The Related Arts

DOCUMENT RESUME 0 .2D 093 821 SP 008

AUTHOR , Fleming, Gladys: Andrews, _Ed. TITLE Children's Dance. INSTITUTION American Association for, 'Health., Physicel Education, . -end.Recreation, Washington, D.C. .$0B DATE 73 NOTE 112p. .AVAILABLE FROMAAHPER, 1201 16thStr1eet, N.V., Washington, 20036 (No'price-quoted), . EDRS PRICE M1 7,40.75 BC Not Available from EDRS. PLUS POSTAGE DESCRIPTORS 'Annotated Biblioqraphies;. Audiovisual Aids; A *Children; *Dance; Folk Culture *Guidelines; Teachihg Skills

ABSTRACT This book on children's'dence s divided into five parts. Part 1 discusse4the votk of the task rde. Part 2 presents a Statement of belief and some implications and examples Of guidelines.. Other topics discussed are discovering:(0..nceu.a concept of time, _imOressionse.an approach todanCe with boys, and science as a point of devarture for danCe. Part 3 includes diScussions on dance in school, danpe for boys, folk.and-ethnic'contribuiions, and dance and -the related arts. Pat 4 discusses leadership for the 1980s, concerns

for tWprolesEion,_and Competencies of the teacher of children's , dance:,; Part i5 lists reouzbesi.inCimAing an annotated bibliography of reading and audiovisual' materials,,pilot projects,activities, and. 'personal, contacts for. children's dance. An. appendix includes a Survey questionnaire, inquiry forms, criteria for viewing selected films, and areas of [teed research.AFD) \

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LII-DEPAR TMEN'T OF HEALTH. EDUCATION B WELFARE NATIONAL INSTITUTE OF PERMISSION TO REPRODUCE THIS EDUCATION COPYRIGHTEO MATERIAL BY MICRO. THIS DOCUMENT HAS' BEEN REPRO FICHE ONu S Hg5 BEEN GRANTED BY OuCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN AirNG IT POINTS OF VIEW OR OPINIONS STATED 00 NOT NECESSARILY REPRE TO ERIC AND DRGANIZATiONS OPERAT SENT OFFICIAL NATIONAL INSTITUTE OF ING UNDER AGREEMENTS WITH THE NA EDUCATION POSITION OR POLICY DNA L INSTITUTE OF EOuCAT ION FURTHER. REPRODUCTION OUTSIDE THE 'F.R.LC SYSTEM REQUIRES PERMIS SION DF HE COPYRIGHT OWNER.-

L.. Boys and Girls Communicating, Responding, Feeling, Expressing

Boys and G iris-- Dancin61,

arid

Adults Caring, Nurtdring, Aspiring, Extending o That's whaiiChildrefesllance is all about!

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Editor Gladys Andrews Fleming. o

A National Affiliate of the National Education Association 1201 Sixteenth StreetiN.W. Wishington, D.C. 20036 To Delia and Myrtle": and a!F t children touched and made joy ul by their lives

*Delia Hu and Myrtle S. Spande Dance Division Task Force: Children's Dance 1967-1972

Gladys Andrews Fleming Joan S. Tillotson Chairman, Task Force Morrisonville, Newyork School of Education Virginia Commonwealth University Richmond, Virginia Additional committee members serving for Sal. E. Abitanta shorter periOds of time: WI Division of Curriculum Instruction State Department of Education Naomi Allenbaugh Trenton, New Jersey LiaisonElementary Physical Education Crirnission Robert S. Fleming Ohio State University General Education Consultant to the Columbus, Ohio-. Task Force 1969-1970 School of Education Virginia Commonwealth University Delia 'Hussey t

. Richmond, Virginia Detroit Public Schools Detroit, Michigan Katie Planche Friedrichs 1967-1970 Southeastern Louisiana University Hammond,:Louisiana Shirley Ririe University of Utah ca Margie R. Hanson Salt Lake City, Utah AAHPER-NEA 1970-1972 Elementary Education Corisutant Washington, D.C. Rose Strasser Emeritus Mary Rae Josephson Nev York State University Minneapolis Public Schools Brockport, New York Minneapolis, Minnesota 1967-1969

t Ruth Murray t Deceased. Emeritus Wayne State University Detroit, Michigan

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

iV Prologue

One of the wonders of human movement, and specifically of the dance experience, is its changing, amorphous, and quicksilver nature. It is procem,:not permanent fixed product. The same is true of the child, a human changeling hung between his beginning and his becoming, suspended in his being fora very brief and special. timer It is beautifully apparent that dance and the child are natural companions. If, as Merleau Ponty suggests, our bodies are our way of having a world, the child is busily at home in his own body forming and shaping his own world, its inner and outer hemis- pheres. He is making himself up as he goes along. It was a deep boncern with the human ecology of the child's world that surely. served as a prime motivation for the Dance Division's Task Force on Childrt anee. This project officially began in , butof course the awareness of childhood as a time of potent expressiveness vulnerable to influence is ancient.It is true that the ifripressionable and tremu.lous early years have been dealt with in many ways: with great care andyvisdom, and at times with enormous abuse. There were many specific goals of the Task Force, but the overall intention was pervaded by a deep desire to nourish the volatile.and ephemeral language of childhood. The poet Blake urges us to "kiss the joy.briefly as it flies." Dance is one way for the child td claim that brjef embrace.

Nancy W. Smith a Vice-president of AAHPER. and Chairman of the Dance Division 1.967-1968 r- Statement

Robert S. Fleming

The Dance Division of the Association for effective dance Would emerge in a setup e. Health, Physical Education and Recreation where tension or human relations problems is to be congratulated for sponsoring the existed. One is impressed by the human Task Force on Children's Dance. This relations overtones in this document and project has significant implications for the the numerous opportunities for communi- Association as well as for teacher education cation through expressive antivities. in general. It is impressive that such a project It is refreshing to rote the emphasis on was conceived and executed through the aesthetics and creativity. As children are Association's own resources rather than by helped to express themselves openly and outside grants or groups. AAHPER and ". creatively, many aspects of growth and other professional groups might well -learning are enhanced. consider the way in which this study was JI executed since it demonstrates the contributions dedicated people make to the profession. .Children's. Dan& ikan alive publication:, It has strong mental health.oyertones, impressing the reader with opportunities for children to be successful; to feel that they belong. to pa'rtici,ente, to engage in meaningful activity, to be creative. As children feel good about.themselvet, mental health factors are enhanced. This publication strongly fortifies teachers and teacher educators with opportunities to help children develop positiiie self concepts and self-acceptance. As children dance together, they begin* to feel good about each other. Human rela- tibns factors are strengtIlkned thr9ugh the vitality of dance,.music, rhythmic activity, and self expression. It is unlikely that

vi Statement

Margie R. Han3on

Dance is an essential component of the upon each other to delf fully functioningteacher education could learn a great deal elementary school curriculum and is Most - human beings. from AAHPER's,Dance Division Task Force often found as an adjunct to the physical Both dance and physical education have on Children'S Dance. education program.1 if the programs, a movement base. Dance, however, has the Childreni.Dancemay be thought of es a however, it has taken many forms including addedimension of !esthetic, creative, and prototype for other teacher education areas. such rhythmic activities as common as inner self expression, which is so impOrtant In an: era in viiiich models are often con- exercises, ball bouncing, rope jumping, and in children's lives. ..cented by small groups remote from schools, ..

fundamental movements. While these are This publication is a significant research it is refreshing to see this emphasis .emerge . valuable, they should not be considered as projeCt Although no controlled experimen- by many groups froin many schools. How part of a dance program. Children need tation occurred, the entire project from exciting it -would be if other curriculum opportunities for self-expression and conception'to completion was conceived areas couldaffordthe luxury of sixyears aesthetic development through valid and executed in a research manner. The activity bye task force-of professionals to experiences. design of the project hasastrong research work closely with stew, regional, and Physical education seeks the physical base: and was checked,With leaders from national groups in conducting such a development of the child through sound various disciplines.. Asuqpptions emerged comprehensive study and in the-production techniques of body movement as well as as representatives from seteral disciplines of a book such asChildreresfOrinik'" the and cognitive develop- Aad opportunities to study danceandits ment; dance seeks the same development of role in the growth of children. The Task the child through techniques of body move- Force also designed its original work to ment for the creative communication and providea survey of the status of expression of self. In both dance and children's dance over the country. The physiCal education, the child can be freed data collected throughout the project were to learn about himself and the world carefully and systematically secured and around'him. Through movement the - processed. "child can express'ideas and emotions Children's Dancehas unlimited implica- which he may not yet be prepared to tions for the curriculum field; It suggests express orally or cursively. Each vitality of fresh, interdisciplinary, and

discipline relies on motor competencies, expiessive experiences for childrag; It , but dance attempts to reach deeper into demonstrates the vitality of ingredients such the realm of treatiiiity and aesthetic as active participation, Meaningful activity, expression. Experiences in both areas are total involeememe and allegiance to high compatible, complementary, and dependent standards. Many of our colleagues in \ Contents

Dance Division Ta's1 Fhlce: Children's Dance Prologue Statement Robert S. Fleming Statement Margie R. Hanson

Part 1The Task Force Work of _the Task Force 4 Gladys Andrews Fleming-

Part 2 About Children!_s_D_ance Chapter 1 A Statement of Belief Ruth L. Murray er Chapter 2Partart AGuidelines for Children's Dance Part B Irriplications and Exampled of Guidelines Chapter 3Teachers' Usjof the Guidelines: A Few EXperiences Responding Actively' to the World Around Us Loretta WroOlar8 Hallie Beth Judd' DeNette Garber Elizabeth Wall Discovering Dance Gertrude Blanchard Ralph Harris Shelia Kogan. Kathleen\Stubbs A Concept-of Time Ruth Boyle, Market Day Song and Dance and Learning Ches* Through Dance

- Beauford Thompson Ruth Wilson Impressions Photo: Virginia Robinson, Tucson, Ariz. . -Katie Planche Friedrichs An Approach to Dance with Boys Tom Dunkley Science as a Point of Departure for Dance Loretta Blanks - 9

