOR SUPPORT OF DANCE . . coordinate and evaluate student/teaching EDUCATION programs.

..provide leadership in curriculum planning Dance is bec.bming recognized as vital to the to- and implementation. tal educational experience of all students. Support is provided at the national level for the-romotion and development of philosophies and policies to as- School Boards sist expansion of dance education. Local, state, and national dance organizations provide leadership, allocate adequate number of teaching posi- programs, and resources. These contributions tions for implementation of dance curricula. should not go unheeded. If dance is to realize its potential in education, state departments of public in- control student/teacher ratio in dance classes. struction, local school hoards, teachers, and admin- provide in-service education for all teachers istrators must fulfill their responsibilities in who teach dance-or desire to integrate dance providing quality dance programs for all students. with classroom learning. allocate funds necessary for quality dance pro: Wisconsin Department of Public grams. Instruction

develop philosophies and practices related to Administrators curriculum, professional preparation, and certification. ..recommend appointment of creative, well- trained, and skillful dance teachers.

. plan, promote, and coordinate workshops,' deinonstrations, and in-services at state and/ ..maintain awl update facilities.

district levels, . ..assist in planning for-and obtaing aade- quate budget for dance. obtain, generate, and distribute informational materials on issues and concerns in dance edu- .assist in procuring dance resource/ people from cation. within the community and thprou.gh the Artist- in-Residence program. promote student involvement in dance activities such as concerts and conferences. . . assist in developing publicawareness of the dance program. provide information aboUt and assist with the writing of grant- applications for the procUre- .schedule dance as a regular part of the total ment of dance education funds. school program.

.provide staffing and supervisory leadership for .schedule classes which pro*le for the most efl.

.be cquainted with the dance program Colleges and Universities wit the school and district and with na- tiongl trends in dance education.. , . promoteand conduct research in curriculum assist and coordinate curricifim develop- . development in dance, motor learning, and re- ment, implementation, evaluation, and revi- lated areas. sion.

. promoteand exemplify high standards for ..work for articulation of elementary and sec- ,professional preparation and teacher educa- ondary curriculums. tion. .. encourageand allow time for.inter-digipli- . .act as a consultant for curriculamoncerns. nary planning. 'NI\ 50 54 # . . . ncourage teacher membership-and attend- gram for discussions, performances, demon- nce atmeeting, workshops, and conferences %tiations, and master classes. of local, state, and national dance organiza- . . .update skills, knowledges, and understand- tions. ings 4through continued education, reading,

. encourage continuing education and visita- participation in technique classes, attendance tion. ',..i, . at professional conferences and workshops.

. . visit classroorhs to assist in evaluating teach,- ers and developing' heir potentials in danct .PhysiCal Education Teacheis education. 4. recommend adequate time, space, and staff for . assist teachers..with instructional or discipli- nary problems. dance activities at all levels. recommend adequate funds for dance ro-' . attend si5ecial dance events and performances. grams. encourage the hiring of dance specialists and Dance Spealists others who have a strong interest and background in dance. . . deN...eloy, implement, evaluate, and revise curriculum. instill in students a sensitivity for the values of dance education. . deverop and use resource materials such as slides. handouts; and transparencies. update skills, knowledges, and understandings of dance through continued education, provide input into budgeting and purchasing reading, participation in technique classes, at of supp es and equipment. 4 0 tendance at professional conferences and identify resource materials for acquisition'and workshops. use in classrooms and Instructional Materials . . integrate elements of dance and creative Centers. movement with other aspects of physical edu- serve as consultant to classroom and subject cation. area teachers. organize and present in-,service education pro- Art Music, and Drama Teachers grams.

. . .present activities that involve movement and . maintain sensitivity itballstudents and strive to help them achieve their greatest potential dance experiences. in dance. ...demonstrate the relationship between dance e:altiate, keep accurate records, and report''' and other art forms.

student progress as required. .utilize dance resources within the schbol dis- organize and coordinate student performances trict and the community.

and demonstrations. .serve as a guidance resource for students who organize and supervise appropriate field,trips. want dance experiences beyond those provided by the school. select and/or perform appropriate musical or percussion accompaniment, for dance activi- .update skills, knowledges, and understand- ties. ings of dance through classes, readings, workshops, and conferences. assist with extra-curricular activities such as musical productions. Elementary and Secondary ClasSroom . maintain membership in professional organi- Teachers zations and serve on appropriate committees. attend concerts anderformances of dance consult and cooperate with dance resource and related events a exhibits. peciple. bring in artists and ther resource people from present ptivities which use movement and the community or Artist-in-Residence pro- dance t6augment classroom learning.

51 55 become aware of dalice literature and career . . .update skills, knowledges, and understand- opportunities in dance. ings of dance through classes, readings, Work- use examples ,in dance that help teach con- shops, and conferences. cepts in the humanities, sciences, mathemat- ics, and languAges.

DANCE COMPONENT OF THE ARTIST -Di- RESIDENCE PROGRAM

The Artist-in-Residence Program, funded by the quality of the proposed project. the National Endowment for the Arts and the Wis- consin Arts Board, pia( es professional artists in Sponsors select movement specialists and dance Public and prix ate elementary and secondary companies from a pool of artists available through schools,. The purpose of the program is to involve Charles Reinhart Management, Inc. and through professionalartist:, with students, parents, and the Wisconsin Arts Board. They have been judged teachers in t he ooperati e effort to: on their professina91 standards, and the quality of develop and enrich student sensitivity to and their work by screeing committees before becom- understanding of the arts. ing eligible for the program. provide experiences that encourage further No two residencies will be alike. Some activities arts programming and integration of the arts offered by movement specialists and dance compa- into regular school activities and into the nies might include: master classes in a variety, of community. styles and techniques such as modern, ballet, jazz, improvisation, composition, ethnic; teacher in-ser- The National Endow mein f,ir the Arts began vice education programs and integration of dance this program as an experiment in 1969 by placing into other subject areas; community involvement artists in s( hook, in ,ix state, The experiment was through classes and demonstrations; workshops in so successful that three Nears later the Artist-in- related areas such as technical theater, movement Residence Program had reached all fifty states, and for actors, dance for musical comedy; movement for artists from a wide range of disciplines were partici- special groups such as theelderly, developmentally pating. The Dance Component is that branch of the disabled, and gifted students; lectures, seminars, Artist-In-Residence Program which places move- panels; student performances and demonstrations. ment specialists and dance companies in residence Most dance companies conclude a residency with a in the schools with the Ilillowing objectives: full-scale performance. The impact of a residency helping students and teachers explore ways in depends upon the offerings and abilities of the which movment can make a unique and rele- dance companies and movement specialists, on ex- vant contribution to the classroom and to the tensive and imaginative planning by the sponsors of physical and emotional lives of students. the residency, and on teacher and administrative fostering an understanding of dance as an art commitment to the program. forni. worlting to insure that dance and movement education will continue to be, an important Funding part of the school system after the residency' is over. The cost of a residency varies greatly according to its lengtieand to the movement specialist and Sponsorship of Dance Residencies company chosen. Funding is available through the National Endowment for the Arts and thg Wiscon- All elementary and secondary schools, both sin Arts Board. Altholigh 'the specific amount of Public and private, are eligible to become sponsors monies available throub these organizations may of residencies. The sponsors are .evaluated on the vary from year to year, the general practice is for the Arts Endowment to provide, fifty percent of the following criteria: cost of the residency which is matched by state andi ability to pro\ ale adequate program adminis- local funds. The match may include both cash and.4 qration and coordination. in-kin&services. Interested schools should contact ability to pro\ ide sufficient space. the Wisconsin Arts Board for further information ability to provide sufficient funds. on available artists, application, and costs. 52 56 '0 SCHEDULING, STAFFING AND CLASS SIZE

4. Dance instruction should be a part of the educa- made to schedule the dance specialist to instruct tion of all students from kindergArten through se- each class of students at least once aeel; nior high school. The,way dance is scheduled into the curriculum and the amount of time devoted to it will vary greatly from one school to another. Pro- viding the optimum amount of time for dance Class Size classes may be difficult due to competing demands on time, staff, and facilities. However, schools Class size influences the degree' to which curric- should allocate sufficient time to adequately, imple- ulum goals are met. The' maximtim class size recom- ment the dance curriculum. When determining mended for elementary and secondary dance class length and frequency, considerationthould be classes'is 20 and 25 respectively. However, the na- given,to providing an amount of time that: ture of some dance activities may better he accom- -If-iodated in larger or smaller groups and through in- reflects the need for-classes that are of ade- dividualized instruction. quate length to assure proper warm-up. Large group instruction conserves teaching allows for the repetition necessary for learn- time,. makes use of audio, ,y isual aids more efficient, ing motor skills. and makes effective use of resource persuns, possi- aklows for completion of creative projects. ble. Large group instruction includes: lectures on takes into consideration the skill level, ma- dance history, anatomy, accompaniment for dance, turits, and interest of students. lecture/demonstrations classes in social and folk dance, master classes and informances by- ists. When class size remains small, greater student / Articulation ofSchedifFing teacher contact is possible. "Teachers have more time to give individual corrections aid explanations Careful thought must be given to the articula- of anatomical differences necessary for inastery of tion of scheduling at all levels in the elementary and technique. Some identifiable groups of students secondary schools. Sequential development which such as.the gifted or de\ elofitnentall\ disabled will builds :on previous experiences and provides 'for benefit from.small group en\ ironments which pro- continuing and rigorous study in breadth aid depth vide alternatives fwm regular t. lasses. Since choreo- is needed to intelligently integrate the total dance graphic projects frequently require a large amount program. This is necessary to provide challenges of space, fewer students should be scheduled into fl and to expapd' individual potentials and abilities at classes of this nature. Discussions, of such topics as ° all developmental revels. Coordination, flexIbility, aesthetics, performances. and creatiy itytake ad- Theinnovation in scheduling are needed to realize vantage of the greater degree of interaction that is The full potential of dance education in the schools. possible in small groups. Independent or individualized study in dance allows motivated students to expipre darice and movement in ways not available in the regular cur- The Dance Specialist riculum. Working on choreographic or performing projects, histosical research, and advanced study at When possible the dance specialist should' be private studios are examples of ways of individual- scheduled to teach all or most of the dance classes. izing instruction. Nomore than five hours of classes per day should be scheduled with at least one hour allowed for planning and preparation. The dance specialist will also serve as a resource to physical education, fine arts, Additional Recommendations classroom, and subject area teachers. ' When the dance specialist cannot teach all of Credit for dance classes should he granted in the dance classes, the responsibility for dance edu- lieu of fine art, eletive, or physical education cation may be shared by other staff members. In credit. this case, the dance speciallst would serve a greater Dance classes should be offered to meet the resource function and should haVe n-lo time for special needs of such groups as the gifted, tal- planning, coordinating, consulting,nd assisting ented, creative and the developmentally dis- other staff Mit teach dance. An attept should be abled.

53 67 "Resources for extra-curricular dance activi- dance clubs, musical productions, and per- ties should he available to accommodate forming groups.

PHYSICAL FACILITIES FOR DANCE-THE DANCE STUDIO

A dance studio -is a space desrgned solely for Office Space dance activities. The dance studio °should be located away from disturbing fagtors such as noises, Private office space adequate for the needs of odors, and.traffic,. It should be located near dress- the dance staff should be located in orNnear the ing, locker, and shower rooms and, if possible, near dance studio. Minimal ne'ds include desks, chairs, related tiny arts areas and performing spaces. A file cabinets, bookcases, and access to telephones' minimum of 100 to 125 feet of space per student and copy machines. Locked storage space is crucial should be prodded w ith a ceiling height from 18 to>ifyr storing sound equipment, ecords, tapes, musi- 24 feet. cal instruments, costumes,pros;and scenic equipment. Floors, Sound Equipmbnt

A special floor is necessary for the dance studio., Sound equipment should include a variable . A "floating" floor should be constructed to progiee- speed turntable, tane recorders, both reel-to-reel an air space between the wood and foundation. and cassette, an amplifier, and speakers. This Flooring which is adequately suspended above the equipment may be built-in or on casters. The foundation and the wood selected provide both the speakers shoufd be mounted near the ceiling and be resiliency necessan, to cushion landings from eleva- of adequate' size and quality for'the space. Electri- tions and aal, in the preention of injuries such as cal outlets should be conveniently located for the shin, splints. hairline fractures. and stiff and torn use of this equipment. Facilities for sound repro- ligaments and muscles.: hardwood. such as north- duction are highly desirable, and soundproofing of ern maple. of random lengths, tongue-and-grooved, the studio should be considered. and laid with the grain goingin one direction, is a good choice. Tung oil maybe applied to the wood to prevent slivering and to give a finish that is neither Mirrors and Barres too sticky rlitoo slippery. ors and barres can be eithe-i- portable or mouni onto the walls of the studio. The following Walls, Lighting, and Wiring guidelines are recommended.'- Mirrors: The walls Of a dance studio should be relafively mounted mirrors should be installed flush smooth, aesthetically pleasing, and easily main- with the walls. tained. They should be structurally strong enough portable mirrors should be on castors and be $o support the weight of mounted barres and mir- about six by eight feet in size for ease of han- rors. Natural lighting from large windows should be dling. provide,d when possible along with shades or cur- -corner mirrors allow for movement analysis tains to provide darkness for performances and use from two directions. of audio-visual equipment. Because it is-desirable mirrors sh"rild be raised six inches from the to create different or unusual light environments' floor. for some dance activities, it is best to hare dimmers Barres: on light switclhes so that he instructor can control mounted barres should be from six to eight the intensity.Of lighting. 1-legvy duty wiring, capa- inches from the walls. ble of meeting safety standards to carry a light portable barres shouldbe constructed of light board, is desirable if the instructional space is also weight aluminum for easy mobility. to be used as a perfoiming space. Numeious electri- barres should be from 34 to 48 inches from dal outlets should be 'strategically located through- the floor depending on the height of the stu- out the studio. dents who will use them.