The Damp and Aimless Doze 37 Chapter 8Making. Dance Sal E. Abitanta -...: Approaches to Dance Making 67 1 The Stage, a Magid-Place 38 Ann Zirulnik Shirley Ririe ----"--_ Composing Dance with Children 69 ' Gladys Andrews Fleming Part 3 Dance for Every Child Chapter 4 Dance in the School Part 4 Moving Ahead _ . \ l The Very, Young -. 41 Chapter 9 Lake of the Ozarks Conference. Tommye G. Yates on Children's Dance, Excerpts from Proceedings Through Little Children's Eyes 43 Leadership for the 1980s , 74 Marilyn Ranson Robert S. Fleming ill 1 Kindergarten in Stiburbia 44 Our Concerns for the Profession 75 Jo Anne Fulton Gladys Anclovii Fleming Dance in Two Schools, K-3 and 4-6 45 \ Compete_ ncies of the Teadher of Children's Dance 76 Dorothy S. Mozen Ruth Murray . _.The Urban School , 47 The-Consume'r Speaks Lillian Buchner- . out about Professional Preparation 1 78 Chapter 5Boys Like Dance Gertrude Blanchard EpilogUe Experiences with Boys in Dance .. . 49 80 Shirley Ririe Part 5 Resolves Men Can Teach Dance 52 Sal. E. Abitanta Chapter 10Annotated Bibliography 82 Mary Rae Josephson ,/ Who Says Boys Don't Like Dance? ,. , 54 Bruce King Reading Materials 82 Chapter, 6 Folk and Ethnic Contributions Audiovisual Materials 88 . Introduction 57 Sources for Reading Materials; Audiovisual Gertrude Blanchard .Materials, and Ihformation 92 .. . The American Indian a ft58Chapter 11 Pilot Projects, Activities, and Happenings 93 Edith De Angelis Katie Planche Friedrichs Joan Tillotson Black Dance , 60 Gwen Lewis McGregor Chapter 12Personal Contacts for Children's Dance 96 Mexican American Culture 62 -Katie Planche Friedrichs ) ' Joan Tillotson Magdalena Cantu . a , . Chapter 7Dance e- Art - Dance Appendix

The Where of Dance , I 63 Survey.auestionnaire 99 Nik K rev itsk y Sal E.-Abitanta Dance and the Related Arts 65 Inquiry Forms , 100 Gene C. Wenner . - Criteria for Viewing Selected Films 101 Dance Reflects Feelings 67 Needed Research 101 Maid, L. Riggs PhOto e-/' ' ' Credits 102 TheasForce

40- . . 10 s.. ip. itite-:. *44sr.., .% 1 A : . 41. ; sr t ;toa 7 -.Pefr.. 7 *WO.s % 4 *0 Ag... Thp Work of the Task Force

Gladys Andrews Flemi6g, Chairmen 04,&.

10. v.

.. I I . , --This-publicationisthe'prOduct of teachersoppatunities to develop clarity of purpose, concerned that children have opportunitiesN to recogrize-the basic assumptions under-

to find joy and self - actualization through Nwhich we operated, and tihiew-constantly, . dance. 'Children's Dance hasemerged from . 1 totality the mans facetsof our job. six years of intensive study by a small' . Coinuity of membership was imperative, group of rpemberrof the Darke Division of and f uent'shcirt and long term work AAHPER as a Task Force for Children's sessions) ere profitable forassessing progress Dance. These \oe leachers comeetentin and planning for unfiniihed tasks. The co working withclikldren, thtough dance, planning aspects bf the Task Force end the . physical educatiob, and teacher education. dedicIiion of itsmembers contributedte its.

They are committed to perpetuating quality effe? vene. . education, which includes quality dance. for

children. . - ,.... The Dance Division has long-been 7 .concerned with the different.forms of dance at various levelt of education. It believes a) that meaningful, quality pidgrams in dance

for children are basic. to quality dance at all . leveli, including professional preparation of

teachers. . .' . The Task Force has been assisted in its work by resource people from various disqfplines such as huMan growth and : development, learning, general °curriculum, the arts, cl ssrOOM teachers, administrators in public.hools, teacher. preparation, state departmenincluding state arid county directors, and members from various segments of AAHPER. i -The Task Force worked-in a variety of \._. way's.. Ease ntial.to our study was a, series of.

working conferenlieswhich provided .

O ° *

.te

Assumptions. and Purposes program. the June 1971issUe Of AAHPER's./oir > .. .. 4. To specify ways of improving prepare of Health, Physical Education and Re . . As theTask Fdrce.started its work, the don programs for pre-service teachers: nd tion. This repbrt hasebundant addition fpllowing aslienptioni were formulated to develop techniques which encourage: informetion.whichmight well 'be studi which helped'us to design our projects. and assist' in the, procep. the future.as'a basis for improving the t The assumptions hive stood the test of 5. To highlight he importAce of dance ,physical education program. The Task , theast six years since they havit been , for boyi. rForce Co Iteecbntinued to use the

I, refined. They are: ' Status Studyu y toug out itsI work. Early in the work of the task Force, /. 'T. TIere is power IWO nce as a .wdy of problems andponcerns were identified. -A hation-ifideStatus Study was conducted,to DeVelopnient Of Guidelines 4b- learn mg ,erici com pin icating. . . 2, .Dance should be enintegral pdrtbf determine 'the status of dance in elementary

physical education for pri-sctoal, . education. Also, guidelines for, quality. Much attention was given to ,clarifica ' kindergarten, and elementary children.. programs in children's dance Were'deyeloped of the nature and scope of children's d p..iirograme Ofindve'nient)artd dance.must .andiveded research determined. Sub, This study was developed on an inter- reflect what isknown.about the physical, groyPs wire.formed, and ;the work was ". disciplinary basis including resource hel .social; emotiortattlevelopment of children. underWay. from human growth and development, 4. Teacherinedeffective preparation for learning, curriculum, evaluation, teache he education, physical palmation and clan thir teaching of darice... , _ `0.5. :Teachers of children's dance need to ir. The Status Study a three-day work conference.; Guidelines appearing in\this Publics 4.incleritand the total elementary . -J curriculum: The Status Study, was made tb determine: were develOped after carefulretudy and 6. ,Research is needed in the cleke. mulct. consideration of prograiii content in da for children. The study included: young children. . , . 1. status ofocisting danCe progrant for 1. The development ore common . children 11

termirfloirogy for dance .teaching is essential., 2. preparation of jeachers teach ing/(a) dance 1. Reviewing criteria for effective prog to childreniinchools or (b) cadren's dance. planning With these assumptions in mind, the courses torprospective teacher incolleges 2. Clprifiling the meaning of children's following were identified and 3. problems encountered in ciering. dance an.El writing a Statement of Bell

. served as a' basis for the work of the group: children's dance Appearing in this publication as the P

. N. ' . . . . - 4:\help needed to improve programs in 3. Assessing and revising the guidelin 1. To-clarify the, meaning of dance: Children's dance: dance, physical aducation specialist.va a. What is dance? '. - . classroom teachers 11. What is the dittinction between' move- AssumPtions weievaliclated bye the Status,4. Constructing the guidelinei to inclu went and dance? Study, and prcillems became morispecific philosophy and contenland ways of .:---c. What is dance for children? and penetrating: The extent and q ality of;illustrating them in operation. 2:, To clarify the role. of dance in the dance in elementary schools and the elementary school physical education availability of prograMs in the preparation 2 curriculum and also in the totarelementary of teachers were causes of concern to the National Conference school curriculum. . \ 'Task Force. ''..3: To devalbp a series of tealistic plans . From all the work of the Status Study . With the activMs of the Task' Forge drawing to a conclusion it seemed fittiz designeirtoenable both. thephysicalN comes a; continuing concern for dance education and/or dance personnel and \ programs of quality fOr children. This is tplioish with a national thrust, whictu . Classroom teachers tg develop needed \ .the key concern for both tiacher and firm forms: a national conference and 6 `':tinclerstandingt and competencies in dance \ in.service education. : I completion'of this Publication. ickr children in the eiementary,school /he S,Latus Study wis reported in full in In the, spring of 197.2r the Lake o i4

Ozarks a conference was held cosponsored on children's dandeand of physical educ* . with the Elementary Physical Education . tion textbooks which includechildren's

Commission of the Physical Education . dance. Carefully refined criteria were used Division of AAHPE R. In essence, many of to prepare both bibliographies. the purposes 3f the Task Force were 6. Study of Films A study was made of brought to fruition as dance was emphasized II available. films dealing with children's as a dynamic aspect of the total physical ance. Criteria for viewing were developed education program_for children. Much' of and a seleated list of recommended films' the focus of the. Lake of the. Ozarks n prepared. Conference was giVen 'to the professional 7. Success Stories A collection of success preparation of elementary specialists stories of children's dance was -merle. including the classroom teacher. Dante, as 8. Work with Other Organizations and viewed aevan essential in the lives/of children. Grpups Effort was made to relate children's dance to other associations-and profestional groups, including Association Other Tasks Childhood Education International, Association of Superviiion and.Curriculum

In addition to the activities described Development,.Association of Eleinentary- : above, the Task P"orce has engaged in other ,kindergarten-Nursery tducators, American significant. activities which are included in a Association of School Administrators, state variety of ways throughout this publication. art groups, state, educationassociations, and They are: inin-sece -service grows. . 9. Needed Research extentiye list of . Pilot Projebts series of 'pilot projects items needing research was identified; were set up asari important eleMent ir) the Twenty-five projects were propoied and Task Force work. Effort:was made to followsubmitted to the Research Comiuittee of the prOgres of these projects and to assist' the Dance Division as well as to the Dance them as appropriate. In addition, other Library of LincOln Center in New.Yak City. projects underway weridentified: An

, inventory was made 'of dance Actiiiities underway and information summarized. 2. Resource File A resource file of Photo: Fanige Helen Maloer, Provident:0, R71. :individuals working, in xaribus aspects of children's dance was developed and has been used extensively. . In a previous report oh the progress of 3. Review of ElementarYSchoolPhysical the Task Fbrce the title, "Over the CoOntrY Education Textbooks tea This comprettilisive Children Are Dancing," was used. With review of textbooks was made to \detfr-. this publication, it irthe dream of the Task mine the extent to Which children's dance Force that-"All Over the Country All Children Will Be Dancing." was included. °. \ 4. Review of Curriculum GuidesA committee reviewed courses of study and curriculum guides to analyze the extent of dance inclusion 5. Developmentof Bibliographies Bibliographies were pared of textbooks About Children's Dance

.. o,. . loo soUnrj,et .s -.: :: .--. A 4:.::too ..:.:.1 . ,. 1.41411 :: , olio oi o oo toSol ° or, f` Chapter 1 A Statement ofBelief !1."-".

Ruth L. Murray Emeritus Wayne State University Detroit, Michigan

Dance as an art, and as the expressive needs and interests and the knowledge of entity of creative movement,,is vital to the how they learn. development of the total individual. All of The use of dance and dance-related the arts provide ways in which man can activities in early and middle childhood bring shape and order to his fragmented education to provide physical, emotional, and rapidly changing world, But dance and aesthetic development has been sadly provida primary medium for expression'' neglected. The recent Status Study of involving the total self (not just apart, like children's dance education practices the voice) or totally separated frcim the throughout the country shOws either a , physical self (like painting or sculpture). profbund lack of information or consider- Dance and the movement that produces it able misioforMation ligardjng what dance is "me" and, as such, is the most intimate educators consider to be sound content in of expressive media. 'A child's self-conpept, the dance ciericulum. It also indicates a his own identity and self-esteem are 1 Pervasive tendency to relegate all dance improved in relation to such use of his activities to the fringes of the physical body's movement: education program, if indeWsuch a If we believe that movement plays a programaxists. Where some danceit crucial role in the developing life of the taught withika program of music, here, too, child and that all education should:foster. it is subsidiary to the central content. creativity, body movement as aCreative The TaskForce On Children's Dance in medium in'early childhood education Education. has worked on. (1) determining attains great signifiCance. Such movement, what kind of dance;.# any, is being taught .which teachers have for so long taken for. : in the schools of .the country and (2) granted_or even tended to suppress except establishing Guidelines that describe what a in its most limited and functional forms in . comprehensive dance program might include, the classroom or the playing spaim, is the what parts of the program Should receive cheapest and most available material to use special emphasis, what type of teaching for creative experiences. It daei need method might be aPproPriate for each space but not as much as we have aspect of the pr am; and which dance traditionally thought. It does need teachers experiences areore suitable for one age whose preparation has included, in additiOn level than fora ;other, to dance, understanding of children's. ThGuideli es indicate content which is . both movement and audienCe centered. The later aspect is-included because dance.is an art of communication and needs understanding and appreciation from an audience. By viewing dance performance in a variety of ways, as Weras participating in it himself, the child broadens his knowledge of and sensitivity to the art of dance.

The following objectives describe desirable outcomes from both the mov and audience centered experiences listed the Guideliom,

fi Objectives.

1. To assist the children, through-move centered dance activities and other mov ment experiences they:MeV be having, t

G, Reollie their biological urges to experie primal patterns of movement -

. 3 Develop an adecniate degree of tatisfa0 in and Mastery of their body movemen fOtheir own pleasure, confidence;'and self- esteem r Greatly Expand their movement resour, ;, by Offeririgthern many opportunities explore, discoVer, invent, and develop different ways of moving and to stru sequences Increase their aesthetic sensitivity by Age Level discovery, and selection, and other . emphasiYing the expressive and experiences in invented and improvised imaginative Potential of their movements, The Guidelines attempt to cover movement. With few exceptions, such as as well as the physical and athletic recommended dance activities for children the teaching of a specific dance, the aspects from the ages of 3 to 12. This span of years Guidelines adapt themselves to this kind of Develop their appreciation of dance as art, is divided into those of early childhood (3-7 creative teaching. by relating it to appropriate experiences in years) and those of middle childhood (8-12 The teacher's first task is to identify or music, literature, painting, and sculpture years). While many activities are appropriatestructure the problem. What follows, for all ages, if there is adaptation by the through exploration and discovery, in an Relate, their movement effectively to teacher to the level of development, there open-ended approach, is a variety of accompanying sounds and to music are nevertheless a few which serve their acceptable solutions. The selected solution Participate withthers in recreational folk purPOses best with eitheryounger or older may be one which feels good to do, or is and ethnic dances by helping them learn children. most innovative or daring, or is judged best traditional dance stepsand understand the for other reasons, sometimes perceived onl different ways they have been used through by the child himself. Then should follow centuries of.peoRle dancing together Method the refinement, through practice, or the chosen solution so that it is performed with Make dances for .themselves and others and, The choice of method used in providing greater control, better logical flow, more when they seem rea y for the experience, children with dance experiences is of great authority, and greater expressive awareness to perform them foreer audiences consequence. The educational and artistic or is developed into a mbre complex sequence. contributions of dance and its significance The learning principles of discovery, 2. To assist the childrerithrough in the creative process can only be realized perception, and actuaiizati6n are thus audience-centered dance activities, to: °by a teaching; method that is, in itself, applied to the child's increasingly discerning Understand the ancient and honorable creative. use and mastery of his own body's move- tradition of dance as art and ritual , It is true that there are certain activities ment. Such a method requires that the where strong direction by, the teacher teacher produce an environment where the Develop sensitivity to the essence of produces, if not the best results, educa- child is free to discover how his own move- movement.as communication as they tionally speaking, at least the quickest ment feels. He needs to sense what it is observe the performances of their peers ones. The teacher knows a dance; the that is communicated to him when he Appreciate the many forms of dance which children do not. So they are directed responds to or resists gravity, when his body have evolved in different cultures, all based through it, step by step, until they have expands or contracts; when he can take izi5ncommon movement'resources from which learned it. There are perhaps a few other himself through open space or must move rnah.has drawn fob his expressive purposes activities where at least partial direction by in a limited space; when he moves alone or the teacher is indicated, if accurate perfor- with one or many others; when he can Undetand, as they grow older, something mance and hence kinesthetic and rhythmic support himself on a single small base; when of the demanding discipline and training of satisfaction are to be experienced. movement and stillness, or high and low, or the body necessary for a professional dancer For most movement centered dance heavy and light, or fast and slow are Enjoy vieWing concert and theatre dance contentrhowever, the method of problem juxtaposed. and develop a discriminating awareness of solving is preferred which includes related The key to joy in movement lies in such movement as an artistic medium activities of guided or free exploration, self-discovery. Chapter 2 Part A Guidelines for Children's Dance

Movement-Centered Dance Activities

The following Guidelines are basic t. children's dance development and when adapted to age level, should form the rn. part of the dance curriculum from early through middle childhood and beyond. is upon the success of these experiences especially the fiat four, that satisfacto and satisfying dance leaMings will depe \ 1. Experiencing Movement Elements Experiences evolving from the use crf_th movement element of space, time, and force, the development of an awareness sequential, changes in body shape, an relationshiof self to others and to the physical env onmerit. 2. Providing'fqr Exploration. Movem exploration, improvisation, investigatio and invention, using dance ideas such. a those evolving from experiences with movement elements, from imaginary a literary sources, from propeities of vari kinds, or from music and other types o sound accompaniment. 3. Relating to Rhythm Experiences movement which help to synchronize i with musical structure, such as pulse, phrasing; the development of sensitivi the quality of musical sounds and the to relateto them in many different 'w 4. Experimenting with Basic Movem Experiences with basic locomotor and npnlocomotor movements; making combinations of these movements; discovering and learning traditional da steps. 5. :Making Dances The organizing of, movement into dances of various complexities. 6., Relating to CurriculumThe relat of dance mmtement .to other curriculu experiences such as art, music, science studies and language artswherever an, Whenever appropriate. Chapter 2 Part B e. Implidations and Examples of Guidelines

7. Singing Movement Songs Inclusion in comprehensive dance curriculum of "learned" dances which help to motivate movement in early childhood, such as action or movement songs, singing, games; or song dances. For middle childhood years: 7t 8. Using Folk Dahces Opportunity for quick learning and dancing with satisfaction These, implications of the Guidelines' 2. For awareness of body balance and of traditional folk dances if based' n earlier statements and examples of activities which shape; What other ways can you balance !earnings. might be used are representative of only a yourself (except lying, sitting or standing on 9, Increasing Physical Power Experiences small sample of the unlimited variety of both feet)? Can you move from one balance- with movement, arrived at through explora- possible dance experiences for children. shape to another? tion, which can be used to increase body Hopefully, they will serve to clarify certain 3. For orientation to others and to the strength, flexibijity and precision. principles of dance education for the teacher physical environment: Can you take a quick 10. Relating to the Present Culture and to offer a few ideas for initial experimen-walk around the room and lightly touch. Experiences in ethnic and popular'"fad" tation: For further explanation and more three different walls, but not another person dance patterns. ideas for dance teaching, the reader is or thing? 11. Performing for Others Opportunities referred tb the Resources section, pages for performing dances for schoolmates other 82-99. The conscious discovery of the movement than regular classmates and possibly for potential of the child's own bodyincreases outsiders, such as parents. his awareness of the elements and factor; 1. Experiencing Movement Elements which descree such movement. Ultimately, the child should begin to'perclive, to feel, Audience-Centered Dante Activities Experiences evolving from the use of the to sense the physical results and kinesthetic movement elements of space, time, and sensations of moving in these various ways, The:following audience-centered. . force, the development of an awareness of to conceptualize about them, and to be able expeOences should expose the child to dancesequehtial changes in body shape and the to use them when responding to a teacher's as e performing art, helping him to ,under- relationship of self to others and to the direction or during the processof his own stand and appreciate its ramifications. physical environment. problem solving in movement. In this Children of all ages can partepate as an process, then, he is not only moving, but audierite,to their aesthetic and artistic Examples of the first Guideline are thinking, feelirs, sensing and becoming advantage by: , inherent in much.of the unconscious move- increasingly aware of how he moves in 1. sharing other children's dances ment of the young child. An important relation to others and to his surroundings. 2. seeing pictures and slides of dance facet of his early movement education is The elements of movement and some of 3. se ing films of concert dance artists involved in bringing him to a conscious the factors that belong to each are better 4. se ing and discusing lecture- awareness of how, whete, what, and when realized when they are presented in demo strations by professional and semi- he moves his body. contrasting or opposite pairs of words. At profe ional dancers.with active participa- Beginning investigation of his own - first, sudden contrasts are easier; later, tion w en possible movement may be initiated by quistions, gradual contrasts should be incorporated 5. seen concert or theatre dance programs such as the following: into these experiences. Greater.control, appropr to to age level and experience 1. For recognition and isolation of body refinement, and complexity of response 6. partic ating in other enriching parts: How many different ways can you would be expected when children are experiens, such as dramatic performances, move your head (both arms, one arm, legs, older. Following are examples:of words music conrts, museum exhibi4, or book hands, feet, upper body, lower body, and which might be used for elements of ,and scien fairs. all reasonable combinations)? movement:

/ 9 Vs

In using the above examples, the folio 'ing principles will apply:

The first contrast listed for each eleme is the simplest and can be used with very young children. Some of the others requi greater understanding and skill.