54 56 Accessories Needs of Exceptionally Developed Programs I o o Adequate chalk and bulletin boards should be Although most dance specialists rely heavil (Al provided, and an area. for displaying photographs is the use of records and percussion instruments for highly desirable. Reference books, tapes. and accompaniment of dance classes, well developed records should be readily available for student and dance programs and programs at speciality schools would make use of a piano and 4companist. Dance teacher use as well as storage space for them. Racks programs with an emph,sis on performing and or shelves for temporary. storage of students' books touring would benefit from ha% ing a portable, lino- and shoes would... be a helpful addition. leum floor such as a Marley floor for performances.

ilo ALTERNATIVE SPACE

Dance can be taught in many spaces. In spite of equipment such as mats, ropes, balk, and other the fact that few schools in Wisconsin have dance items which lend themsel% es to creati% e mo% ement studios, dance education...should not be neglected activities. Record players and other sound equip- due to lack of optimal facilities. As dance programs ment can usually beborrowed from audio-% isual de- continue to be developed and expanded, teachers partments or shared by several teachers. and administrators should look for orportunitiesto renovate existing facilities lo more adequately accommodate the dance education of their stUdeofS. Secondary Schools Existing fa ilities such as classroom's, multipurrose ` rooms, gy nasiOms, and stages provide reasonable Gymnasiums are probably the most frequently r alternativspaces in which too conduct dance used alternative space for dance instruction at the classes. .`t.., secondary level. When this is the case, providing The basic requirements for a dance space are a the minimum space recommendation of '100 square clean, open, well ventilated, and quiet area. The feet per person is usually not a problem. In fact, a space should be constructed, decorated, and fur- large gymnasium may be undesirable if itis too nished aesthetically. It shourd contain the essential large for teacher instructions and sound equipment elements, equipment and supplies in adequate to be heard. Care ghoUld be taken not to schedule number and quality for the implementation of the other activities in adjacent areas without providing dance curriculum. The alternate space should have visual and sound barriers. Sound equipment, per- a hardwood floor which has not been laid directly cussion instruments, portable mirrors and barres, over a cement or concrete foundation. Wood, tile, as well as storage space for them, should be avail- and'carpeted surfaces on cement are too hazardous able. As in the case of elementary teachers, other for most kinds of dance activities, especially for e departments within the school can be resources for landings from elevations. The space should be arge obtaining supportive equipMent for dance classes. enough for executing locomotor movement; 10_ to 125 square feet per person is recommended. Additional Considerations Elementary Schools As dance programs are being developed and es- Through creativity and cooperation on the part tablishing their value to the total education pro- of classroom, physical educatiorkannkusic teach- gram, careful thought must be given to providing% , ers, dance programs at the elementary level can the facilities and equipment necessary to best ac- flourish. Classroom teachers can teach students to commodate dance 'education. School budgets efficiently rearrange furniture to provide space in should reflect an awareness of these needs by in- the classroom for dance activities. Music teachers vesting in such items as sound equipment, tapes, can provide accompaniment and percussion instru- records, barres, mirrors, and percussion instruments for use in dance classes. Physical education ments. Steps can be taken to renovate existing facil- departments can allot time for the teaching of ities and to construct new facilities to better accom- dance as part of their program as well as supplying modate the goals of dance education.

55 59 SPECIALNEEDS

Exceptional Educ tional tension. Since dance is a vehicle for the expression of ideas, feelings and emotions, it provides Dance, like the other arts, can enrich the liNfes of the teacher with a means of removing psychological all students regardless of their special needs. Ex- blocks. It provides students who cannot express ceptional education students have even greater themselves effectively in a verbal way with another need of tivehabilitative,poCentials of dance and or an alternative means of expression.Psychiatrists the opportunity to experience beauty in movement have found that the physical expression of ideas is and the creative act. more primal than the verbal. After physical expres- Dance therapy is movement used for rehabila- sion has emerged and a common ground for non- tive purposes and prescribed by a doctor/psychia- trist for physical, psychological or emotional rea- verbal communication between student and sons. A dance educator is not, and should not teacher has been established, verbal expression will pretend to be, a dance therapist. However, dance frequently develop. Those students with physical can become a therapeutic tool in education for the disabilities can also improve their coordination, reason that movement reduces physical and emu- strength and flexibility through dance experiences.

KNOWLEDGES AND COMPETENCIES FOR DANCE EDUCATION TEACHERS

In 1972, the State of Wisconsin adopted a set of I. Physical Edution Majors knowledges and competencies as criteria for dthice certification. It covered undergraduate dance majors and minors, physical education majors teaching Physical education majors teaching, dance dance, dual certification for dance minors, efe- courses at the secondary and elementarylevels mentai teachers and music teachers who-are ex- should have a minor in dance or equivalent profes- pected t9 teach rhythmic activities, dance, Or move- sional and/or educational experience. Preparation ment education. for teaching should include: Complete certification standards governing teacher preparation and certification at the ele- 1. M}fsic appreciation, elementary music the- mentary and secondary level suggest the number Of ory, dancelaccompaniment. credits and areas of additional acadernic training 2. A minimum of two semesters each in ballet necessary,' The documents, Wisconsin,Certification technique and modern technique. Standards and the skills and knowledges for dance 3. A minimum of two semesters in two of the education certification, are both available frothe .follOwing areas: jazz, folk, square. social, Wisconsin Department of Public Instruction, 125. tap. South Webster Street, Madison, WI 53702. 4. Dance history. In light of developing a comprehensive state: 5. Teaching methods in ballet, modern, folk, wide curriculum in dance education, former knowl- square, social., edges and competencies need to be re-evaluated. 6. Curriculum development. The 'following is a rommendation of ,standards, knowledges, and co etencies to be considered for 7. Improvisation. future adop on. It a dresses standards for: 8. Composition. 9. Dance production or dance production ex- phyal education majors teaching dance perience. art, music and drama majors teaching 10. Interdisciplinary Study in the relationship dance of dance to sports, or dance e ation to elementary education classroom teachers physical education. in dance' 11. Philosophy/aesthetics of art, especially dance education specialists dance.

56 I II. Art, Music, Drama Majors Teaching IV. Dance Education SpeCialists Dance Dance education speciailstl,I should 14.have a strong liberal arts education which should include Art. music, and drama majors teaching dance study in: 4 education courses at the ,secondary level(7-12) t should hal, e a dance minor or equivalent profes- -the biological, physical,. behayiorial, and so- sional and/or educational experience. Preparation cial sciences. . , for teaching on the svcondary level should include: -the humanities. / I -the practical, theoretical, and historical 1. Music appreciation, elementary music the- pects of the arts. ory. dance accompaniment. -the role of arts in' civilization(society,u1- 2. A minimum of two semesters each in ballet ture). technique and Modern technique. -the growth and tlevelopmeit of thevehild and 3. A minimum of two semesters in two of the adolescent. following areas: jazz,, folk, square, social, -the nature of the teachinlearning process. tap. -the procedures for teac ertsudent evalua- 4. Dance history. tion, ., I 5. Teaching methods in ballet. modern, folk, -the development of cuiriculum. square, social. ' 1' 6. Curriculum development Individuals who desir da41,nce education in ei- 7. Improvisation. ther level, elemenary,_(K- or secondary 8 Composition. should have an academicajor in Dance`Eduea- 9. Dance production or dance production ex- tion. Academic minors or areas of emphasis in .addi- . perience. tion to the professional education sequence are 10Anatqmv, Kinesiology. highly suggested. Areas which complement a Dance 11. Interdisciplinary study.in the role of arts in Education major include. but are not limited to:, society 1. ;FINE ARTS:. Art, Communication,Diama, 12 Philosophy and aesthetics of the arts. Music 2. BEHAVIORAL /SOCIAL SCIENCES: Cul- lob , tural ArithropolOgy, Sociology, Psychology III. Elementary Education Classroom 3. -HEALTH, PHYSICAL EDUCA,T.ION:'., .51." Teacheri In Dance :* RECREATION 4. HUMANITIES: -4Akeikrican Civilization, English. History Elementary Education majors teaching dance 5. SPECIAL EDUC.A-TiON education cours .s or incorporating dance education 6. NATURAL SCIENCES: Biology. 'Chemis- into the currilum, K-6, should have a minor in try, Physics dance quivalent educational and/or profes- a experience. Preparation should include the Standards for the Dance Education specialist following: should include the following knoledges and competencies: 1. Dance accompaniment. 2. Music appreciation. 3. Dance history. A. KNOWLEDGES: 4. Improvisation, composition. 5. Teaching methods: 1. Structure, neuro-muscular. and mechanical Creative rhythmic movement. functions of the human body. . Folk and square. 2. Ideo-kinetic facilitation of movement and Social. bio-feedback. 6. Curriculum development. 3. Movement principles and concepts: time, 7. Ballet and modern teehnique. space, energy, axial, locomotor. 8. Creative dramatics. 4. Structure, form, analysis of music theory 9. Interdisciplinary study of dance in relation- and dance accompaniment. ship to other fields. 5. Content, methods of implementation and 10. Anatomy/Kinesiology. evaluation for teaching dance with $pecial 11. Philosoph} /Aesthetics of art, especially emphasis on the elementary level. dance. 6. Curriculum development.

57 sj 7 Dance tec hniques and stles. ballet, mod- ommended knowledges and competencies for dance ern. tap. jazz. folk. square s,ocial disco. eth- education specialists found in this section. The . nic. number of semesters noted next to each area of S.Principles of teaching and evaluating dance study or training represents the ideal in the future techniques and styles. of dance education training. Current undergradu- 9,Principles of creative dramatics. impro.isa, ate major programs in Wisconsin range from 55-90, Lion. choreograph.. and cover many but not alFthe areas listed below. lilPrint iples of Dance Production including. Study at the undergraduate level to prepare dance stage crafts. public relations andathertis- education majors should have breadth as well as ing, music, coordination. audio manipul'a depth. t 11.Historical -background and contemporary perspecti.es in dance. SAMPLE CURRICULUM FOR 'DANCE 12. Aesthetic and philosophical bases of dance. F,DUCATION 13. Role. f unelion and meaning of the Arts,. es: pecially Dance in civilizatidn: 1. Techniques 14''Nature of the creative process. 15Interrelationship between dance and other a.Ballet-8 semesters 4 areas of know ledge.e,.pecially the arts b.Modern or contemporaryconcert dan ce-8 16. Role and tuittion of media and audio-vis- semesters . ual cornponCift, for dance c.Tap. jazz. specialty theatre forms-2- 1'7 Labanotat ion and effort shape. semesters

NO. Ethnic, folk: square-2- semester e Social : contemporary forms in social B. COMPETENCIES: lance-1-2 semester, :.

1 Performance of a vide .ariet. of dance skills- 2. Composition * ballet. modern. sari. tap. folk. square. social. ethnic. contemporar. hams in social. a.Creative dramatics-1-2 semesters 2. Abilit.to provide the proper accompani improvisation-1-2 semesters ment for each class Choreography-2- :semesters Abilit. to select and record t hose accornpani. d.Dance product ion: formal concert preparation and presentation-2-3 ments appropriate to the particular,dance . 44. farm. semesters 4t's'e of appropriate teaching techniques in . ,presenting dance as a creat experience as 3 History, aesthetics. philosoph. 2-4 semesters welt learned ...eCillence of mo.ement 5. Competence as a chore,ogranlier and . Stage crafts pro. isationalist a.Lightdesign.-implemeritation. aesthetics- 6, Ability to direct and integrate dance into ttie 1 -2 semesters social expt`rience b.Costume design. implementation. 7. Abilit. to direct some technical aspect of aest he7tics-1 -2 semesters dance production. c Set design. implemerrtation. aesthetics-1 8. Ability to communicate the cultural function semester of dance in its historical and philosophical d.Props for dance-1 semester implications. 9 Demonstraticrn of successful teaching of 5. Theatre history and literature-2 semesters dance in a student teaching period on the elementary and or secondary levelEach 6. Music theory for dancers. music student should have some experience work- appreciation-2- semesters ing with children prior to student teaching. af- ;7. Dance accompaniment-2 semesters Proposed Undergraduate Dance 8. Piano. voice-1-2 semesters Education Major Curriculum 9. Design. 2-D and 3-D-1- semesters This proposed undergraduate dance education ,major curriculum co.ers the areas addressed in rec- 10. Music and art histor:-2- semesters

58 , x 62 11. Audio-visual aids and resources fur dance 1 15, Interdisciplinary courses relating dance to semester biological, social, behaviorial and physical sciences and humanities:1-6 semesters 12. Anatomy, kine'siology for dancers-2-4 semesters 16. Effort/shape and Labanotation-4-6 13. Teaching methods-3-4 semesters semesters 14. Cur.riculum development in dance education for the elementary anditir secondary level -2- 17. Student teaching at the elementary and/or 4 semesters- secondary level-1-2'semesters

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INSTRUCTIONAL RESOURCES

ARTICLES IN JOURNALS OR N. those especially in 7-12 doing any kind of dance MAGAZINES concerts. Suitable for directors or teachers with little experience and elementary equipment. Dance Production Dance Therapy Shapiro, Lou-is. "Sound:\ A Series'for Dance," Dance Magazine. Feb.-Oct. 1974. Seven parts. Dia- grams.Excellent commentary on the nature of Lloyd, Marcia L. "The Handicapped Can Dance sound and making audio tapes for dance. Too!" Journal of Physical Education and Recreation. May 1978, Vol. 49, No. 5. Skelton, Tom. "Handbook of Dance Stagecraft," Dance Magazine. 1955-56. Extensively illus- Schmais, Claire. -"Dance Therapy as a Career," trated .and diagrammed. A comprehensive ex- Journal of Physical Education and Recreation. amination of lighting for dance, Necessary for May.1977,--Vol. 48, No. 5.