Elem ent Factor. Contrast Contrasting movements can be petfor Force Control of. MovingStopping both in one's personal (self) space, as well Degree of Much Little through the general space. In other wordt either locomotor or nonlocomotor move Heavy Light or both may be used. A simple example Strong" Soft might be very law jumping contrasted wit Tight Loose high jumping, done first in place and then Quality of Explosive Smooth through space. (See discussion of the Fou Space Level High Low , Guideline (page 15) for definitions of I Size Big Little motor and nonlocomotor movements.) Direction Up Down The descriptive words used in these Out In examples are considered to be the simple Forward Bickward for children's use. Others may be found Right Left suggested by the children, themselves. (One Side Other Side) Contrasting moyementsmay be per- Around RightAround Left formed several times, anti changes in the Path Straight"-, Curved, Twisted or movements used to solve the problems Angular should be encouraged. Constant Wandering Focus of Gaze' In any movement which involves wad Time Rate of Speed n, Fast Slow factors, timing may be fast, moderate, or Progress of Speepl Increasing Decreasing slow, and force may be strong, moderate D.Uration \, Short Long weak. Thus, a wide variety of experien Interval Equal Unequal are made possible. Design Large Small Shape There is, of course, a middle ground Wide Narrow between some of the extremes of the Straight Crooked or Curved contrasting words. "Moderate," "mediu Round Pointed "half-way," "midway" may be used, whe Smooth-7Sham necessary, fOr degrees of force, rate of Fat Thin speed, ansize and level of movement Symmetrical Asymmetrical After some mastery and control of the own movement is achieikd, children shou experiment with, a partner,and then a an group, trying movement shapes that intro) many different kinds of body contact. A body shape may be still (stationary) or moving (sequential). The "still" shape

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

11 ;. Examples of Imaginary Sources for Movement

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

Different Kinds of Walks Different Work Movements stiff clownish on parade. picking fruit and vegetables raking leaves rubbery silly on a line digging ditches, holes, foundationsputting out fires limping searching weighty fixing telephone wires felling trees, chq0ing wood, stalking scared uphill moving furniture shovelling show; -.." "on air"" bold "whispery" collecting trash sweeping walks, porches, stre busybody tired (animals that can carrying groceriesetrash bags (walk on two feet

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

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

.../4.0,OrteNt424.4.7.7. -Examples of Literary Sources For Movement Examples of Properties Which _M Motivate. Creative Move 1" agt, Teachers can find many cues for move- rs, ment exploration in stories and poems A small property to stimulate the which children read and enjoy. The charac- imagination, to manipulate in-different= ters in such- stories and their activities ,ways, to attend to, to move with, or on, (especially those with action potential) used or over, or toward, from, or around will as a point of departure into movement will offer a great stimuhis to creative movement, provid many creative possibilities. With The following readily available items are older children, folk tales, mythical and listed as suggestions. Each has limitations historical characters, and events in history, as to how it may be manipulated. Children offer sources for movement experimenta- may bring in these or other "fund objects" tion.It is here that creative dance, and to move with. creative drama identify closely with each other, and each may act as a valuable_ paper of all kinds contrasting textured suppleMent to theother. (newspaper, construc-material (sandpaper, Mar* delightful poems which suggest tion paper, crepe satin, etc.) movement, some of them merely jingles paper, tissue paper, feathers or nursery rhymes, may be used in several facial tissue, alumi- lengths of fabric ways as movement catalysts: num. foil, etc.) lengths of elastic heavy string or soft cardboard cartons 1. Thepoem may be read, and thenany rope - part of the whOle may beinterpreted in disposable pie tins soft scarfs (it movement by the children. baskets or boxes of various sizes 2. Thepoem, read slowly, may serve as various kinds an accompaniment to the children's action cardboard towel coat hangers in interpreting it. - tubes, Fug tubes 3. Words or sentences may be excerpted, and spoken by the child as he dances. leaves, flowers, weeds, hats, gloves, 4. The words may be combined with paper cups, and many others improvised music or percussion which highlights the action potential of the Other. items that may not be available poem. to children, but are useful tools for exPlora- tion, are: Children may also write original poetry, having in mind their own movement or stretch ropes wooden boxes that things that move. Making and performing rubber inner tubes can support weight a dance study to such poetry adds a second hoops chairs or stools creative venture to the original one. yarn balls "junk" sculpture beach balls_ space constructions nets commercial art plastic tubes (posters, advertise- ments)

13 Examples of Music Which Stimulate Examples of Sounds Which May Accompany accurate-movement response to rhythmica Improvisation or Suggest Movements sounds is one, which every child should hal the opportunitY of developing in school. The key to the kind of music which is Environmental sounds, or those sounds Some experience with musical structuri valuable for children's improvisation,can be we make ourselves, can inspire movement and the'development of sensitivity to the discovered by helping them to find danceablerelated to the sound in one way or another. quality of musical ibunds is inevitable if music to which they respond. There is a Often use of this kind of movemen'. accorn- the child in his other dance activities hash wealth of such music and the music teacher paniment offers an exciting stimulus to the advantage of musical accompaniment,' should be of great help as a resource. person. children and helps-theni,to become,aware It is hoped that he will also have sung,son A music resource- ibrary with tapes and of accompaniment for dance movement played simple muskal instruments, and recordings children may listen to, move to, besides the traditiOnal,music. listened to good music as part of his musi and feel enthusiastic about is a valuable -Some suggested types of sounds which education. Indeed, the development of a addition to the dance equipmeot. Children may help children to discover others are: precise movement response to rhythmic structure should be an educational goal will enjoy various kinds of music, but a body sounds (sneeze, cough, sigh, snore, movement response is more likely to wail, laugh, hiccough, etc.) shared by the music dance teachers. evolve if the music is rhythmically stimu- Children may Synchronize their invent city sounds (sirens, church bells, auto- lating, not too complicated in structure, and movements from other dance experiences mobile horns, etc.) of relatively short duration. It should also with the phrases of a simple song, or use have musical merit, and, again, consulta- nature sounds (wind, rain, thunder, hail, them to follow the pulse beats and accen tion with the music teacher is strongly etc.) -of a marching tune, or to perform the recommended in cases of uncertainty. bird and animal sounds L._, rhythmic patterns of a nursery rhyme. miscellaneous voice sounds and "double- Long rhythmic drills: especially if they Some suggested types of music are: talk" are conducted only\with a drum as accom folk dance music chants paniment, cal become boring and simple classical music sounds of percussive instruments such monotonous: Where conscious applicatio to a response to pulse beats and accents is children's songs which suggest movement Es rattles, gongi, brushing drum, etc. desired, however, a logical sequence can electronic music (Small instruments, often homemade, can be used by children while they are followed: music of percussion instruments moving.) some child-like popular music 1. The music is listened to. arranged tapes (sound collages). 2. A hand response is made, with one or tapes of the children singing or chanting. both hands, uied1together or aliernately beating, tapping, clapping, in the air, on When a teacher chooses the recordings or 3. Relating to Rhythm tapes to which children are to improvise, the floor, on oneself. some guides fbr selection might be: 3. A foot responte is made, standing, wit ExPeriences with movement which help to one or both feet, used, together-(small,---- a good quality of reproduction- synPhronize it with musical structure, such bounoi jumps) or alternately (walks in evidence of a strong rhythmic beat as pulse; accent, phrasing,- the development place) or one foot alone (foot taps). variations in tempo o f sensitivity to the quality of musical 4. A total body response can be made, sounds and the ability'to relate to them _ variations-in dynamics moving head; shoulders, arms, hips, knees in many different ways. "built-in" imagery as well as feet, 5: Any of these movements (and env in good taste and appropriate for Moving in rhythmical unison with others other which can be repeated rhythmically children. is a deeply satisfying human experience and can be taken through space in any direc- it can be a source-of endless enjoyment and tion, always in time to the beats or the appreciation. The ability to make an- accents.

14 Other Aids in Rhythmic Development familiar rounds: ("Row, Row, Row 'Jog, Basic locomotor and nonlocomotbr Boat," "Are You Sleeping," "Scotland's movements are used extensively in dance 1. Percussion instruments (drums, Burn ing") in combination with themielves and with rattles, wood block's, rhythm sticks) may folk dance music without words each other. be played by small groups of children, singing games and action songs (see '46 taking turns in/acting as an orchestra to Examples and Implications for the accompany others. (An illustration of a Basic Locomotor Movements Seventh Guideline, page 191 creative artprojebt might be an assign- , chants such-as: ment to make a percussion instrument. If The basic locomotor movements con- counting out rhymes (` "ibbety bibbety," the art teacher - assisted, each'child could sidered here carry the body through general "hippety hop") - have hisown instrument, a highly desirable space from a-standing base:1 state Of affairs!). nonsense phrases ("hey nonny nonnyi Walk = weight change on alternate feet;1 2. Children learn to distinguish and children's names (Johnny Jones, Mary. continual support. demonstrate in movement, the differences° Ellen Parker) in sound among a gong, a woodblock, cities, rivers, states (Washington, Missis- Jumpweight kept equally on both a rattle, a ringing bell or alarma muffled sippi River, Utah-Idaho) feet, or landing on both feet from one I III IS foot; moment of nonsupport ,drum, a triangle. Other characteristic work chants ( "yen heavelio, whoopee city sounds, such as sirens, and country ti yi yo") Run weight change on alternate feet; moment of nonsupport sounds, such as bird calls, may be used. television rhymes (Sesame Street, Alpha- 3. Chilthen may identify and repeat the bet and Counting Rhymes) Hop weight kEpt on one foot; -rhythmic patterns made by watching and moment of.nonsupport days (Friday, Saturday "Today is Mon- listening to a movement sequence made by day") another child or the teacher. These movements may be investigated, colors (red, white and blue; brown, , 4. Children, after following patterns not only in their natural form, but in the made'by the teacher, may make their own yellow, Purple, pink). use of many of the factors of space, time, patterns on an instrument or by clapping. forced and shape suggested for the First Invented movements to such patternsmay Guideline. For example, a run may become "then be perfojpied. It is most important 4. Experimenting With Basic Movement a leap by increasing its size; a hop may that such patterns, at least at first, fit into change its shape by extending the free leg

the traditional two, three, or four pulse . Experiences with basic locomotor and forward or backward; a jump may become beat groupings (measbres). Otherwise, the nonlocomotor movements; making com- a frog jump by changing its/eye/pa walk rhythmic continuity of the pattern may binations of these movementg discovering may become a "step -to ether," a 'step- be unrecognizable.. and learning traditional dance steps. cross" or 'a "grapevine" walk as it changes 5. Many kinds of chants, rhymes, and to a sideward direction. 6 songs provide strong rhythmic accompani- Basic locomotor and nonlocomotor ment which are easy and fun :to-move to. movements are fundamental ways of Note: It is best to try all movements in Some of the more useful are the following: moving the body through space and/or place at first before moving forward, or in

--(Examples after each are given only to 1+ within space. Basic locomotor movements another direction. suggest many others which' would be are those which, using the feet as a base for simple and suitable.) movement, carry the body, from one place to another in space (walk, run, jump, hop). familiar nursery rhymes: ("Twinkle, 'Such1ocornotor movements as trawl and roll do Basic nonlocomotor movements dre those not use the feet exclusively as a base for moving. Twinkle, Little Star,4"Pease Porridge Hot," in which one or more of the joints of the "Jack and Jill") bddy are involved and which are performed familiar songs: (`" R ig-a.Jig," "Jingle Bells," for the most part over a stationary base "Yankee Doodle") (bend, stretch, twist, swing).