AUDIO-VISUAL

Films foi Rent or Purchase room, dancers who want to teach children and educators interested in the arts. It is limited in BEHIND THE SCENES A ballet film suitable for content, but nevertheless offers a view of a place all ages showing the diffiCuIt training of the bal- to begin. Produced and co-directed by Geral, let dancer. 16 mm, 24 min., sound, Nor, cost: to dine Dimondstein and Naima Prevots. 16 mm, be negotiated. Rental or purchase from: b/w, sound; Sale $40, rental $5.50. University of Mediavision, Inc., 1709 Bloor Street W., To- California Extension Media Center, 2223 Shat- ronto, Ontario, CANADA M6P 1B2. tuck Avenue, Berkeley, CA 94720. CREATIVE SOUND AND MOVEMENT Part 3 BEING ME Creative dance film showing move of series of four creative dance films "Creative ment exploration which involves the physical, Dance for Children" showing Barbara Mettler's mental, and emotional self. 1969. 13 min., work with children. Boys and girls ages eight to sound, b/w. Sale $75, rental $5. University of twelve. 16 mm, 18 min., sound b/w. Cost for California Extension Media Center, Berkeley, purchase: total series, Creative Dance for Chil- CA 94720. " dren $350; Part 3 only, Creative Sound and CHILD OF DANCE Little girls dancing. First part Movement $110. Cost for rental: total series conveyed creativity while the last part appeared $54, Part 3 only $16. trite and commonplace. Probably o.k. for pre- DANCE ABOUT Modern dance as an educational sphool and kindergarten although the lack of discipline and a an art form. Nine and ten year bOys in the film is disturbing. Probably o.k. for oldsin gym, outdoors and in the classroom. teacher's use as a reinforcement and guide to Second part shows the work of the Regina Mod- movement capacity at this age. 1970. 9 min., ern Dance Workshop. 16 mm, 30, min., color. sound, color. Sale $140, rental $15. Film Images Good for teacher training. AvIiilable for rental (Division of Radim Films),17 W. 60th Street, from: Christine Welth Enterprises, 2146A New York, NY 10023, arid 1034 Lake Street, Queen Street East, Toronto, Ontario, CANADA Oak Park, IL 60301. M4E 1E3. Cost $35 per day. CHILDREN DANCE Boys and girls, K-3 in class- DANCE AS AN ART FORM Entertaining and in- room situations. Dance improvisations filmed structional. Traces dance from its origins in nat- during regular class times. Narrated by teach- ural gesture to its use as an art media. Series of 5 ers. Progression seemed confusing but the-film films: The Body as an Instrument, Motion, intent was to capture spontaneity. The film Space, Time, Shape. Dancers filmed out-of- would be a ,good reinforcement with the doors and in various life situations promoting Dimondstein-book. Intended to encourage those dance for everyone. Murray Louis Dancers. 16 who want to \teach dance to children in the class- mm, sound, color. Each 30 min. Rental $50 per 62 65 film, $200 for series. Purchase$500per filnl, ing with disturbed children. Autism is the focus $2000 for series. Chime1a Foundation for in this film. Stresses body language. B Dance, Inc., 33 East 18th Street, New York, NY sound, 30 min., 16 mm. From University of Cali- 10003. fornia Extension Media Center, (FN), 2223 Shattuck Avenue, Berkely, CA 94720, 1970. DANCE INSTRUMENT Beautifully done, high- Also Alverno College. k ly technical. Content seems to be for the dance specialist or for the dance performer. Could .be MOONMONSTER Third of series of films from used as orientation/audience educatio Five the Children's Creative Dance Theatre directed film series: The Dance Instrument, Inw to by Joyce Boorman. Ages 6 and 7. The viewer Move Better, Dance Design: Motion, Dance De- sees the finished dance and then a "flashback" stS'n: Shape and Time, Dance Design: Space, to the children involved in its creation, finally Sound, Color. First film 17.3 min., 2nd film 19.7 the finished dance again. Intended for teacher min., 3rd film 19.1 min., 4th film 16.3 min., 5th and parent education with an emphasis on the film 18.8 min. Purchase $190 per film, Super 8 process of exploration and discovery. Color, 16 Cassette $140. From The Athletic Institute, 200 mm, 12 min. Cost $184 for purchase from Joyce N. Castlewood Drive, North Palm Beach, FL Boorman, Associate Professor, Department of 33408. Movement Education, Univefsity of Alberta, so G112 Education S., Edmonton, Alberta, CAN- DANCE WITH JOY Early childhood and ele:. ADA T6G 2G5. mentary level for teachers and psychologists. Shows a racially and socio-economically inte- MOONSTARS, SUND'ROPS AND grated group of 21/2 to 4, year old children re- RAINBEAMS The first film in the series from sponding to the inner stimuli of music and the Children's Creative Dance Theatre at the rhythm in an experimental early childhood edu- University of Alberta. Children ages 3 and 4. cation pfogram. The film empsizes the con- Explains' the philosophy underlying the chil- cept that children are natural cers when dren's work I AM, I CAN, I KNOW, I FEEL, I given the opportunity and that theyed to be BELONG. Rain and puddles .developed from quickened fr(5m within and allowed toove in skips and jumps, small white cloud from growl their own way. Sound, color, 13 min. Purchase ing, turning and sinking, stars from shapes and $155. Rental $17.50 per day. Documentary finally the rainbow from working with colored Films, 3217 Trout Gulch Road, Aptoss, CA ribbons. The film is intended for both teacher 95003. and parent education to assist them in understanding the role and significance that dance DANCERS IN SCHOOL Worth viewing. Gives has 16 the education of the young child. Color, good survey of the "Artist-in-the-Schools" Pro- 16 mm, 12 min. Purchase cost: $200, from Joyce gram. Shows Murray Louis, Bella Lewitsky and Boorman, Associate Professor, Departmerof their companies as well as Virginia Tanner and Movement Education, University of Alberta, her students inoresidence in public dEhools. G112 Education S. Edmonton, Alberta, CAN- Shows performances, classes for students, work- ADA T6G 2G5. - shops for teachers. 1971. Color, 16 mm, 28 Min. Rental or purchase from Pennebaker, Inc., 56 MOVEMENT IN TIME AND SPACE Primary West 45th Street, New York, NY 10036. Cost school childreil in Bristol, England dance their for purchase $250, rental $15.00. underwater ballet. Reveals a fine sensitivity for 'many different types of movement. Shows the LEARNING THROUGH MOVEMENT A fine end product of dance classes rather than the film involving both boys and girls in a normal, process of learning and teaching, but displays public school situation. Produced and directed very well-developed body awareness. B/W, 16 by Ann and Paul Barlin showing the explora- mm, 30 min. Cost for purchase $300. Rental $35 tion of movement and some large group move- from The British Broadcasting Corporation, ment by chirdren in grades 1-6. 1967, 16 mm, Film Sales, Manulife Centre, Ste. 5160, 55 Moor w, sound, 32 min., rental $20. Sale $165 from SL Street West, Toronto, Ontario, CANADA M4W Film, 5126 Haftwick, Street, Los Angeles, CA lAo. 90041. (Also available for rental from Alverno College for $5.00. 3401 South 39th Street, Mil- MOVEMENT SPEAKS 11 and 12 year old boys waukee, WI 53215 (Multimedia Center). from an English mining town who develop expressive aspects of movement under the verbal LOOKING FOR ME A beautiful film written and guidance of the headmaster. Particularly help- narrated by Janet Adler, produced and directed ful for teachers because of the teaching ap- by Virginia Bartlett. Etcellent for those work- proach and the fact that not all of the move-

63 r ment results are successful. Rental-$4 from Shows the children working with each aspect of Wayne State Universityy Systems Distribution the rhyme and then working with it in its total- and Utilization Department, V5440 Cass Ave-' ity. Finally, some of the actions are taken into a nue, Detroit, MI 48202. 16 mm, b/w, 30 min. very simple partner dance. Intended for teacher and parent education. Color, 16 mm, 12 min. PETER RABBIT A beautiful 90 min. film choreb- Purchase $205 from Joyce Boorman, Associate graphed by Frederick Ashton. Peter Rgbbit and Professot, Department of Movement Educa- Tales of Beatrix Potter was filmed on the rolling tion, University of Alberta, G112 Education S., hills of Britain's Lake District and in a special Edmonton, Alberta, CANADA T6G 2G5. studf& buiit to scarefrom' a mouse's point of view. ColC4, 16 mm. Rental $100 from Bellevue 4OWLY SLOWLY Fourth film in the series of Film Distributors, #2, 1019 -$17 Avenue S.W., five from Children's Creative Dance Theatre at Calgary, Alberta, CANADA T2T 0A7. University of Alberta. Shows one possible way of combininga at of poetry with the art of PREPARATION: DANCE Presents an approach creative dance. ildren ages 9 and Jo work to teaching dance that embodies both creative with both Haiku and the poem "Slowly" by and pre-technical learning forchildren who may James.Reeves. wish to study ballet or contemporary dance. Follows a group of 6 to 8 year olds of average Depicts clearly a stage of developroient n the ability through a class. Class includes both the children's work when they are beginning to purely technical method of teaching and the .omprehend that poetry cannot only be read wholely creative program and show how each of and illustrated visually but can be re-stated in the two,approaches can be used within the class an entirely different formcreativedance. structure. Uses music and poetry. Color, 16 mm, Color, 16 mm,g12 min. Purchase $236 from 12 min. Purchase-4225, Rental $15 from Cana- Joyce Boorman, Associate Professor, Depart- s, dian Filhavers Distribution.entre, 406 Jarvis ment of Movement Education, University of Street, Toronto, Ontario, CANADA M4Y 2G6. berta, G112 Education S. Edmonton, Alberta, CANADA T6G 2G5. QUEBEC 4, 5, 6 A beautiful illustration of awaken- ing the senses of young children. The reactions SOUND AND MOVF ENT Movement improvi- and movements of the children to snow, large sations accompanied ley soup s of voice, hands, styrofoam pieces, percussion objects, paint, feet and unconventional musical instruments. paste, cellophane, bicycle wheels and other Directed by Barbara Mettler. 16 ,mm, color, noise rhakers are sensitively portrayed with sound. Rental $9; sale $180. From Tucson Crea- children's sounds without words as a back- tive Dance Center, 3131'N. Cherry Avenue, ground.Color,'16 mm, 20 min. Purchase $228, Tucson; AZ.,85719. Rental ginknown, from Cine-Media.Ltd., 49 Bathurst Street, Toronto; Ontario, CANADA SURE I CAN DANCE Artists in the Schools . .. Ririe-Woodbury Co. Good over- --M5Y 2P2. all introduction to dance. with enthusiastic RHYTHMETRON Arthur Mitchell, founder of dancers, exciting costumes and colors. Adult the Dance Thegire of Harlem, explaing ballet to dancers. Shows class work in the schools, grades a group of youngsters while his studentsdemon- 1-3, 3-4, brief middle school and special educa- strate at the barre. It is shown to be a part of tion work. A good film to arouse interest and ex- everyday experience, neither alien nor out-of- citement in dance and its possibilities. Car reach to young people. Three works are pert veyed the idea of dance for everyone. From Film formed: "Fete Noire," 'Boisfera," an Images, 1034 Lake Street, Oak' Park, IL 60301. "Rhythmetron." 1973, Color, 16 mm, 40 min.; TOWARDS DANCE Last of the five films in the rental or purchase from Audio Visual series from the Children'Is Creative Dance The- McGraw-Hill Ryerson Ltd., 330 Progress"Ave- atre. Shows two dances created for students nue, Scarborough, Ontario, CANADA M1P 2Z5. aged 11 to 13 years. First dance deals with the SKIP, SKIP, SKIP The second in the series of concept of abstract designs created by the body films from the Children's Creative Dance The- and its juxtapositions in and with space. The atre directed by Joyce Boorman at the Univer- second dance deals with the exploration of the sity of Alberta. Shows the development of a sim- transitory human relationships that come about ple rhyme: Skip, skip, skip in moments of greeting and farewell did the Curl up small more stable relationship- createdIv unison Spread waY out mood and action. Intended for upper ele- And roll like a ball. mentary and junior high school area both teach-

64 s fr? ers and students. Color, 16 mm, 12 min. LITTLE BLUE AND LITTLE YELLOW 1962. 11 sound, color. Sale $125, rental $10 from Purchase $245 from Joyce Boorman, Associate 9 Professor, Department of Movement Ed uca- Contemporary. Films/McGraw.,-Hill, 330 West tion,University of Alberta, G112 Education S., 42nd Street, New York, NY 10036. Edmdnton, Alberta, CANADA T6G 2G5. McLAREN, NORMAN FILMS 1V4 -1961. WHAT IS RHYTHM Natural rhythms in the en-- Among these short imaginative films, the most vironments, rhythms made by movements of appropriate for dance are "A Chairy Tale," "Ca- people, animals, and objects. Animations which non,- "Fi\ddle-de-dee," "Hen Hop," explain beats, accents, phrases are shown sim., "Rhythmetic," and "Hoppity Pop." Sale and ply and directly. 16 mm, color, 11 min. From rental. Intrnation'al Film Bureau, Inc., 323 Bailey-Film Associates, 11559 Santa Monica South Mich'gan Avepue, Chicago,_IL 60604. Boulevard; Los Angeles, CA 90025. ONCE UPON A TIME THERE WAS A DOT 1967. 8 mi sound, color. Sale $135, rental Alms at No Cost $12.50 from Contemporary Films/ McGra w- 4 Hill, 330 West 42nd- Street, New York, NY The following is a list of motivational films which 10036. are short and frequently available from local pub- SNOWY DAY 1964. 6;min., sound, color. Sale $90, lic libraries and state universities at little or no rental $5. Weston Woods Studio, \iston, CT cost. They can be used effetively,to motivate crea- 06880. tive movement responses through an understanding of the relationships betueen dance and lan- The most complete list _of dance films up to 1969' guage arts, visual arts, humanities, and may be:found in the April 1969 issue of Dance Magazine . music. 1-

ART AND MOTION 17 min., sound, color. Sale Recording Companiea s' $167.50 from Encyclopedia Britannica Educa- tional Corporation, 425 North Michigan Ave- nue, Chicago, IL 60611. Rental $8 from Univer- The companies listed provide records for folk, eth- sity of California, Extension, Media Center, nic, and children's creative dance. (Send for cata- Berkeley, CA 94720. 7. logs.) CHRISTMAS CRACKER 9- min., sound, color. BOWMAR, 622 Rodier Drive, Glendale, CA Sale $110, rental $6 from Contemporary Films/ 91201. McGraw-Hill, 330 West 42nd Street; New York, DANCER'S SHOP, Children's Music ('enter, NY 10036. 5373 W. Pico Boulevard, Los Angeles, CA DANCE SQUARED 1963. 4 irk., sound, color. 90019. Sale $65, rental $6 from International Film Bu- EDUCATIONAL ACTIVITIES, INC., P.O. reau, 332 South Michigan Avenue, Chicago, IL Box 392, Freeport, NY 11520 (Kimbo Educg- '60604 tional Records also included.) FANTASY OF FEET 1970. 8 min., sound, cold% FOLKWAYS/SCH,OL RECORDS, 907 Sale $120 from Encyclopedia Britannica Educa- Sylvian Avenue, E ewood iffs, NJ 07632. tional Corporation,_ 425 North Michigan Ave- nud, Chicago, IL 60611. HOCTOR EDUCATIONAL RECORDS, _Waldwick, NJ 07463. HAILSTONES AND HALIBUT BONES (Parts I & II). 1964-1967. 6 and 8 min., sound, color. RCA RECORDS, Radio Corporation of Sale $90 each part. Sterling Educational Films, America, 1133 Avenue of the Americas, New Inc., 241 East 34th Street, New York, NY:100A. York, NY 10017. 1100 HA 1967. 5 min., sound, color. Rapaport Co. S & R RECORDS, 1609 Brrdway, New (Monroe), 175 West 72nd Street, New York, York, NY 10017. (1r NY 10023. YOUNG PEOPLE'S RECORDS, c/o Living IMAGES FROM NATURE 1962. 7 min., sound, Language, 100 6th Avenue, New York, NY color. Rental $3.60 from Indiana University Au- 10013. din- visual Center, Bloomington, IN 47401.

65 6(.3

a L Recordings for Dance at Elementary Bayview Aveflue, Northport, NY 11768. Former Level accompanist and composer for Hanya Holm, the late Freda Miller has written these excellent BELA BARTOK, Phillips. #SAL 6500-013. Piano compositions for basic and dramatic movement. musicexcerpts from "Mikrokosmos," "Out of Movement ideas are suggested. Doors," ",Konatina." Short recordings which are MUSIC OF EDGAR VARESE, Columbia. Mono very useful for movemept exploration. and Stereo #MS-6146. Best suited to upper ele- CARNIVAL OF THE ANIMALS, Saint-Saens. mentary grades because of the complexity of Columbia. Stereo #MS-6368. Animals suggested both sound and rhythrilic variations. Selections by the music: lions, chickens, donkeys, turtles, are long but this music can be used to initiate and elephants. movement exploratiOn. Wind, brass, and unusual percussion. CHILDREN'S CORNER SUITE, Debussy. Co- lumbia. Mono and Stereo #MS-6567. Six piano MUSIC TODAY, Angel Records. #S- 36558. New pieces utilizing a variety of rhythmic and me- music from England. "Collages" is excellent. lodic qualities. P CORN BY HOT BUTTER, Musicor Stereo. ELECTRONIC MUSIC, Philips. Stereo #PHS #MS-3242.leven selections by moog synthe- 600-047. Best for upper grades. sizer and other instruthents. Recognizable melodies. Today's music. ELECTRONIC RECORD FOR CHILDREN, THE, Dimension 5 Records, Box 185, King- SPACE SONGS, Motivation Records, Division of sbridge Station, Bronx, NY 10463. Stereo #E- Argo'sy Music C9rp. #MR-0312. Singing science 141. Such selections as "Upside Down" and record for elementary level. A good opportunity "Spiders" would he useful for creative move- t.o integrate science and dance. ment experience. SWITCHED ON BACH, Columbia. Stereo #MS- FIDDLE FADDLE, RCA. Stereo #LSC-2638. 7194. Moog synthesizer. Bach selections. Inter- Popular arrangements by Leroy Anderson such eSting contrasts useful for locomotor responses. as Syncopated Clock and Plink, Plank, Plunk. WAY 6UT RECORD, THE, Dimension 5 Records. FOUR SWINGING SEASONS, Capitol Interna- Stereo #D-131. Unusual sounds and electronic tional. Stereo #SP-10547. Useful for'upper effects:Use record side without narration. grades particularly for rhythmic studies. Uses blues, pop, rock, folk and bossa nova. Jazz ver- sion of Vivaldi's music. RECORDINGS FOR DANCE AT THE HIGH SCHOOL LEVEL IN SOUNDS FROM WAY OUT, Perry-Kingsley, Vanguard Records. #VRS-9222. Short selec- AFRO RHYTHMS;ontego Joe. Kimbo. LP tions with an obvioug beat. Could be used for humorous movement explo6tion,$,vhich change 6060. bodily shapes_ or isolated use of body parts. AFRICAN :HERITAGE DANCES, Mary Joyce LISTEN AND MOVE SiRIES, McDonald 7 Ev- Strahlendorf. Activity Record AR 36. ans, Ltd.. 8 JohnSt:-r-Lond'on, WC1. Four BACH'S GREATEST HITS, Swingle Singers. 'recordS (Green label). Per&ission rhythms and Philips PHS 600-097. piano music. It'aban approach to movement. BALLET CLASS, Roni Mahler. Statler Records. LOTUS PALACE, THE, Alanorber, MGM Pre-ballet No. 1032 Itecords Division, #V6-8711. Si ar orchestration Beginners No. 1033 of popular songs. Interesting sound. Dramatic Intermediate NV.'1034 possibilitirs. BALLET MELODIES, Moritovani and Orchestra. MOOGTHE ELECTRIC ECLECTICS OF LL1525 London. DICK HYMAN, Command Records. Stereo #938-S. Unusual tonal and rhythmic effects pro-- BASIC DANCE TEMPOS, Educational Activi- duced by a moog synthesizer. Fascinating with ties, Inc.. LP601-A For floor technique and loco- humorous potential. motor movement. , 4 MUSIC FOR RHYTHMS AND DANCE, Vol. ,BAREFOOT PALLET, John Klemmer #4, Freda Miller Records for Dance, '131 ABCDABC Records 950. .

66' 69 BURT BACHARACH, A & NI Records, 1416 N. GREEN ONIONS AND BEHAVE YOURSELF, Laprea, Hollywood, ('A 90028 Accompaniment Stax 5127. Used for composition. for moods. Reach Out.. GWEN VERDON PREPARES TO MOVE, CHRISTMAS WITH TIE CHIPMUNKS, Lib- Kimbo LP9091. erty Records, Inc. Los Angeles 28, CA. By Alvin, Simon, Theodore, and David Seville. LST7256. HOT SHOT, giant. single. West End Records. WES Fun for special composition. 12111B DANCE CLASS WITH PETERGENNAO, ICARUS, Paul Winter; Winter Consort. Epic, Kimbo. I. P9065. Records. KE 31643. DANCE CRAZE, Capitol. EAP 1-927, Bunny Hop, IMPROVISATIONS g OR MODERN DANCE, Charleston, Hokey Pokey, The Creep. Sarah Malamente. Mi 599. ELECTRO-VIBRATIONS, by John Eaton. JAZZ CLASS, Art Stone. Statler No. 1057 & 1058. Decca Records, MCA New York, NY. DL 710165. Used for ov at ion. JAZZ FROM DIXIE, Featuring Rampart Street Six Kimbo. USA Records.r,P 1099. Box 55, DANCE ST ,S, Composed by EN, elyn 0. Jen- Deal, NJ. Rhythmic Exercises, Dynamic Music. sen, Betty Tornan. Iowa State University, 'Ames, IA Y-71971. Great for beginning tech- JAZZVILLE, Statler No. 1008. nique. LET THERE BE DRUMS and QUITE A BEAT, FLOATERS, by Floaters. ABC Records. AB1030. Imperial Records 5775. For composition. FREDA MILLER RECORDS FOR DANCE, (2. LISTEN, MOVE AND DANCE, Volume I Capi- 3, 4) Department A, Box 383, Northport, NY tol Records. Creative products. Mostly side 2. 11768. H-21006. For middle and high school. Album 2A Includes: changes in tempo LISTEN TO THE CITY, Tim Weisberg. A & M Side 1* technique suggested combina- Records. SP 4545. tions and patterns. B A technique study "The Fable of MISSISSIPPI GAMBLER, Herbie Mann. Atlan- the Donkey" may he used as a tic Records. SD 1610. finishing project. MODERN DANCE, Music for Composition. A 'Dance Project" may be used as a Betty Keig & Madelin S. Nixon. Educational concert piece for Activities, Inc. Freeport, L.I. New York. LP 503. Side 1 individuals or group creativity. Suggestions for less experienced teachers, B Composition and Improvisation. designed as a guide for the imagination and not Polonaise, Waltz, Abstraction, as rules to be followied. A stimulus forcreative 'Unison, and a Hebraic melody teaching which offers a wide range of feeling based on the story of Ruth (Alien quality from light and delicate to strong and dy- Corn). namic. Album 3A Studies fa Composition excel- MODERN INTERPRETIVE, BIRTHOF THE lent for all levels. Aids in tech- BEAT & DRUMS ARE MY BEAT, Imperial nique understanding' of 5809.. tempoandand variations. Included: Western Dance, Theme and-Va- MODERN JAZZ EXERCISE MOVEMENTS, riation (of "Three Blind-Mice"), London and Harris. LP 30:30. American, Antique and Modern Dances. MOVIE SOUNDTRACKS: Wiz, Cabaret, B A composition to use for choreog- West Side Story, Guys and Polls, Marne, Bub- raphy and creativity. Music bling Brown Sugar, Porgy and Bess. "Time out'for a Dream" original, ,MUSIC FQR-MODERN DANCE, Bradshaw Be- but can he usedfor other ideas all. Ict/mbo LP 6090. and "storms." OREGONIN CONCERT, VanRiard Records. Altiti7n -4. 1.Music for Rhythms and Dance Oregon; VSD 79358. 9."The Pied Piper." two scenes for a creative and dramatic presenta- PATTERNS IN, JAZZ, by Robin Hoctor. HOP tion. 4200. 10 67 '70 PIANO RAGS, by Scott Joplin. Volume II. None- tion, University of Alberta, 13'117 Education N., such Records 71264. Stereo. Edmonton, Alberta, CANADA T6G 2G5. RITE OF SPRING, THE; Stravinsky. RCA I AM ME; Virginia Tanner's work with children of Victor. LM 2085. (A growing piece of music.) all ages who are stimulated by rhythms created by the names of vegetables and fruits, colors SONGS IN THE KEY OF LIFE, Stevie Wonder. and the blending of dyes, by music and shapes TAMLA T13-34C2. they observe around them every day. Color, 30 SWAN LAKE, Tchaikovsky. RCA LM 1003. min. Purchase $45 from K.U.E.D. Channel 7 Video, 101 Music Hall,- University of Utah, Salt TIM WEISBERG 4, Tim Weisberg. A & M Lake City, UT 84112. Records. A & M SP 3658/Stereo. SP 33719. Very helpful to all groups. MOVEMENT COLOURS THE W05.1D TURKEY IN THE STRAW, by Michael Stewart Move'in Your Own Way Make a Song and the Sandpipers. Golden Records. Mitch Sing it or Thng It Working with Miller & Orchestra.' FF1033B. Typical hne- Around and About Film Watch a Poem Eat a Poem down. Rules Aren't Always Real Act and React VIRTUOSO GUITAR MUSIC, by John Wil- Attempts to show how a total movement under- liams. Columbia ML 6096. standing, using many senses, affect our whole WEATHER REPORT, Columbia 'Record/ being and can show children how different as- Stereo. C30661. Middle or high school. pects of the curriculum interrelate. It should also stimulate an attitude in them to be crea- WILLIAM TELLIVERTURE,any recordingbf1. tive, inventive and arouse their curiosity about it. many dissimilar ideas. Color, 30 min. each, 3/4" cassettes, rental $5 each, per showing, from Communications Media Distribution Unit,'So- VIDE6rAP S cial Science Building, Room 102, The Univer- sity of Calgary, Calgary, Alberta, CANADA ARTS IN EDUCATION, A thirty-minute video . T2N program depicting and discu'ssing the value of)irY the arts as an educational process. No fee. NOW I AM THRE hows a group of 3 and '4 Available from the Art Supervisor, Wisconsin year olds in theirst dance class with Joyce Department of Public Instruction. Boorman eablishing a trusting relationship with her to he point that they are released to CREATIVE MOVEMENT FOR CLASSROOM explore m ement in a completely free environ- TEACHERS, Part 1, Children ages 5-7 present ment. B/W, 30 min. Purchase $20 plus shipping space and shape concepts and an overview of from Audiovisual Media Department, Faculty creative movement for classroom and music of Education, University of Albe-rta, B117 Edu- teachers. There is a stress on language arts skill's cation N., Edmonton, Alberta, CANADA T6G to be learned through movement experiences. 2G5. 13/W, 60 min. Available on 3/4" cassette or 1/2" reel -to -reel videotape. Must be specified. Rental NOW I AM THREE #2, Shows children of 3 and 4 $30 per tape, purchase $240 a pair. PartsM and 2 years old after having had 12 weeks of cla'sses, from Division of Continuing Education, Univer- each 30 min. in length, and the progress they sity of Montana, Missoula, MT 59812. hate made with the same teacher as the #1 videotape. Shows the necessity for breaking CREATIVE MOVEMENT FOR CLASSROOM down conceptual challenges, circumnavigated TEACHERS, Part 2, Presents concepts of time and repeated so as to facilitate better learning. d energy with 5-7 year olds in the classroom. See particulars for ordering under NOW I AM articulars above. THREE #1. THE ELF AND THE Ages 7-8. THE PEDDLER AND HIS CAPS, or Creative Chifdren's dances include "The Pbzzle Dance," Dance for Children to 'Watch. University stu- "Pizzicato Polka," "The Elf and-the Toad- dents in a curriculum and instruction course in stool." The children's first attempts at choreo- Creative Dance by Joyce Boorman are chal- graphing in small groups is shown. Color, 40 lenged to choreograph dances for a child audi- min. Purchase $20.00 plus shipping from Audio- ence. Assignments include "The Peddler and visual Media Department, Faculty of Educa- His Caps;" "The Gunny Wolf," "Miss Muffet,"