15 '

Combinations of Two Basic Locomotor Walk and WWWHHH 'Alternate COmbinations of Locomotor Movements Movements 'Hop feet withea.9.0PlOMore Difficult Dance Steps ti weight

5 Phrases of each of these movements for change; There is more than one way of helping young children should be long, the ch'ange - then with children master the movement combinati from one to the_ other-possibly being made one foot, which make up t e dance steps common! on a signal-from the teacher. no weight used in folk danC g. Traditionally, this 0 Later, a specific number of pulse beats change done by total teaer direction, where th can be given in equal phrase lengthi, such as children followed the teacher's step-by '8 and 8, accomplanied by itftio different verbal cues, and imitated the demonstrat , pulsebeat sounds, as the following: clap 8 Combirtgtiorg of Locomotor Movements movements one after the other, through and count 8; use two different notes on the inio Simple Dance Steps the step's sequence. In such a method t piano; use the head and thaiside of a drum: explicit directions for performing the st Still later, children canerryshortand/or Many children dan do the following three were transferred from the folk dance uneven phrase Istngths and make their own a. steps when they come to school; if not, let throUgh the teacher to the children. com6Thations: changing on different but them move with someone who cah, follow- A more desirable method is one wh' rh.ythmically related count sequences. ing, or side-by-side, or joining hands, until .,, involves the children in the process of In the following combinations; the run the rhythmic andkinesthetic feelibg of the .tifying the step's coraonents, and of joi has not been ysed soothat the pulse interval 'step has been communicsted. them together themselves to make the n for the different movements May be . step. -Told what the step consists of, the ideQtfeal.' When accompaniment is used, a %Name of Another Way of Using . work out the arrangement andtiming of sequence of quarter notes or of moderate Dance Step' This Step.Aftpr Mastery its parts, individually, without demonstr beats with equal intervals is sufficient The, Gallop (a walk Change the forward lead- tion or direction. Thus, conceptual monotony of sound can I3e relieved, . and a run in ing foot to the other one, understanding of what they are doing however: by breaking up the pulse beat unequal timing)without pause, and coin -,, they perform the step is a concomitant

series on the drum or other instrument with tinue chan)ing at intervals. the learning process. -- occasional patterns, ar playing only-accents Slide (aside- Slide with partner, both After the step-combination has been at times. ward gallop) hands joined discovered and can be.performed, refine skip (a walk Turn around in a small ment of the step and varieties of execut 41Ovilment, " may take place through further proble and .a hop irk circle, both ways Combinations (One Examplt)Description unequal timing) solving under the teacher's guidance. Walk and WWWWW W 'Alternate Examples using certain common dance Jump JJJJ feet with steps follow: (Balancaand execution a weight Soine.Cribinations of Basic Locomotor easier if steps taken through space are change; Movements and of Simple Dance Steps ' moderately short rather than long.) then with two feet,' Walk and Gallop 'Slide and Hop 10 no weight Walk and Skip Gallop and Skip change / Skip and-Jump Slide and Gallop Jump :and JJJJHHHH Two feet, Hop no weight Gallop and HopSlide and Skip change; then with one foot; no . wsight change

16 , Dance Step Directions for Discovering Step variety of nonlocomotor movements. There Step-hop Combine a walk on the ball of the foot and aare certain of these movements which in hop, in moderate timing. Accent the walk combination, make up the hundreds of slightly. Give each of the two movements other movemen ich we have names, equal timing. and therefore m called basic. They Schottische Combine two "bouncy" walks with a step- are bend, sire 1st, swing. These may hop putting the hop at the end of the be tried in a variety of ways, using as guides sequence. Accent the first walk slightly. the principles of presentation and the outtrne Give all four of the movements equal timing. of movement elements and factors in the First Guideline. . Polka forward Combine a gallop and a skip. Polka sideward Slide once, half turn with a hop moving in with half turn.st the same direction, and continue without' Combinations of Basic Nonlocomotor pausing, leaving the floor on each "change" Movements of "slide and change." Waltz Combine three walks in an Open-open-close Nonlocomotor movements that are floor pattern, to a slow triple meter, without identifiable through their names as specific turning. Make the first accented walk ways of moving are legion. Such action slightly longer than the others and either words as push, pull,rike, dodge, lift, straight forward or straight backward. freeze, kick, spin, , sway, reach, Mazurka Combine two walks with a hop, giving each collapse, rise, sink, sit, 'fall, turn, and similar of the three movements equal timing. verbs are all combinations of basic nonlocomotor movements. Teachers should make Children should also grow in the ability their own lists of such action words and to reproduce a dance step pr a short move- use them as catalysts for exploration and ment sequence solely from watching it improvisation. A short series of such words demonstrated. The demonstration can be (i.e. spin, reach, collapse, fall) suggested by repeated a few times, if necessary, and the teacher or by each child may be struc- children can help each other with the tured into "dance studies" with various intricacies of timing and weight transfer- kinds of timing, degrees of force, varieties ence. Such activity challenges children to of shape, and spatial arrangements. observe carefully the movement corn-' ponents of a sequential unit so that it is more easily memorized and recalled. 5. Making Dances

The organization of movement into Ba ic Nonlocornotor Movements dances of various complexities.

Nonlocomotor movements, to differen- A dance might be said to be a sequence tiate them from those which carry the body of movements which begin, proceed, and through space, may be said to be movementsfinish, can be repeated in similar fashion, performed in one's own personal space, over and follow a planned and interesting a more or less stationary base. Children, in arrangement. exploring their own movements in response Also, dance movement should have il to the problems suggested in previous expressive interest beyond that of its mere' Guidelines, will have become familiar with a physicality since it belongs in the category .0*

17 of art. This expressive quality is hard to Content material for dance-making is activities. Teachers who do not feel define and sometimes hard to recognize, as wide-rariging. Except for some draniatic ideasprepared in this area may confine the the line is often very thin between move- which are interpreted more meaningfully creative aspects of their teaching to th ment exploits and movement expressive- in strict pantomime, cr where words are a great variety of material inherent in th ness.It is perhaps sufficient to say here necessity, children's literature abounds with first tour Guidelines. Successful use o that a sequence of learned gymnastic characters and situations which have move- problem-solving method will help to movements, even thotigh they are per- ment potential.It is important to remember,develop in teachers the security to allo formed to music, do not make a dance. however, if the art medium is to be dance their children to explore, invent, imp There must be something present that . ' and not drama, that only the essence of Sooner or later the construction of da pertains to the spirit of the performer, the character or situation should be sequences, espeCially during the midd and the movement must communicate that attempted. A literal translation in movementyears, will happen almost spontaneou spirit. of the dramatic action or discourse will in such a creative environment. For very young children in the early usually result in pantomime, not dance. childhood years, it would not be amiss to Devising situations of Ili& own which can consider a dance as the linking together of be interpreted in dance form presents 6. Relating to the Curriculum two different invented or interpretive another avenue of creative activity. The movements where the transition from one examples given for the Second Guideline, The relating of dance movement to o to the next is logical and continuous. If of imagihary and literary sources, or curricular experiences, such as art, m the short sequence is such that the selected properties, music and sounds should offer science, social studies, language 8rts movements bear repetition and can be ideas for more extended dance compositions wherever and whenever appropriate. "performed" then it becomes a sort of beyond the acts of exploration and "dance study" for the young performer. improvisation. All facets of a comprehensive progr Two very simple examples might be (1) a Use of the elements and factors of dance for children present innumerab skip forward followed by'a jumping turn- movement given in the examples of the opportunities to supplement, enrich, a around in place and (2) a quick spinning First Guideline should suggest other fruit- integrate with other curricular areas. in place which slows down and then sinks ful sources for dance construction. A teacher who is Oriented to creative mo into the floor, only to rise and spin again. series of such.movements if they offer ment as a valuable and significant part Children may assume that they are making interesting variety and good sequential childhood education, will be aware of a dance when they have progressed irothe flow might well qualify as a dance, espec- potential in relating to most of the sch exploration and manipulation of their body ially,if the interest derives from the activities in which she is engaged. movement to the point where such simple texture and quality of the sequence of Resources for achieving such relati construction can be assigned to them and movements, and not merely from their ships are multiple. In the fields of mu where the choice of the sequential move- athleticism., tr° and language arts, some have been no ments is theirs. The arrangement of dance steps and earlier Guideline examples. The shape The real process of dance-making, how- dance figures to folk music has been a dance movement can be translated in ever, especially those dances involving more tradition of adult dance-making for many media in many ways, just as designs m than one pePson, more than two or three centuries. It can become a popular dance- art can form the basis for spatial patte parts, and expressing something more than making activity for children as well, after using locomotor and nonlocomotor the ability to make a Sequence of two or they have had some experience with folk ment. A science-related project on three movements, is a part of the dance dance steps and figures, and there is study of insects is described in one of curriculum.which belongs primarily to the recognition of the pulse beats, accents, teacher experiences, Chapter 3. For years of middle childhood and beyond. and phrasing of the folk music they will years social studies teachers have incl Here a child may work alone if that is his be using. in their study of an ethnic group the wish, but more often the preference is for The construction of dances by the learning of a folk dance representative two or more persons to work together to children should not be considered an the group. produce a darice _ absolute essential in a program of dance Such correlations, however, should