68 "The Night Before Christmas" and others. Langer, Suzanne K., Feeling and Form, New York: Color, 50 min. Purchase $20, from Audiovisual Charles Schribner's Sons, 1957. Media Department, Faculty of Education, Uni- Philosophy is a New Key, New York: New versity of Alberta, B117 Education N., American Library, 1964. Edmonton, Alberta, CANADA T6G 2G5. Problems of Art, New York: Charles Schribner's SUPPOSE YOU MET A WITCH, An ideal eideo- Sons, 1957. tape for student, teachers and those teachers looking for ideas for integrating creative dance Little, Araminta, Dance as Education, Washing- and classroom subjects; It shows a class of 4th ton, DC: AAHPER, National Dance Associa- grade children working creatively wall-the story tion, 1977. of a witch in movement, language development, Martin, John, Introduction to the Dance, . New and art. Individual parts of the story are ex- York: Norton, 1939. Republished by Dance Ho- plored in movement, then part selected and rizons, Inc., 1965. Provides insight into Martin's combined to create the story as a whole. Taught thinking on modern dance as an artiform in the by Jean Cunningham from the.University of late 1930's. British Columbia, CANADA. B/W, 20 min. Purchase $24, rental T.B.A., from Faculty of The Modern Dance, New York: A.S. Barnes, Education, Audio-visual DePartment,'Univer- 1133. Republishes by Dance Horizons, sity of British ,Columbia, Vancouver, B.C., r 1965. Martin's,first work on the analysis of mod- CANADA V6T 1W5. ern dance as an art form. Nadel,`Myron H., and Constance Nadel, The Dance BOOKS Experience: Readings in Dance Appreciation, New York: Praeger, 1970. Collection of essays written primarily by dancers, critics and educa- Aesthetics, Philosophy and Appreciation tors. Original sources cited. Each selection fol- lowed by questions; questions not always perti- Brown, Jean Morrison, editor; The Vision of Mod- nent. Readings reflect aesthetic issues but do ern Dance, Pripceton, New Jersey: Princeton not prpvide reader with background in tradi- ' Book Company, 1979. Selections of writings tional aesthetic theory necessary to truly ex- from 21 creators of modern dance from Duncan amine the concepts being presented. to Limon to Pilobolus. The articles reveal not Sheets, Maxine, The Phenomendlogy of Dance, only how the revolution of modern dance was Madison, WI: University of Wisconsin Press, born and has constantly renewed itself, but 1966. gives a feeling for the different stylistic qualities and priorities of each succeeding generation. Siegel, Marcia B., At the Vanishing Pdint. &Critic Looks at Dance, New York: Saturday Review Denby, Edwin, Looking at the Dance, New Yor Press; 1972. The dance critic herein presents Curtis Books, 1968. the progress of dance froM 1967 to 1971. Her Dewey, John, Art as Experience, New York: G.P. writing is extremely enlightening to the reader Putnam's Sons, 1958. and should help the dance teacher to grasp the essence of dance more clearly. Ghiselin, Brewster, The Creative Process New York: New American Library, 1955. The Shapes of Change: Images of American Dance, Boston: Houghton Mifflin Company, H'Doubler, Margaret, Dan e: A Creative Art Expe- 1979. A lo0 at the development of American rience, New York: F..Crofts, ,1940. Repub- dance through the themes major choreogra: lished by University ofisforibiri Press, 1966. A phers have chosen to explve and through the classic in setting forth a ruly educational phi- forms and styles of movement they have cre- losophy for the teaching of dance as a creative ated. Siegel analyzes more than forty landniarlc art form. Advocates dance for everyone as an dances, relating the works to their social and aesthetic and enjoyable experience. historical content: Jowitt, Deborah, Dance Beat: Selected Views and Watching the Dance Go Ry,,Boston: Houghton Reviews 1967-76, New York: Marcel Dekker,' Mifflin Co.,.1977. Valuable from a historical and Inc., 1977. Collection of dance articles and criti- aesthetic point of view. It is a selected collection cism; captures the diversity of the dance scene of reviews covering the years from 1972-1 977. in New York for those ten years. Interests range Ms. Siegel is one of the most prominent Ameri- from ballet, to modern, ethnic. can dance, critics. 69 72 4

Sorrell, Walter, The Dance Has Many Faces, New nic dance, dance as art, making dances, and York and London: Columbia University Press, future directions of dance in education. 1951. Fleming, Gladys Andrews, Creative Rhythmic Movement, Boys and Girls Dancing, Engle- Dance for Children wood Cliffs, NJ: Prentice-Hall, Inc., 1076. A very practical and helpful book especially for the beginning teacher. It includes age character- Andrews, Gladys, Creative Rhythmic Movement istics of the growing child, the nature of creativ- for Children, Englewood Cliffs, NJ: Prentice- ity and rhythmic movement, the content of Hall, Inc.,.1954. movement, recordings of what the teacher says Boorman, Joyce, Creative Dance in the First Three with the student responses for several grade Grades, Don Mills, Ontario: LongmanCanada levels, original songs for use in teaching, how to Lim ted, 1969. Provides practical help on devel- develop movement- from kindergarten-on up, o ent of movement concepts. hod, to get started, chants, dance songs, folk dances and how to make dances. Creative Dance in Grades Four to Six; Don Mills, Ontario: Longman Canada Limited, 1971. Gilbert, Anne Green., Teaching the Three R's Further %development of Miss Boorman's first Through Movement Experiences, Minneapolis, book for the upper grade level. MN: Burgess Publishing Co., 1977. Gillion, Bonnie .Qherp, Basic Movement Education Bruce, Violet Rose, Dance and Drama in Educa- for Children,, Reading, MA: Addison-Wesley, tion, 1st edition. Oxford, New York: Pergamon 1970. r Press, 1965. - Gray, Vera and Rachel Percival, Music, Movement Carroll. Jean and Peter Lofthouse, Creative Dance and Mime for Children, New York: Oxford Uni- for Boys, London: MacDonald and Evans Ltd., versity Press, 1962. 1969. This book would be particularly helpful to those wishing help in teaching boys. Hughes, Langston, The First Book of Rhythms, New York: Franklin Watts, 1954. Cherry, Claire, Creative Movement for the Devel- oping,Child, Palo Alto, California: Fearon Pub- Hyrnes, Jatnes L., A Child Development Point of lishers, 1971. View, New Jersey: Prentice-Hall, Inc., 1955. Jacobs, *eland B., ed., Using Literature with Dimondstein, Geraldine, Children Dance in the Young Children, New York: Teacher's College Classroom, New York: Macmillan Publishing Press. Co., Inc. 1971. Provides a form which unifies un- derlyihg concepts and instructional procedures Jenkins, Ella, This is Rhythm, New York: Oak Pub- and at the same time allows for the unpredict- lications, 1962. able responses from teachers and children that Joyce, Mary, First Steps in Teaching Creative will emerge from the discovery process. It is Dance, Palo Alto, California: National Press written for potential elementary classroom Books, 1973. teachers, practicing elementary and preschool teachers, and private teachers of dance to young King, Bruce, Creative Dance Experience for children. Includes le son plays using concepts Learning, New York: Bruce King.Studio, 1973. dealing with timet space and force. Creative Movement, New York: Bruce King Exploring the. Arts with Children, New York: Studio, 1968. Macmillan Publishing Co., Inc. 1974. Logsdon, Betty J., Kate R. Barret, et al, Physical Driver, Ann, Music and Movement, London: Ox-- Education for Children: A Focus on the Teach- ford University Press, 1958. alg Process, Philadelphia, PA: Lea & Febiger, 1977. Chapter "Educational Dance" would 'be Fleming, Gladys, editor: Children's Dance, Wash- helpful. Content based on Labananalysis. ' ington, DC: American Association for Health, Maynard, Olga, Children and Dance and Music, Physical Education and Recreation, 1973. A sig- New York: Scribner, 1968. nificant research project executed by a task force made up of some of the most outstanding Monsoux, Sally, Marilyn C. Cohen,Rhythm in Mu- dance educators in the country. It includes phi- sic and Dance for Children, Belmont, CA: Wad- losophy, 'examples of model programs on vari- sworth, 1966. Recozded music, program ideas, ous levels for boys as wellas girls, folk and eth- lesson plans and bibliography.

70 Murray. Ruth IAA ell. Dance in Elementar\ Educa- National Press Books, 1967. Particularly useful tion, 2nd edition. New York. Harper ,& Row for beginning choreographers. High School level Co., 19T)3. and above. Powers. William N.. Here is Your Hobb), Indian Grant, Gail, Technical Manual and Dictionar\ of . Dancing and Costume's. New York: G.P. Put- Classical Ballet, third or fourth edition. New nam 's Sons. 1966. York: Dover Publications. Inc.. 1967. Gives Preston-Dunlop. Valerie Monthland. A Handbook clear, easily understandable definitions of ballet for klodern Edu«itional Dance: London: Mac- terms with explanation of differences in Italian Donald and FA ans. 1963. (Cecchetti method). French method and Rus- sian method. Russell. David Harris. Chilliren.,s Thinking, 2nd edition. Ginn & Co.. 1961. Hawkins, Alma M.. Creating through Dance, New Jersey: Prentice-Hall. Inc.. 1964. Approaches Russell. Joan. C rea t ve Dant e in the Primary the teaching of dance through concepts funda- School, London: MacDonald and Evan.1968. mental to the understanding of dance as a crea- Nlotement and Dance for Children., tive experience. Good for grades 7-12. Boston: Play, Inc.. 1975. Hayes, Elizabeth, Dance Production for High Schlein. Miriam. Shapes. New York: William R. Schools and Colleges. New York: A.S. Barnes, Scott, 1961 A Children's hook w hich would be 1955. EMphasizes the nature of the creative act, helpful Irr,timulating exploration of moement arious, means fur increasing aesthetic aware- shape, ness, creating with form and evaluating the dance composition. It makes suggestions for the .Schmiderer. Dorothy. The Alphabest Book. New teacher for designing the dance experience. Fi- York: Holt. Rinehart6.:Winston. 1971. Chil- nally. there is a discussion of accompaniment dren', book dealing Stith ,hapes of letters. and program planning, illustrations. and an ap- Schurr. ely n :VIOL ?vent Experiences for pendix of original piano music for dance compo- Children Nev. York: Appleton - Century- Crofts. sition. 1967 Horst, Louis, Pre-Classic Dance 'Forms. New York: Sesame Sire( t Books. Thi. Boston: Little. Brown, The Dance Obser. er. 1937. A concise account of 1969. Five book,. .`.umbers. Puzzles, Shapes. the principal dances of the Renaissance. their Letters and People and Things peasant origins and development into formal- Sheehy. Emma. Children Discover Music and ized patterns in the courts. A work of value in Dance. New York: Teachers College Press. the study of dance composition. with detailed analyajs of the rhythmic structure and style 1968. characteristics of each form Also valuable in Sikes. Geraldine Brain. Chiidren's literature for the study of dance history. Music examples and Dramatization, New York: Harper and Row. illustrations. 1964. Hunliphrey. Doris. The Art of Making Dances, New Sitomer. Mindel and Har65Sitomer. What is-,Sym- 'ork: Grove Press. Inc.. 1959. Presents some of metr'. Nev. York: 'Thomas Y. Crowell. 1972. the most knowledgable and well-tested theories Squires, John T.. and Robert E. McLean. American on choreography. Basic principles. Indian Dances. Newp(irk Ronald Press, 196:3. Turner, Margery J. with Ruth Grauert and' Arlene Winters. Shirley J.. Creatite Rht thmic MoLernent ZellmanVett Dance Approaches to Nonliteral for Children of Elementar\ School Age, Du: Ch(eireography, Pittsburgh. University of Pith buque. IA: W.C. Brown Co.. 1975. burgh Press. 1971. Contains theory on the nonliteral approach to dance composition. 4Dance Composition Dance in Secondary.School Cunningham. Merce. 'Changes. Notes on Choreog- ,raph?.. Edited by Fr s Starr. New York: Cheney, Gay and Janet Strader, Modern Dance, Something Else Pr .,19f8. Boston, MA: Allyn and Bacon. Inc.. 1975. Short, Ellfeldt, Lois, A Primi r for Choreographers, Palo easily read conceptual and creative approach to Alto, CA: University of Southern Califbrnia, teaching.