p A 18 only when children or teacher feel that the Such songs provide a total group movement8. Using Folk Dance inclusion of a movement experience would affinity which is not usually present when add depth and vitality to the involved area children are exploring or improvising. It is Traditional Folk Dances of learning.It should not be considered both'enjoyable and valuable for them to that:an essential part of a curricular project participate in such movement and rhythmic Folk dance literature is so extensive that mist be the translating of some aspect of it "togetherness," which provides a sort of teachers can make selections of dances from into movement. The alert classroom breakthrough for the shy or slow child into many alternatives to present to their 8- to teacher, close to the developing intellectual, movements he-may never have experienced. 12-year-olds. If what is desired is a pleasant emotional, and social interests of her pupils The yery old as well as newer songs are learning experience rather than a series of will see opportunities to use creative move- useful. The sources of "Round and Round drills, one of the safest of selections is that ment where it will be significant. the Village" are lost in history. "Sally Go of several simple, short dances based upon a A program of little dances once a year Round the Moon" is about a chimney folk dance step which the children can perfor an audience taught under pressure and -sweep, and "Looby Loo" about taking al form easily and well. Considering the walk presented in the school auditorium is not bath on Saturday night. On the other hand, to be such a step, it should be ascertained what is meant by this Guideline. Such there are numerous action songs in the pre- through problem-solving how skillfully the programs have their place, perhaps;brifonly school and kindergarten literature which class can use a walk in the various ways if the children are involved in the planning children love to do. Examples are the demanded by the selected folk dances. and preparation of the enterprise and when Sesame Street song If Your're Happy Can the children walk in time to the they',, themselves, wish to share their dance and You Know It, Clap Your Hands,"' music? Can they change from alprward to experiences with others. Dance movement Joyce Eldridge's ''This Is What I Can Do,"2 a backward wagk without hesitation or which is a part of other curricular experien- and the song by Woody Guthrie which extra steps? Can they walk in a circle with ces should evolve from those experiences helps children identify different parts of hands joined? Can they turn a partner as and be an integral part of the total learning the body, "Put Your Finger in the Air."3 well as themselves, with a walking step?; project. It should be emphasized that dance songs Can they do a "step-together" and a "step- for early chilidhood should not include cross" sideward? All of these ways of Using square and country dance song accompani- apwalking step (and others) may be incljded 7. Singing Movement Songs ment. This kind of dance experience belongs in a single folk dance. It is important, then, to the middle or later childhood years, that children master the step (or steps) h Action Songs and Singing Games leading into adult participation. When dernanded by the dance before learn inthe

r children are young, their spatial orientation dance figures which use the steps. i Young children love to imitate others to a partner or a group, upon which such Some dances, notably many of the horas from either visual or auditory cues. In the dances are constructed, is not highly, and kolos of the Middle East, consist Resources Section, there are references for developed. At a later time, when one can primarily of a sequence of steps, and aria- songs which can be used for such imitative readily find one's way among the ilricacies tions of steps, performed without pahners movement, where the words of the song of partner and group square dance figures, in a circle or an open circle. Such dances "tell you what to do." As the response is learning and performing become a relatively demand precise and often Challengi more or less a unison one, children may easy and enjoyable,experience. foot-work, but avoid the partner sel ction follow each other, the teacher, or some- that sometimes is distasteful to this level. times, within a limited choice, make their In contrast, simple song squares appro- own movement interpretation of the words priate for the upper middle years uaually are they sing. 1"Beginning Music," New Dimensions in Music performed throughout with a quick, light, Series (New York: American Book Co., 1970). walking step. They are anstructed, however, 2Gladys Andrews, Creative Rhythmic Movement of a series oftpartner and group figures which for Children (New York: Prentice-Hall, 1954). demand alertness, good space orientation, and 3Woody Guthrie, Songs Folkways Music accurate timing. Their pqpularity derives Publishers, New York, 1954. from the fact that they are Amerin dances

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

21 reproducing such movements on his own (lance groups, and the cost of tickets for 5. If children have the experience in sch body. touring dance companies' performances is of viewing dance studies made by others, The act of perforining a dance or dance often prohibitive for most children. as well as constructing their own, the study for persons who are not a part of the What then, is the answer for the teacher beginning of the critical observation of learning environment is always an exciting who wishes children to be exposed to good dance movement will have been made. experience for children and for some may be dance performance so that their aesthetic of this may grow a school performance. rather traumatic. Careful preparation shouldeducation in this art area is not neglected? impqrtant safeguard for such an enterpri be made so that neither teacher nor children Following are some suggestions: is to be sure that every child is involved. are nervous and apprehensive, and an atmos- is hoped that the school offers in its pr phere of calmness and good humor prevails. 1. Serving as one kind of interest-stimulator gram of extra-curricular activities, besid It goes without saying that all the children is a bulletin board or All case of dance such audience-centered dance, concerts should be involved in some way and not pictures, contributed by the children and music, children's plays, puppet theatre merely the most creative or skillful. other school personnel from magazines, performances, exhibits of art and other Under such circumstances, performing programs, flyers, announcements. Often types of collections, to quicken and su dances which one has made or learned for a the public library will rent folders of children's burgeoning artistic interests. sympathetic audience should be a salutary pictures. event during the middle childhobd years, 2. If the school has sufficient funds, films 4 achieving for some children a desirable can be rented and shown to more than one increase in self-confidence and self-esteem. class at a time. More and more excellent It also serves to make them more aware and concert dance films are being produced, appreciative of what is involved in the many of which can be enjoyed by children, production of much more elaborate dance particularly these in the middle years: performances. 3. A nearby'college or university or even a high school might be able to do a lecture- demonstration for children. Such lec- Implications and Examples of Audience- dems, preferably with some participation Centered Dance Activities by the children themselves, can be a delightful experience for everyone, if they are The benefits of sports participation for carefully prepared with children's needs and children are stimulated and enhanced by the interests in mind. They also have the virtue experience of seeing highly organized games of t)eing easier to understand for beginners ploVed by skillful players. Such experiences in dance than a finished performance. Many readily are available through television, dance departments are beginning to plan attendance at game performances, and such'programs for children, and to send watching games on the sandlots, parks, and the performers for expenses only to schools playgrounds of almost any town. which request their services. The viewing of good concert or theatre 4. There are a few professional dance dance by children presents many more companies, and some university groups problems. Except for very infrequent which give performances designed specific- special programs devoted to concert dance, ally for children. Such programs are usually available dance performances on television presented annually or given when the are limited to variety shows where the dance 'professional company is on tour. Some of is apt to be spectacular, sometimes sensa- these companies are beginning to be avail- tional, and presented for its entertainment able through funded projects such as value alone. "Artists in the Schools:' (See Resources Few localities can support professional section, (p.01-98) for further information.) .1.

22 Chapter 3 TeacherssUSe of the Guidelines A Few Experiences

The Task Force on Children's Dance fias located, encouraged, and actively directed creative experiences, projects, and purposes

in children's dance. The' content of this . chapter is representative of a variety of children's dance experiences in different schools from various geographical areas. The following dance experiences illustrate some aspects of the Guidelines as well as the teachers' use of the guidelines.

. 23 Responding Actively to the World' Around Us

Loretta Woolard, second grade teacher Hallie Beth Judd, third grade teacher DeNette Garber, fourth grade teach& Elizabeth Wall, principal Richmond Public Schools Richmond; Virginia

Project "Children's Dance" was initiated (Elizabeth Wall), I was encouraged to three years ago at Maury School, Richmond, investigate the possibilities of emphasizi Virginia by the principal, Elizabeth Wall and children's dance. Plans developed, and a second grade teacher Loretta Woolard, became u pilot cl for the Task Force Because of integration at the end of the first Children's Dance the AAHPER Dance year, the school situation changed and the Division. principal, staff, and children were transferred Our first experience under the guidon to Blackwell School. With the principal's of Gladys Andrews Fleming made me support, Hallie Beth Judd, who became the realize that one of the dimensions of lea teacher of this now third grade group, ing for which I had been groping was se extended the project's scope of activities. the world around us and responding toi When these children entered fourth grade, actively through creative rhythmic m DeNette Garber requested that they continuement. Given opportunities to explore the dance project and be assigned as a group movement and movement combination to her. Altriough these children were the children became better aware of the assigned to a different teacher each year, own potential, discovered spatial relati they were under the continuing leadership ships, and were able to handle themselv of the principal and Gladys Andrews in various di'mensions of space. They Fleming. A brief account in three parts by started responding rhythmically to wha each of the classroom teachers follows. they saw, felt, and heard.. As our work with this medium of Second Grade expression progressed, I found that the, children were following directions, As a new teacher at Maury School, listening, thinking, solving problems, an recognized the need for variety in the pro- inventing.I felt that they were feeling gram I was developing with the 35 children better about themselves. They were se in my second grade class. There were and respondingthey felt, accomplish dimensions in learning that seemed to be At one time, we studied the sea and missing. Potential opportunities existed for used it as a source for expression throu rich learning experiences for each child but words and dance. Concepts of waves, I did not know how to capture them. fish, gulls, and other aspects of sea life Seeking assistance from my principal reinforced. Usinc.movsment to explor

24 ideas about the sea helped to emphasize Another day the children found that I verbal aspects of learning, including they could awing their bodies in many ways vocabulary building, reading, poetry, and and invent a variety of swinging patterns./ story writing. They tried to identify many things that / One of the boys made a boat and swing. From this vocabulary and readink brought it to school for all'to see. As we chart the children wrote a song, "Things Are were discussing Glen's boat, we divided to Swinging All Over Town." They undeistood write a story and create a dance about it. the concept and readily made associatiOns because they could "feel" a swing. Soon One day Glen took us exploring in the song was turned into a dance, and the his boat'. We left on a beautiful Saturday children were able to sing their own accom- morning. We wanted to look for many paniment. Words to the song are: things. Wowwwl The first thing we ( caught was an octopus. We saw a gigantic whale. There was a gooey jellyfish floating on the water. We also saw a squid under the water. On the floor of Things ikre Swinging All Over Town the ocean we saw crabs, sand dollars, Things are swinging all over town and shells. Fiih and seahorses were Things are swinging all over town . swimming all around our boat. It began This is what we all can see to get dark. Glen took us home and Thinks are swinging all over town. said, "I will take you again some sunny day." 4 A skinny monkey swings on a tree. You Can swing on a swing with me! Photos:Robert Grey, Richmond, Va. An elephant can swing his trunk. A little boy can swing off his bunk. AO A kite can wing in the sky so high. Branches swing in the bright blue sky. A happy puppy swings his tail, A boy and girl can swing a pail. An opossum swings upside down. Things are swinging all over town!

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

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

27 111Ww-4111 1 vie& vasiet.