71 Lockhart, Aileene Simpson. Modern Dance Build- Laban, Rudolf. Chureutit,s, Annotated and edited ing and Teaching Lc, Nuns., I5ubuque, IA.kV.C. by L. Ullman. London: Macdonald & Evans, Brown Company. 1966. Music and illustrations 1966. included. Master) ofylovement, Edited by L Ullman, Radi`r. Ruth, Modern Dance for the Yoifth of London: M cdonald & Evan,.. 190. Amegpa. A.S. Barnes & Company. 1944. Out of Modern Educational Don, c.Revised b, L 1 'II- print. Available in libraries. man..London. Macdonald & Evans. 1963. New Russell, Joan, Creatie Dance in the Secondar, York: Praeger Publishers, 19fis Schools, London: MacDonald and Evans, 1969. Laban, Rudolf and F.C. Law rent e. Eihrt London, Macdonald & Evans. 1947. New York Interna- Turner;Margery ,Modern Dance for High School tional Publications Service. 1971 and College. Prentice-Hall. Inc., 1957. 'Ap- proaches the teaching of modern dance as a re- Lamb, Warren. Po.,tur( and (;,,ti.,r,In Introdut - quired subje0 to those students disposed to dis- t ion to the Studs of Ph\,1( a! Bohai tor. like actkity. Includes lesson plans that were Lonc14$, Gerard Duck«orth & Ca. 196-6, lout of most successful in capturing their interest. Con- print) densed to show an approach to creative te' Ch- North. Marion. Pcr:onalit. throU,01 ing. .11/t t men! London Macdonald &Es. ans. 1972. Effort/Shape Preston-Dunlop. Valerie. .4 Harrah,,,,, .11,,dern Edut a t!ona%.Da ntt London %.1-,icdonald & BartenielT. Irrpgard. -Contribution. of Effort Shape to Technique and Sty le in Dance.- -in 411,,,rn, rs:, Ruao41. Proceedim.. of Ninth Annual Confer( nce ,,n Thornton. s,.. Laban London Mac donald & Iin 1,471 CreatiLe Temhin4 of Dame New York 196,) Order fromEducation Department YM- YWH..k. 92nd Street and Lexington Avenue. Film Anthologies Nev. York. NY 10()?,. p Jordan. Lam. Dam:,,r a production Effort (here atom and Effort A.,,e,,ment trI handbook Mary land Center tor Public Broad- Rehabilitation. New York Dance Notation Bu- casting, 197,s. 77 pp Co%er, all phase atTV real]. 1962. , production of dance Jordan worked With Mer- Bartemeff. Irmgard., Martha Davis and. Forestme rill Brockv.ay in producing the Great Perform- Paula, Four Adaptations of Effort Theory in ances Dance series Useful for teacher,and %tu- Research and Teaching. New York: Dance No- dents who ha%e opportunities to produce dance tation Bureau. 1970 for tele% ision Davis, Martha. An Effort /Shape Movement Anal,- Menke. Sara R. Dame Film., Catalog 5746 Gab. sis of a Farnil) Therap, Ses.sion, New York: bert Road, Moorpark, CA 93021.1974. Selected Dance Niitat ion Bureau, 1973. I Formerly titled. listings in Modern Dance Pantomime.. Move- Methods of Perceiving Small Group Behavior.) ment Education, Dance Therapy, Modern Bal- let, .Art, Music, Drama. Theatre Understanding Rod, Movement an Annotated Mu'ler, John, Dance Film Direc/or, An anno- BibliographN, New York: Arno Press, 1972. tated and evaluative guide to films on ballet and Dell, Cicily, .4 Primer for Movement Description modern dance. Princeton Book Co , 1979,97 pp. Using Effort /Shape and Supplemental-) Con-. Extensive film and video listings for ballet and cepts. New York. Dance Notation Bureau. 1970. modern dance; some mover-64a education. Sec- tion on mime, ethnic dance, filr0 musicals of Space Harmon% Basu Terni.s.Revised by Ai- Fred Astaire, Bushy Berleley fis. Hollywood leen Crow, ,tied York. Dance Notation Bureau, musicals with cho ograph byalanchine. List 1970. of film distributor. This direct( ry is a must For every school mstr ctional media center. Kestenburg, Dr. jucht h S., The Role of Movement. Pattern, in Dci elopnient, c1967 Psychoana- Films on Ballet and Modern Dance, notes and a lytic Quarterk, .Republication, New York. dictionary. New York., American Dance Guild, Dance Notat ion Bureau. 1970. 1974.

72 Programming Aiad from Commercial Televi- sworth Publishing Company, Inc., 1965. sion, Albany- The State Education Depart- (Should be a newer edition out.) Gives source ment, Bureau t;I.N.las., (s6ni'munications. 1977. and background material for the Philippines, Up-to-date listipg.:. ut Lomme.rtial '.ideo tapes Balkans, Israel, and Scandaneiviaas illustra- for sale on dan2e, art. drama. ethnic culture, tive of four cultures separated by distance yet film, literature. music, pokry. science. Useful closely related in the motives froth which their for schools or clpstrit tAs to pure hale current items folklore arts were developed. Chapter on un Most of the material presented in the rhythm and music, dance ,descriptions of 120 guide has -beekn aired km PBS-TV. k ethnic dances arranged by 1) walking dances, 2) dances containing grapevine patterns, 3) the Extension Media Center, lniv e.rskly of Califor- schottische and dances based on a similar 4/4 nia. Berkeley, CA Catalogue of'dance films for meter sequence and pattern, 4)tkkie twq-step rent or sale. and the polka, 5) the three step-46r running Film Catalogue, Intrtctional Media Library. waltz step and other triple meter dances, and 6) University of California. Lo; Angeles., Cata- pattern and exhibition dances. logue of dance tilms and mans others for rent or Ortegel, Adelaide, A Dancing People, West' Lafay- sale. ette: Indiana Center for Contemporary Celebra- tion, 1976. Spotlights dance as a vital art form, Folk, Social, Square and Ritual Dance and an authentic faith expression that is acces- sible to everyone. de Sola. Carla. Th, a handbook of jazz dance; likens evolution of jazz ,Books. 1974 ('O\ Er, leading. following.. styles, is easy to dance to that of music, status of :Negro in Amer-. short history on each dance. and it ican society. the economics of show business. read and follow° Fallon. Dennis .1 and,Sue Ann Ruchenrneister, The- Art of BalIroo-n Dance. Ntinneap0114.. Burgess History Publishing Co.. 1-977 Very good for the fundamentals of ballroom dance. discusses styling. Chujoy, Anatole, ed., The Dance Encyclopedia, leading. following. basic positi.ons., glossary of New York: A.S. Barnes and Company. 1949. A common terms. fundamentals of music and; reference work of factual information covering eight social dances in detail- all phases of dance. Most thorough in the treat- ,. ment of ballet histtry and personalities. ani Harris, Jan A.. Anne M. Pittman. and Marlys S. Waller. Dance .4Whiie Handbook Of Folk. Clarke, Mary and Clement Crisp, Ballet' an Illus- Square, and Social Dante. fifthedition. Minne- ,, ,tra.ted History, New York: Universe Books, apolis: Burgess Publishing CO.. 1978. Deals with 1973. A closer look at ballet history from the many recreational dance forms. square. contra, Renaissance to the 1970's. Appro-ach is a more soCial, international folk dance. Focuses on ma- personal look at the major contributors to bal- terials and teaching suggestions fur rec-reatikx.841 let. Very readable; brings ballet history to life; purposes. full-of stories and anecdOtes. Kraus, Richard, Folk Dancing, Nev. York. The Cohen, Selma Jeanne, ed.,Dance as a Theatre Art,. Macmillan Company, 1962.. Excellentsource source readings.in dance history from 1581 to bOok for those who teach folk d'anting'since it the present. New York: Dodd, Mead and Com- includes a wide variety of dances organized in pany, 1974. Edited by the foremost dance histo- such a way as to be very helpful. The classified rian in U.S. today: Takes the reader froin the its list of dances according to nationality, forma- court ballet to 'recent rebels in tl4e evolution of tion, level and gteps used is most useful in plan- theater dance. ping-learning units oflessoni. Dbiis HumphreY: An Artist First, Middletown, Lidster, Miriam D and Dorothy H. -Tamburini: CT: Wesleyan University press, 1972. A fascinating book on the professional and personal Folk Dance Progresions., Belmont, CA. Wad- . 73 76 / life of Doris Humphrey who made outstanding porary dances by different major ballet and contributions to the early years of modern modern choreographers. dance both as a performer and a.teacher, but Imel, Carmer, ed., Focus on Dance 1:1 II, Dance most especially as a clpreographer. Heritage, Washington AAHPER, 1977. Notes ed., The Modern Dance, Middletown, CT: Wes- on dance in America including early Mormon, leyan University Press, 1965. Essays dealing Eskimo and Square. A bicentennial retrospec- with the theories of Jose LimonAnna Sokolow, tive and a look to the future. Erick Hawkins, Donald McKay le, Alwin Niko- Kraus, Richa*rd, History of the Rance, Englewood lais, Pauline Koner, and Paul Taylor. Cliffs, NJ: Prentice-Hall, Inc.. 1969. Useful as a deLaban, Juana, ed., Institute of Court Dances of source for dance heritage. the Renaissance and Baroque Periods, CORD Kerstein, Lincoln, Mouemeht and Metaphor Four (Committee on Research and Dance) ,.1972. An Centuries of Ballet. New York: Praeger, 1970. extension of Dance History Research: Perspec- Ballets presented in chronological order relat- ties from Related Arts and Disciplines, a 1970 publication. Labanotation analysis of these ing them to the social and cultural history of the dances with their music is stressed along with time. the dances. (1907- ), Iiiiinksy Dancing, Text and commentary by L. Kirsten, photographs by Bert. 1st De Mille, Agnes, The Book of the Dance, New York: edition. New York: Knopf, 1975. A compiled Golden Pre'ss (Crown Publishing), 1963. picture album of famous ballet dancers and Dance to the Piper, Boston: Little, Brown Com- their dances. pany, 1952. An autobiography of the american Lemond, Alan. Brat o Bary,hnikot .1, New York: dancer, Agnes De Mille. Grosset & Dunlap. 1978. Biography with lots of Duncan. Isadora, The Art of the Dance, ,ed. Shel- pictures. don Cheney. New York: Theatre Arts, 1928. A Livet, Anne. ed.. Contemporary Dance, New York: collection of IA ritings by the great dancer cm the Abbeville Press. Inc.. 1978. Puts into perspec-. nature and meaning ofther artthe philosophy tive the genius of American Modern Dance, ex- which inspired the modern dance in America. A plains meaning of contemporary dance forms memorial volume including essayg by other art- and choreographers. Excellent a source book ists as well as beautiful drawings and photo- for information on the contemporary and avant graphs. garde movements in dance. Ellfeldt, Lois:Dance From Magic to Art, Dubuque, Lloyd, Margaret, The Borzoi Book of Modern IA: W.C. Brown Company, 1976. Cuts across the Dance, New York: Alfred Knopf. 1949. The de- broad use of the word "dance", identifying its velopment of modern dance in the U.S. Detailed rise from ceremonies of magic, through its other discussion of the work of leading performers manifestations. to dance .as a performing.art. Relevant' for dance theory classes, history and teachers. Excellent photographs. classes and developing overall sense of what Martin, John J.. American Dancing The Back- dance is about. ground anc Personalities of the Modern Dance, New York: Dodge Publishing Co., 1936. Repub- Emery. Lynne Fauley, Black Danee in the United lished BrOoklyn: Dance Horiiong, 1968. The States from 1619 to 1970, Palo Alto, CA: Na- theory, philosophy, and history of modern tional Press Books, 1972. Katherine Dunham dance in the U.S. Detailed discussion of the says of this book, ". . . we areacquainted with work of leading performers and teachers. Excel- the histor3 of. black dance, but we also know much more about the enslaved and the enslav- lent-photographs. ers, the psychology of colonialism, and the na- The Da-Ttce, New York: Tudor, 1946. The story ture of those who hac&dancecl their way out of of the dance in pictures and text. An excellent poN, erty and racial prejudice into the opera overview of dance and outline of dance history, houses and concert halls of the world." discussing the aesthetic and psychological implications of dance for the sake of the dancer, Highwater, Jamake. Dance- Rituals of Experience, dance as spectacle, and dance as a means of New YOrk: A and W Publishers, Inc., 1978. communication. Profusely illustrated with well- Ikesents view of dance history as-visible pulse of chose,n photos. , life and feeling; the spontaneous transformation of external and internal experiences into mean- John Martin's Bbok of the Dance, New York: ingful acts. Examines in detail also ten contem- Tudo, 1963. Primarily a histdry of dance, but