41,

28 .fir'

P4,74

Photos : Robert Grey, Richmond, Va.

"Fun in the Sun" began with children One day when they were getting ready for a L playing on the beach at sunrise. They performance they decided that they needed jumped with the '.ncoming waves and to tell their "Fun in' the Sun" story in, listened to the soucisis of the shells. They color. With help from the art and music went crabbing, watched a surfer ride thee teachers, a huge class mural was made and waves, were dazzled by c colors of the background music provided. As Donna reed sailboats. They tried thtir luck at casting the story, the mural and music became part lines for fish until the happy day began to of the dance. It was truly a year of watching end. They could hear their mothers calling children grow before my eyei.

them. The sun slowly sank in thd West as a . little crab chased them across the sand home to their supper. The story became,ascom- paniment as the class danced and DtdAna read. They wanted to share, the dance with others so they worked hard in perfecting parts that would coordinate readily, make transitions, and dance out their ideas as the story was read. They wanted to perform! 4 a

.14

4 t Fourth Grade difference. had experienced. Within this latter group there were, I was eager to see if the 15 children w As I began my third year of teaching I frequent arguments, and although fights had had no experierrce with creative mov was given an opportunity to work with Dr. were rare, they "appeared to be almost ment could be assimilated into the whole Fleming to enrich my program in the fourth imminent at times. These children'seemed' group. Having worked with the children f grade at Blackwell School by incorporating both.selfish and indifftrentto the point of seven months at this writing, I can seep a new dimensiencreative 'movement and not wishing to share c assroom-games and the creative movement and dance, activitie dance. Although the majority of children art materials. Poor sportsmanship was __have_greatlyaided in building goo" peer ;with whom I would be working had Partici-_Iently_disolayed;-the-atmospl*re-was relations among all the students. The pated in this program fdr rs'lea- close to being one of mistrust and suspicion. children helped each other develop skill in to my arrival, I was not at all fernilianwith The cohesive group, on the other hand, movement, awareness of space, rhythmica creative Movement or dance. To ivy. presented an entirely different viewpoint. response inquiry, and aesthetic qualities o delight,.however, I quickly became aware of These children, though scarcely angelic, sensing and responding. As the original the potential and importance that such a exhibited many fine qualities, among which group of children worked with their-class- program can have on a curriculum,I dis- were genuine affection and concern for one ;mates. they refined their own skills. covered that creative movement and dance another, honesty,fair play, and respect for The class' first major dance activity is not, as some individuals may imagine, an ' their classrnates'end teacher's rights. From involving the entire-group centered around extracurricular activity to be used on rainy_ these children emanated vivacity and a keen Ptudy of Indians which developed out of days in lieu of outdoor recreation. Instead enthusiasm for learning, both of which children's, keen desire to learn more,about it is a program based on body movemenN. resulted from the various experiences they the Indians sharing in the first Thanksgivi that can encompass all1areas of learning.Its had shared during the past two years with Authenticity rattier than the stereotype w end result is invariably the,sameleaming the Task Force Project and their two pre- stressed. Much research was done by sever is fun! vious classroom teachers. They had dis- members of the class. Besides their findi Because of city-wide decegregation covered that leirning, and thus life, can be the children wrote their own story and the public schools, only 18 of the original fun. . illustrated many facets of Indian life. In 35 children were still together. These f Afteroworking with the class for addition, they made tomehawks, headba children were joined by 15 others. During ap_proximate1Y one month, I was able to and drums. Gradually a dance emerged. the first week cifwhool, I gradually b discern which students had had previous of the boys read the story as another bpy aware of a dichotom e students. experience with.the movement program accompanied the dance with aAhuge tom- Although the class appearedto be composed because they seemed to have formed a clam torn. They had learned about spacial and of or% fairly cohesive group, there was one unity, filled with many exciting personalities.floor patterns and were able to notiitttre group that seemed to lack any unity or class School, to them, was not drudged, but dances,their way, in chart form. The ch feeling. These children seemed unable to had many.opportunities for creative became mostineariingful in helping the form good relations with their classmates. expression. Math can be interesting. History children resell and improve various aspects Eacb chilli tended to go his own way with- can be exciting. Heading can, be fun. All of their dance. Not only did the children out regard for others' rights. It was to this areas of the elementary school curriculum have fun, but perhaps more importantly, group that I turned my attention in an were more meaningful to these children they learned a great deal about history. effort to determine the reason for the vast because of the movement actiVities they At this time the music teacher, Eliia

30 Q

Sutherland, became a part of our, team, In developed. Gradually our story became a observing,aerlsing, responding, analyzing, the all program the song and dance. Again, several facets of the and appreciatn9. children danced while the choir sang elementary curriculum were utilizedoral Virtually aI of our movement activities "Silent-Night" and "I Hear Bells." and written language, art, and music. In evolve around some phase of the fourth This proved to be'an experience in addition, good peer relations were constantlygrade curriculum whether it be language working on auality of movement stressing being formed. artsreesthetics, human relations, science, feeling, tones,-musicat-stru During conference time the subject of history, math, or current events. These Charts were made to show various floor pollution arose, and the children currently experiences have made me realize that patterns of the dances. Children made are working on a pollution dancecomplete creative movement is not a frill or an extra simple, appropriate costumes with thehelp with protest posters. They have added con- added attraction. Instead it can be of the art teaciler.It was fun viewing an siderably to their repertoire and have dis- legitimately woven into the daily program important part of an all-schdol program, covered all kinds of dance patterns. The and can pervade all areas of the elementary dancing for classrnat s as well as for teachers children feel that the polka belongs to them curriculum. In short, creative dance move- and parents. The chiren felt good about because unexpectedly one day they ment makes learning fun. themselves. "discovered" it. They have shared their own An unusually colday in January promptedpolka with other groups and have particularly the children to begin a study of weather. enjoyed teaching it to grownups. Summary by Principal Charts were made, poems were written, and Other current plans include a dance (for pictures wore painted. Gradually a weather boys only) of "Three Wishes," using balloons In looking back over the three-year dance emerged, showing the children's as props, and another dance, entitled experience1vith creative dance, I see that feelings about cold, by such movements as - "Gazinta," based on the mathematical the boys and girls have emerged as self-v shivering, freezing, and sliding. This became operation of division. respecting, self-controlled young people. one of our favorite dances because we could We have enjoyed having people visit us The curriculum was enriched with dance, -communicate our feelings of coldness. this year and have grown in our ability to j poetry, music, and creative writing. The Later, when a br,id study of pulleys and talk about our work in dance. For this dance progam was the ma or reason for levers was conducted, the children began to particular group of children it is most incorporating the arts in a ew way into experiment with ways to balance their important to have opportunities to com- the curriculum of ouresehOol. Children bodies individually and inlroups. Stich municate verbally so that others under- seem to develop pride in themselves and in concepts as gravity, strength, energy, and stand. We have learned about performing school activities. This pride expressed force became understandable. for others and the hard work involved. itself in a kind of sensitivity that was One morning I asked the children, "What Because we have had opportunities to greatly needed in this inner city school. It makes you happy?" Hands waved; every- share our work.with many groups and did not seem to emerge for groups which body had an idea. The ideas ranged from organizations, including college did not have this kind of experience. "learning how to whistle," "sharing a secret,"students, we have learned about being a The teachers who worked in this pro- and "just horsing around," to "finding some- performer and being an audience. This gram felt that their curriculum watimriched- thing precious," "having a fashion Show," responsibility has been good for us. When by this new dimension. In the past the' and "leaping over a mud puddle." A book the college students perform for us we try teachers had not covered creative dance, was made, charts were printed, and a mural to make it*, vital learning experience of which was unknown to, most until the

31 Discovering Dance\

Gertrude Blanchard Recreation Supervisor Unified School District Richmond, California

Ralph Harris Sheila Kogan Kathleen Stubbs Teachers Richmond, California

demonstration began. Observing the The Richmond (California) Unified children express themselves through dan School District used dance and music seemed to give teachers a sense of joy whi h specialists from the Recreation and Park was communicated to other teachers and Department to aid in academic and soc children who observed the group in actio learning. It was the second day of class The teachers also seemed to feel that as six-year-old dancers. Everyone was si children use their bodies they become on the floor and the teacher was talking different and that no other previous program% had accomplished this. As the "Why did you come to dancing class teachers observed children developing a "Because I wanted to learn how to d sense of humor and as attitudes and values "Why do you want to learn how to changed, self-control developed. Their days dance?" were made lively and meaningful; they "Because I want to be a dancer sO looked forward to school. because it's funbecause I like to dan "What do you do when you are danc "I just jump aroundI skipI just ti "Are we dancing now, sitting here a talking to each other?" "No. You have to move to dance." "You move when you takeYour dog a walk, or help your mother with the dishes, or swing in a swing. Is that d "No. That's just walking or doing dishes or swinging." "Then how is moving in dancing di from other kinds of moving?" "H-m-m... Well ... Urn-m-m "That's a hard question, Isn't, it? W and I'll help you find the answer." (The teacher beckons to Michelle, gets up efrid comes to her.) "How did Michelle know that I wan here to come to me?" "You called her with your hand." "I didn't use any words, did I?" "No. Your hand told her what to "I was talking to her, wasn't I, but with words, just with my hand. Now