74 77 4.

bits and pieces of Martin's aesthetic concepts biograeical sketches of leading artists in this are- to be found throughout. Well illustrated. field. Not documented. Warren, Larry, Lester Horton, Modern Dance Pio- Mazo. Joseph H Prime Mocers, The Makers of neer, New York, NY: M. Dekker, 1977. His early Modern Dan«. in Anicota, New York: William life, his constant drive to be a dancer and his Nlicrrow and ('ompany. Inc.. 1977. Focuses on glorious achievements. life and philosophy of Fuller. Duncan. St. Denis, Shawn. .Humphrey, Graham. Cunningham, Wigman, Mary, The Language of Dance, translated by Walter Sorell. Middletown, CT: Wesleyan Nikolais. Ailey. Taylor and Tharp. University Press, 1966. The original Die MtDonagh. Don. 77i( Rise and Fall and Rise of Sprache des Tanzes was published by Ernest Modern Dane . New York: Outerbridge & Battenberg Verlag in Stuttgart, 1963. Provides Dienstfre Dutton). 1970. E\ en if one does not insight into Wigman's theory of dance as art. think modern dance -fell.- and some of the in- accuracies of ta44---in this book may annoy one, Wood. Melusine, Advanced Historical Dancers, there isenough on dance theory to reward one London: Imperial Society of Teachers of Dak- for taking the time to read it. Pr(Mdes sympa- ing. Publisher to the Society. C.W. Beaumont, thetic treatment of experimental dance. 1960. Step-by-step notation on how to dance the minuet, French dances. contra dances and Noverre. Jean Georges (1727-1816). Letters on more during the Baroque Era. Dancins; and Pallet,, Brooklyn. NY: Dance Ho- ri74)ns. 1966. An e \ position of the theories and Historical Dances (12th to 19th Century), laws got erning ballet and dante rept'esentation. their manner of performance and their place in the social life of the time. London: Imperial So- Palmer. Winthrop. Th, otvt a! Dant ink in America. ciety of Teachery\of Dancing,1972. Study of his- 2nd edition re% ised New York. A.S. Barnes and, torical dances with step-by-step notations. Company. 197', E' amines dance history. ballet and modern. in America from a social view- Woodiuff. Dianne. Essays in Dance Research, New ; point. Related tfrEmcilic development of leading York: CORD (now Congress on Research in choreographers and dancers to social hack - Dance). 1978. The first two chapters are of his- ground of the time Contains statements by torian significance. The first dealing with Au- dancers which give insight into their concepts of gust Bburnoiiville (ballet). Gertrude Hoffman' dance as an art form. but not documented. Cov- (1907-'1909). and Ruth St. Denis. The second ers early American modern dancers and Rus- deals with labaqanalysis and effort/shape in sian ballet in America historical research. Sachs. Curt. World thstor of the Dance, New York. W.W. Norton & Compa9y. 1937. Greater Kinesiology, Anatomy, Therapy, Health. emphasis isplaced on the earlier history of dance in primitie cultures. Takes the reader to Arnheim, Daniel D., Dance Injuries, Their'Preven- the 20th century and w hat the author calls the tum and Care. St. Louis: The C.V. Mosby Com- tango period. An authoritative account of pany. 1975. Is designed to be used as a text for a mint heatrical dam. mg sitne e prehistoric times. course in kinesiology and prevention ancare of Origins and development of forms, characteris- dance injuries. Also provides immediate source tics. movements and stylistic elemeRts. of advice on what to do now and what to'con- . tinge doing for an injury. Sorell, Walter. The Dance Through the Ages, New York: Grosset and Dunlap. 1967. Canner, Norma, And 72 Time to Dance, Bostbn: Beacon Pres's. 1968. Terry, Walter. The Dance in America, New York: Harper and .Brothers. 1956. A history of all Drury, Blanche, Muscles in Action A Kinesiologi- forms of dance in the U.S., especially concerned cal Chart of Skeletal Muscles, Palo Alto, CA:

e with pioneer developments in modern dance' National Press Books, 1962. and containing biographical sketches of leading Gelabert, Raoul, Anatomy for the Dancer With the artists in this field. Exercises to Improve Technique and Prevent I Was There Selected Dance Reuteus arid-Ar- Injuries. 2 vols. New York: Dance Magazine; ticles 19.36-1976. A,history.of all forms of dance 1964. Instruction offered to encourage proper in the U.S., especialLN concerned with pioneer use of dancer's body in preventing injury,body developments in modern dance and containing conditioning. exercises to build strength,'elastic-

75 78 ity and flexibility are given as preparation for all 1967. The tlassic text on Eurhythmics. A collec- dance types. tion of essays originally published between 12( 0 and 1920, arranged chronologically, making it Mason, Kathleen Criddle, ed., Dance Therapy, Fo- possible to trace the development of Dalcroze's ' cus on Dance VII, Washington, DC: American ideas through this period. Alliance for Health, Physical Education and . :Dance, 1974. Includes history, basic characteris- Findlay, Elsa, Rhythm and Mouement, Illinois: tics, philosophy and method analysis of move- Summy-Birchard Co., 1971. Applications of ment in revealing .abnormal states, working Dalcroze Eurhythmics, geared toward teachers with the autistic, biain dysfunction children, of elementary and secondary school music and/ visually impaired, deaf, emotionally disturbed, or dance. Includes musical scores. learning disabilities and the elderly. GilBert, Pia, and Aileen Lockhart, Music for the Schoop, Trudi, Wun't )ou Join the Dance?, Palo Modern Dance, Dubuque: William C. Brown Alto, CA: National Press Books, 1974. Some of Co., 1961. Covers music for cla,(21rom all an-- 'Ms. Schoop'sitechniques could be helpful to the gles, elements, analyst's, historeacher-accom-teacher- accom- classroom teacher in. reaching those children panist relationships. Comprehensive yet very with emotional problems. clear tounderstand and use asJa text and resource. Sweigard, -Lulu, E., Human Movement Potential. Ideokinetic Facilitation, New York: Dodd, brout,'Donald Jay, A History of Western Music, Mead ,& Company, 1974. Focus of book is on in- New York: W.W. Norton and Company, 1960. terdependence of postural alignment and the Excellent source book for historical periods and performance of movement. Provides an educa- styles. tional method which stresses the inherent capacity'of the nervous system to determine the Lang, Paul Henry, Music in Western Cluilization, most efficient neuromuscular coordination for New York: W.W. Norton, 1941. One of the most each movement. influential music history texts ever produced in America. Vincent, L. M., M.D., The Dancer's Rook of Health, Kansas City: Sheed Andrews and McMeel, Inc., Nye, Robert Evans and Bernice T. Nye, Music ih 1978. Discussion of how the body works, ex- the Elementary School, Englewood Cliffs; NJ: plains what problems occur.' Special foals on Prentice-Hall, 1964. feet, ankles, back, spine, joints, and muscles. Sachs, Curt, Rhythm and Tempo, New York: W.W. Covers sprains, pulls, bruises, diets. Norton, 1953. Discusses history of musical Wells; Katherine F., Ph.D., Kinesiology: The Sci- rhythm chronologically and geographically with entific Basis/of Human Motion, Philadelphia: chapters devoted to music of "primitive" peo- ples, music of near and far east, early Christian 1 W.B. Saunders Co., 1966, 4th edition (may be a more recent edition.) Is a comprehensive text and Medieval periods, Renaissance, Baroque, fora both teacher and student. Covers mechani- Classical, Romantic, and Contemporary (up to cal aspects of motion, anatomic, physiologic and 1930's) times, India, ancient Greece and Rome. neurological aspects of human movement, ap- Excellent introductory remarks on "rhythm". plications of kinesiology. Production Music Dance Beaman, Willard F., Lighting the Stage: Art and Apei, and Ralph T. Daniel, The Harvard Practice, San Francisco: Chandler Publishing Brie ctionary of Music, New York: Pocket Co.; 1967. Covers.tools, technology, and artistic Books, 1971. For those with little or no back- considerations of theatrical lighting as an art. ground in music. The terms are in alphabetical Identifies apd deals with aesthetic problems of listings and cross-referenced. lighting design. Dalcroze, Emile J., Eurhythmics, Art and Educa- Corson, Richard, Stage Makeup, 4th edition, New tion, New York: A.S. Barnes, 1930. A collection York: Meredith Publishing Co., 1967. Intended for stud' and as a text and reference of 21 articles by Dalcroze written between 1922 , - boo 'urpose sis to acquaint the student with and 1925.. .basis principles of the art and technique of Rhythm, Music and Education, rev. ed. tr. Har- make to use in cr sting and executing old F. Ruberistein, London: Dalcroze Society, makeup design.

76 9 -- Ellfeldt, Lois and Edwin Carnes, Dance Production Steril, Lawrence, Stage Management. A Guidebook Handbook it Later t., Too Late, Palo Alto, CA: of Practical Techniques, Boston: Allyn and Ba- National Press Books, 1971. Covers all aspect' con, Inc., 1974. Extremely practical guide to all of producings'a dance concert, rehearsals, sound, /*phases of theatrical production; defines, out- music, costumes, sets, lights, construction, pub- lines stage manager's responsibilities, organiza- licity, rehearsals on stage. technical and dress tion pre, during, post performance. rehearsals, performance and post performarice. A must for grades 7-12. Tilke, Max, Costume Patterns and Designs, New do' York: Praeger, 1959. Jones. Robert Edmond. Thc Dramatic, Imagina- . tom, New York: Theatre Arts Books, 1941. Ex- von Boehn, Max, Modes and Manners, Translated amines the aesthetics and art of theatre, silecifi- by Joa9 Joshua. Philadelphia: J.B. Lippincott tally stage, design, costuming, lighting, and Co., 1933. Volumes 1-V. physical theatre spate. Excellent supplement to Langer and Martin. Waugh, Norah, Corsets and Crinolines, New York: Theatre Arts Books, 1954. Lippincott, Ge ide,ed., Dance Production, - AA HP1j,R(1201 16th Street: N.W., Washington Cut of Men's Clothes 1600-1900;London: Faber 6,, DC. A compilation of 'twelve articles on vari-, and Faber, Ltd., 1964. ous aspects of dancelproduction in educational institutions with emphasis on planning and re- The Cut of Women's 'Clothes 1600-1930; New hearsing a dance program, staging (both arena York: Theatre Arts Books, 1969. and proscenium), costumes especially for the Wilcox, Ruth Turner, The Mode in Costume, New stage. music selection, make-up, lighting, decor, York:, Charles Scribner's Sons, 1958. notation and photography for publicity. Melcer, Fannie Helen, Staging the Dance, Du- buque, IA: William C. Brown, 1955. A manual of Relating the Arts practical source material in theatrical production especially adapted for dance programs. The Arts, Education and Americans Panel, Coming Useful information about costumes, sets, light- to our Senses The Significance of the Arts for ing, make-up, and theatre management for American Education, New York: McGraw-Hill teachers presenting performances with high Book Company, 1977. An excellent report on school or college modern dance groups. the history and significance of the arts in educa- Payne, Blanche, History of Costume, New York: tion. Prepared by representatives of the arts, Harper & Row, 1965. education, mass communications, labor, arts, patronage, government, and many other fields. Russell, Douglas A., Stage Costume Iesign: The- ory, Technique, and Stxte,,Nework: apple- Dixon, Madeline C., The Power of Dance, New ton-Century-Crofts,. 1973. ,Introductionto , York: John Day Co., 1939. study of costume, design on critical, aesthetic, practical, and historical levels. Intended for Horst, Louis and Carroll Russell, Modern Dance courses which introduce student to problems of Forms in Relation to the Other Modern Arts, sketching, principles of design.; practices of cos- San Francisco: J,mpulse Publications, 1961. Par- tume construction, and style in period plays. ticularly helpful for showing the relationship between the various modern arts. Louis Horst, a Selden, Samuel and Hun'ton D. Sellman, Stage musician and composer, wrote music for Scener) and Lighting, New York: Aprileton- Martha Graham and taught courses in dance Century-Crofts, Inc., 1959. While written composition. inly for the student of dramatic stagecraft, thisook offers many valuable suggestions and Montgomery, Chandler, Art for Teachers of Chil- instructions for constructing scenery and light- dren, Columbus, OH: Charles E. Merril, 1968. ing the set and the people in it. Special section on movement and dance, relates dance and art through space, design, focus and Stein's Makeup for the Profession, 430 Broome motion. Street, New York 13, NY: Stein Cosmetic Co. Helpful booklet describing techniques of apply- Porter, Evelyn, Music through the Dance, New ing make-upt Guide to selecting type and shade York: Scribners, 1938. A handbook of dance of foundations, linings, powders. May be had forms with some emphasis.03 how musical de- free upon writing to the company. velopment has been influenced by dance.

77 ifS Technique Sherbon, Elizabeth, On the Count.of One Modern Dance Methods, 2nd e Lion, Palo Alto, CA: Cayou, Delores Kirton, Modern Jazz Dance, Palo Mayfield Publishing Co., 141 Deals with early, Alto, CA: National Press Books, 1971. Priniarily technical training; exercises M's$:ribed and illus- .a book on technique, but also a source for dance trated from technique,of Graham, Humphrey, history. 1-h lm, Erdman and Limon. Covers les'son plan- . Hammond, Sandra Noll, Ballet Basics, Palo Alto, ning and sequential development. CA: National Press Books, 1974. Covers ballet history, how a ballet class is set up, barre work, Stodelle, Ernestine, The Dance Technique of Doris center work, allegro; very goodfor thorough def- Humphrey and' its Creative Potential, New inition of terms and how to go about teaching Jersey: Princeton Book Company, 1978. Mate- them. Covers basic anatomical considerations. rial in the book drawn directly from ljumphrey Schurmkr; Nona and Sharon Leigh Clark, Modern compositionw, geared fur beginner and interme- Dance Fundamentals, New Jersey: Prentice- diate levels of study.- Hall, Inc., 1964. Book attempts to do three things: 1)to present simple, basic exercises in dance form for the beginner student or teacher; Vaganmi.a, Agrippina, Basic Principles of Classical 2)to introduce these exercises with Labanota- Ballet Russian Ballet Technique New York: tion; 3) to suggest the possible use of this mate- Dover Publications, Inc., 1969. A'methodology rial in a school situation in planning a well -bal- of teaching classical Russian Ballet; in brief. anced technique class ora class in Readable and understandable for the most _part. improvisation. A translation.

78 ,81 ARTS AND DANCE .ORGANIZATIONS

Natiimal

ALLIANCE FOR AR'FS EDUCATION JOhn' F. Kennedy Celter for the Performng Arts Washington, DC 20566 - (202) 254:3250 \

A IGAN ASSOCIATION OF HEALT PSI CAL EDUCATION, AND DANCE 120 VStreet,:N.W. Washi on, DC 20036 . AMERICAN DANCE GUILD 1619 BroadwA, Room (303 .New York, NY 0619, (212) 254-4833

AMERICAN D THNRAPY,ASSOCIA- TION .'`e Suite 230 k150 Century Plaza Colunibia, MD 21044 (301) 997-040.

'CHARLES REINHART MANAGEMENT,110114 1860 Broadway. °, New York, NY 10023 (212) JU6-1925

COMMITTEE ON RESEARCH IN DANCE Dance Department,, Education 675D New York University 35 West 4th Street New York, NY 10006 (212) 598-3459-

DANCE NOTATION-BUREAU I 19 Union Square West New York, NY 10003 (212) 989-5535

,NATIONAL ENDOWMENT FOR THE ARTS Artist-in-Residency Program (4 2401 E Street N.W. . Washington, DC 20006 (202) 634-6369

State

WISCONSIN ACADEMYAOF SC ENCE, ARTS, AND LETTERS 1922 University Avenue Contributed by AAHPERD

79 82 4 Madison, WI 53705 *.',Sponsors and Spaces for dance . (608).263-1692 Booking organizations Organizations and Councils for dance and arts WISCONSIN ALLIANCE FOR ARTS EDUCA- Sources and Resources for the dant world TION Dance Education Directory Wisconsin Departnnet of Publiinstruction Production Directory; personnel and technical

;45 S. Webster St. services for dance production . Macl on, WI 53702 (608) Permanent Floors WISCONSIN ARTS BOARD 123 West Washington Avenue Gelabert, Raoul. "Dance Floors: Their Selection Madison; WI i53702 and Preparation, Dance Magazine, Volume LI .(608) 266-0190 , No. 3, March 1977, pp. 94' -9 &. Excellent on the how to construct and care for dance floors. WISCONSIN ASSOCIATION FOR HEALTH, PHYSICAL Schlaich, Joan, and Betty DupOnt. "Building an In-: EDUCATION & RECREATION expensive Dance Floor," Dance Magazine, Vol- UWEX -UWGB ume LIII No. 9, September 1979, pgr 106. CCC-Studio Arts,115 Green Bay, WI 54302 (414) 465-2735 Portable Floors

WISCONSIN DANCE COUNCIL Brett Theatrical, Ltd. UWEX -UWGB 91 Beach Road CCC-Studio Arts 115 Bristol, RI 02809 Green Bay, WI 54302 Suppliers for Marley Stage floor and Marley Studio (414) 465-2735 floor. Write for samples, prices, and catalogs. .*

WISCONSIN DEPARTMENT OF PUBLIC F. Randolph Associates STRUCTION 1300 Arch'treet 125-S. Webster St. Philadelphia, PA 19107 'Madison, WI 53702 (215) 567-6661 (608) 267-9288 Suppliers -for Marley, Timestep, Quietstep, and Dancestep portable floors. Write or call for samples, prices, and catalogs. WISCONSIN WOMEN IN THE ARTS Lowell Halls 610 Langdoni Street Madison, \VI 53706 For Theatre Simon`s..Directory of Theatrical materials and FACILITIES, SERVICES AND services information. SUPPLIES OR DANCE Introduction by Harold Burris-Meyer. 5th Edition. New Yqk: Package Publicity Seil7ice, Inc. Dance Magazine Annual '80, New York: Donad 1564 Broadwajr Publishing Company,1979. rxicludes: New York, NY 10036 Agencies for management-. and artist. representa- A classified guide where: tion Ato buy. Attractions in dance, mime, companies, Solo to rent. artists to lease. 1--Peoplewit4rvicesfor dance to find out. Funding agencies and programs -Covert entire' United States and Canada.

80 6 3 PERIODICALS

The following periodicals should be available ei- New York University . ther by personal subscription, membership in the 35 West Fourth Street organization, or in librariesThey provide the New York, NY 10003 teacher a ith rtwch useful information and should Regular or Institutional membership mailable. Abe examined regularly. DANCE SCOPE Americari Dance Guild, Inc. Amegicankeneraf 245 West 52nd Street 9 New York, NY 10019 CCT REVIEW 1965, 2/year, $2 subscriptiN,or mentbership in Composers and Choreographers Theatr e, Inc. ADG;artieles and editorials ondance cutjects cur- West 19th Street' rent and histdrical. New York, NY 10011 w® Quarterly, $10 subscription, includes membership. FOCUS ON DANCE ° A DANCE C1:113.0fCLE: Studies inDiceand the National Dance Association Mated Arts AAHPER,1201 16th Street N.W: Mcel 14kker Journals Washington, DC 20036 P.O. Box 11305 1960, one every two years, $2 to $4 each. texts usu- Church Street Station ally deal with a variety of approaches to the same New York. NY 10249 problem or topic. Iristitutional----$:35.00/volurrie, YORKDAI4CEREVIEW DANCE LIFE Dance Department, York University The Old Firehouse 4700 Keele Street P.D. Box :304 Downsview, Ontario, CANADA NI:3J 1P:3 Purcellville, VA 2231:2 Quarterly, $.25 a copy.

DANCE MAGAZINE Danad Publishing Ballet 10 Columbus Circle I New York, NY 10019 BALLET DANCER 1926, monthly, $12 subscription, circulation,32,000, 1170 Broadway dance personglities4nowledgeable comment, port- New York, NY 10001 folios on..danWsubjects, available.on microfilm'- 1973, bi= monthly, subscription, a new magazine for-dancers, primarily aimed at ballet dancers. DANCE NEWS 119 West 57th Stet BALLET REVIEW 150 Claremont Avenue New York, NY 10019 . \ 1942, monthly (Sept. to June), $5 subscription, cir- New York, NY 10027 culation 14,500: America's only newspaper devoted bi-monthly, $4.50 subscription to dance, reviews, personalities,cippanies. BALLET-WHO I5ANCE PERSPECTIVES Vancouver Ballet Society 29.3 Ninth Street 3694 West 16 Avenue ...New York, NY 10003 Vancouver 8, British Columbia 1959, quarterly, $8 subscription, circulation, 2,000, 1053,. qAarterly, subscription withmember ship, critical and historical monographs, ballet reviews and personalities.

DANCE RESEARCH JOURNAL . formerly CORD News (Committee On Research Ballroom in Dance) CORD c/o R. Kramoris BALLROOM DANCING TIMES Executive Coordinator 18' Harid Court Dance Department of Education 675D High Holborn, London, WC 1, England

. .84 Mint To) ,uh,(riptlon, circulat ion 7,000, SQUARE DANCING (Forinerly: Sets in Order) book re don( e re\ iews 01 ballroom. rican Square Dance Society 462 N th Robertson Boulevard DANSES Los Ange 90048 Institut Bonne Compagme 1948, montv, $5,subscript ion, Bob Osg,00d,:s pub- 51 rue Saint -Bernard lication on sqt,to dancing. Brusselk, 6. Belgium ) 1966, quarter1%. per ( IN illation 15,000, test VILTIS a%ailable in Dutch. Eirgli,h. French and German, P.O. Box 1226 colerned %kith ballroom don( ing. Denver, CO 80201 1942, 6 issues per year, 87 subscription, V.F. Be- THE MODERD \\CV .0) THE DANCER liajus publication on folk and ethnic forms of dance. Norfolk House In addition to the dances, it also includes the re- Brixton al. London s \\2. England lated folklore helpful in 'giving background mfor- .1934, monthM appro.mmately 88 ,ub,cription. cir- motion to students. culation 1 1,111111, fort% pate, on persoiralitie, in ballroom don( steps and diagram,. dance re% iews. Foreign

Folk, Square, Ethnic ART AND DANSE Direction: Gillette Chabetay, 8 rue Gustave Courtier, Park, I 6e. France KA`11-1..\1: \LI 1948, II) %ear, So sub,cript ion. essas. re iew., and Intermit ,r1 nr, rh.! liathakali reporting of dance performances in France and I s4 Ra,t \ew I India abroad' 1t,.'39, ,r7.r'N.,it \i inEnglish and t% IT h t Iran()t Eat hakall Hindu. 11111,1 fritv DANCE AND DANCERS Artillery Mansions LE'I'S DANCE 75 Victoria Street Folk Dance Fed ration of California. Inc. LondonSW 1. England 1614 Felton st feet 1950, monthly. $9.75 subscript um. book re% iews. San Francisco.\III; dance performances, article, on dance. 1947. lo \ear. suhs5:ript It n, c irculation 1,00o, the rna,:;aline of inrern,rt 0.4k101 folk dam ini; %%oh dance DANCE NEWS AND RECALL reviews and illust rat ion, 22 Shaftesbury A% enue London. WIV 8 AP. England NEW EN(;LANI) ARE 1)-\\('E CALLER 1969. approximatel $10.,10 subscription, current . c oNew Eri,41an_Caller. Inc dance new:, and reviews 80 Central Street r Norwell. NIA'ir.:1 )61 DANCING TIMES 1,951. monthly. 7o0 :ubsc ription, te\t (in square 18 Hand Court \ dancing. High Holborn. Londai, WC 1, England 1910. monthly, circulaticm 11.000. current davce ROSIN THE BOW news. book reviews. indexed poterial c,roliod.I.a Forte 115 Cliff Street Paterson. N.J )7521 ,ENlatedNriodicals and Newspapers, 1945. monthl.I an for folk and square dancers '

82 JOURNA4Q.F AESTHETICS AND ART CRIB WAHPER JOURNAL CISM Wisconsin Association for Health, Physical Edu- American Society for Aesthetics cation and Recreation Cleveland Museum of Art UWEX-UWGB Cleveland, OH 44106 CCC-SA 115 $15 a year subscription Green Bay, WI 54302 One issue in May iercluded in 810 membership fee. JOURNAL OF AESTHETIC EDUCATION University of Illinois Press Subscription Department WAHPER NEWSLETTER Urbana, IL 61801 Wisconsin ifssociation for,Health, Physical Edu- $12.50 quarterly cation and Recreation UWEX-UWGB: JOURNAL OF.PHYSICAL EDUCATION AND CCC-SA 115 - RECREATION Green Bay, WI 54302 American Alliance for Physical Education, Recre- One issue in October included in 810 membership ation and Dance fee. 1201 16th Street, N.W. Washington, DC 20036 Wisconsin Dance Publications NEW YORK TIMES 229 West 431-41 Street, IDNCEIABOUTS New York, NY 10036 Milk. -aukee Modern Dance Council, Inc. PERFORMANCE P.0 Box 6 249 West 13th Street South Milumkee. V1 New York, NY 10011 85.00 membership rBi-monthly, S9 subscription, explores what is new and alive in theatre. 61m, music. and dance. DANCE DIMENSIONS 'Wisconsin Dance Council..1 QUEST 134 Cough Hak A 1419 9th Avenue South -- /Marquette Univeisity St. Cloud, MN 56301. Milwaukee, WI 532233 $8 a year a RESEARCH QUARTERLY MADISON DANCE COUNCIL NEWSLETTER, American Alliance for,Physical Education. Recre- 17 Blue Ridge Court ation and Dand Madison, WI 53705 1201 16th Street, N.W. 1965, quarterly, S.50 a copy. ne.N.;,s of dance in Washington, DC 20036 Madison ind.around the staie. One type of membership in this organization includes this publication. THE OFFSTAGE VOICE SATURDAY REVIEW-WORLD Wisconsin Theatre Association A A P.O. Box 2047 716 i_,owell Hall,seW-Extension Rock Island, IL ,t1207 Madison, WI 53706 Bi-weekly, $12 subscription, Walter Terry writes on News 'of the associations, actiit.es. and theatre dance as` a contributing editor. events around the state. > I

83 .86 2000-3G2T603-