32 l

watch again." (The teacher pretends she is doll and hides her." way which they discover for theniselves. ,holding a baby and rocking her.) "Ho do you move when you are angry? The boys at Sheldon School became "You have a baby. You are rocking her Show/ine. No words, now, just talk with intrigued with solving dance problems to sleep." youdbodies." IThe class moves around with involving equipment or furniture. They "How do you know? I didn't say so." deWmined heavy steps, striking movements enjoyed exploring contractions, extension, "No, but you could see that you were or the arms, grim faces and stiff, jerky move-and relaxation on different levels with the holding a baby, and you moved like you "nerWr'' m1'."-Ae eiM-an angry group help of a handyUbe le# were rocking her to sleep." of boys and girls. Let's sit down before we,. Imagine a class of boys and girls moving "So, again, I was talking to you without get into a fight. Do you remember that whenas rigidly as uncooked spaghetti. They walk using words, wasn't I? Watch once mole." we first started talking I asked you, 'What or jump or twist themselves into the cooking (The teacher gets up and moves in a sad, do you do when you are dancing?' and 'How pot. The boiling water starts the softening crushed way, back and forth in front of the is moving in daqcing different from other processfirst the feet and legs, then the class.) "Again I am talking without words. kinds of movine?' Do you think you could torso, arms, shoulders, and head. Soon limp What am>1 saying?" give me an answer now?" spaghetti bodies are 'sprawled all over the. "You are unhappylostsad." "It's talking. Tellin ethi with yourfloor. The specialist then takes'each child "How do you know? I didn't tell you body. Not using words, just ng your bodyby the feet and, one at a time, pulls them with words," to talk." around the room in varied patterns and "No, but you moved like you were sad." tempos, ending with all Of the children "Could you talk to metheutwords, heaped in one spot., Gently and quietly, liust moving so that I will now what you are Spaghetti and Tables legs are placed over (legs, or an arm over a *,saying? Let's try. SutrIg.se you are just out chest, or a torso over legs so that each can of school, and you k ow that when you get With some children, the fear of being learn to take the touch and weight of home you will find a new puppy waiting for touched activates many kinds of defenses. another without becoming tense. This you. How would you feel?" Through dance, they work toward trust brings the children down to earth, literally "Happygladyummy." and acceptance. Two boys discover that and figuratively, and they are ready to "Then think about being happy and how togetherness is manditory if eachas one return to work in the classroom. - you move when you're happy, and talk to leg in an onion sack and both must move me about being happy without using any across the floor.It provides a graphic words." (The class does its own interpreta- understanding of the partner concept.. tion of happy movements. Their movementsWhen the cooperative idea is working, the are quick, light, and upward.) "That was sacks are abandoned.and the children explore quite good. I'm sure that anyone who was other kinds of touchigg and moving: inside matching would know that-you are-very hands joined, both hands joined, elbows happy boys and girls. Are you ever angry hooked, backs together, a shoulder and a or mad at someone?" knee touching. Sometimes one partner "Oh, yes!" must move forward, one backward; one on "What makes you angry?" a high level and one on a low level; one "When my brother takes my favorite jumping and the other running; or any other A Concept of Time Market Day Song arid Danc.' and Ruth Boyle Learning Chess Through Dance Instructional Assistant Cedar Grove School Beauford Thompson Kensington, Georgia Ruth Wilson Elementary Teachers Cheyenne, Wyoming

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

34 Impressions

40 Katie Blanche Friedrichs Southeastern Louisiana University Hammond, Louisiana

A Lively Chess Game for several children to accept their fate Since I am a teacher and a mother of four without having a voice in the planning. children, my children have been underfoot At school another interesting activity Some were angry at being sacrificed, while in my dance studio as long as they have been occurred which involved movement and others understood the necessity of such a around. It is amazing what the small ones dance in the form of a live chess game. The move on the part of the scholars. Frustra have absorbed about movement and activity grew out of a correlation between tion developed because some could see the creativity through- the years.It is almost science and social studies classes which had errors involved in certain decisions. All like osmosis; they watch the classes and been part of-the-yeaes-plan-of-astivitiesgainffla better understanding of how rehearsals and can immediately feedback To initiate the project, the children listed disagreement and dissatisfaction of oppressedto me what they have learned by damil g their ideas about the individuals portrayed peoples could lead to revolt and violence. for the family during the evening hours at by the chess pieceskings, queens, knights, After venting their frustrations, the children home. Their scope of movement is amazing; and bishops. Comparisons between life- offered ideas as to how they as individuals their keen sense of design is most critical styles of nobility and peasants were noted. could have improved the game. They and they can critique a rehcarsal fin Living conditions in a mahor or castle were requested that another game be played and private, of course) as well as some of our contrasted with modern living. The interest that they dance out the game. students. of a number of students stimulated more In the second game, decisions by the Our 10year-old, after watching a research into the origin of chess, which scholars wera more democratic and made student composition on drugs, asked the added authenticity to particular aspects of less hastily. The children dancing as the next morning as she watched me open a

the project. - chess pieces moved with greater freedom bottle, "Mother, what are you taking?"I Time was devoted to the exploration and and enthusiasm. replied, "Only a vitamin pill. Would you development of movements by every child. As a result of the project, the children like to take one?" "No ma'am," answered Each child expressed himself and portrayed unanimously agreed that they had a better Marie, "I'll never take another pill as long. `several chess pieces through his creative understanding of people and people as Ilive after seeing that ballet of movements. Each individual was free to situations as well as chess. This became "MickeyThe One Way Ticketl" choose the part he or she preferred, with-- their dance of chess. The instructors were one exception: the two finalists of the chess better able to gain more appreciation of the tournament were encouraged to select the child's ability to express himself in methods role of a chess piece instead-of the part of a other than oral or written communication, scholar. Also, as an ,irt project, each child and to gain more insights into the life of was responsible for an appropriate costume each child. for his role. In addition to the chess' 4 pieces, two teams of "scholars" were formed to plan strategy. The scholars dictated the direction and destination of the movements, but the method of movement was designed by the child playing the role of a chess piece, As the game progressed, some frustration and anger began to emerge. It was difficult

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

One summer I worked as program direc The children I teach particularly enjoyed I nsects: insects for for an alloys camp. The camp director our learning experiences in the area of science.around was certain I'd be wasting everyone's time In the beginning warm days of school, hey You'll find/the when I listed folk dancing for the evening were keenly interested in insects. Allits everywhere in t program.I was young enough to think I had of insects were bottled and broug to my Creepy insectsl an answer to the stigma placed on dance by classroom. Books were gathered, and as Crawling insec most 10- to 14-year old boys. quickly as one child finished with a book, Some are migh I opened with a brief discussion about another would pick it up. We discovered small insects! the rugged peasants and their evening many-interesting4hings-about -insectsTlik campfires, similar to ours, when feats of watching crickets rubbing their wings strength and skill were performed. One of together to make their chirping song. Bees, bees, sma the most virile groups were the Russian How do you bring a unit so full of small bees horsemen who wrestled, dueled, and enthusiasm to a close? We wrote our Making honey challenged one another at endurance feats. song about bees, crickets, ants, caterpi the trees. The exhausting run done by groups of flies, and mosquitos and then created three men often found the men too tired dance about-them. Crickets, crick to continue the evening festivities. hear them sing I challenged the boys to see if there were In the summer any trios whO could last as long as one Our Insects Dance the spring. 78 rpm record. With Out identifying it as : a dance, the three patterns of Troika were Before we realized what had happened, Ants are crawll introduced, practiced quickly, and the the room was alive with 30 "insects" of never still, contest was on.Three groups finished, many types and sizes. They crawled, Watch them w and we moved into several other masculine leaped, humped, jumped, wiggled, and made in their hill. circle dances. The program was a success. insect sounds. One group of children danced Since then, I have often used the Troika the complete metamorphosis of caterpillar Caterpillar, d idea as an introduction to dance for the to butterfly. Children of another group cry, don't cry "touchy" ages. Perhaps it is not the Troika rubbed'their "wings" together to sing. Spin your itself, but the initial introduction technique Becomir;; insects of all kinds, the children be a butterfly. which sets boys off on the right foot to illustrated, in the best test possible, their dance. Call it a dance after the fun and knowledge of the insect world. Then they excitement have been experienced. danced to their poem: r

:. The Damp and Aimless Doze

Sal E. Abitanta - Physical Education Consultant New Jersey Department of Education Trenton, New Jersey

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

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

Shirley Ririe University of Utan Salt Lake City, Utah

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

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

9 -5550:e %re % 1:011pi, 44.0:S.:fr6.41 ite , ..,.. ... v.. %a, :. et) .* .60 V,.ev.j 5 55 05 ea .

5 Chapter 4 Dance in the School

The Very Young.

Tommye G. Yates Consultant Physical Education and Health La Fayette,-Georgia

Movement and Very Young Children and focus become so in-depth and wide- purposeful movements. Through this devel- Ages Three through Five spread. opmental process of exploration, children Piaget finds that the young child attributesbegin to acquire the skills necessary for Current Developments, Unique Responsi- life to activity and this activity facilitates dance. bilities, Future Opportunities his thinking ability and learning. The child Just such an experience happened to then begins to be aware that movement is Shirley Willingham, an aide in the Summer- Suddenly we find ourselves in the power- the essence of things around him, and he ville Elementary School, Summerville, ful thrust of a new focus in educationthat discovers himself through movement. Georgia. This experience started when the _ctiveri_voting_clitikken, aged three to five; A child, like an animal, is born with a faculty decided to initiate a program in there are 10.9 million children of this age in natural drive for movement and he gradu- movement. The stage, storerooms, and the United States. According to the esti- ally expands his own growth through the lunchroomwrners were already being used mates of the U.S. Office of Education, cultivation and refinement of these inner as tutoring stations and small group instruc- statistics show that about 40 percent of impulses until they become so internalized tion units, so it was decided to use the lobby, our three- to five-year-olds are attending that he also begins to think as he moves. which was large and kept unencumbered for school this year, compared with about 25 The child then is developing not only throughrainy days when the several hundred percent previously. Enrollment below the the psychomotor domain, but also through children who waited for late buses needed first grade in 1970 increased by 155,000 the affective and cognitive domain. Let us a place to stay. So much for a place! What over that in 1969 to 4.1 million, or 37.5 look more closely at what we are saying about someone to train for the job? The percent of this nation's three- to five-year- that a young child's movements become natural person was Mrs. Willingham, who olds. progressively more refined and internalized worked well with children and was vitally Three pertinent questions that we need as he grows and develops. interested in them, as well as being an early to ask ourselves are: It is in the process of exploring the world convert to movement education. This was around him that the child discovers himself a wise choice, as she was enthusiastic about 1. What do we know about young and begins to develop his self-concept. The her work and had four creative children of children and movement during these movements of a normal child are natural her own. formative and developmental years? and involve his whole organismthe inner In terms of equipment, a local tire 2. What is happening in terms of move- self as well as the physical self. company was glad to send as many used ment in the life styles of and curricu Through movement, children express tires as we could use. The secretary brought lums for young children:-inteynationally their desires, feelings, and frustrations. her sewing machine, and with the help of as well as nationally? Thus, much of a young child's movement the principal, made 24 bean-bags. Both the. 3. What should, could, and can we do is spontaneous and imaginative. Three- to secretary andthe principal made yarn balls today, tomorrow, and in the extended five-year-olds move spontaneously in play from yam from the local rug mill. a. future to provide an environment for situations through exploration of their children to learn through movement? eqvironment. The teacher needs to guide the children to discover ways in which they Educators have advocated movement as manse their bodies in space and in relation an integral part of the child's world, but not to objects. A child then begins to develop until the last 5 to 10 years has this interest his play-like activities into more skillful and

41 It

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

1 42 Through Little Children's Eyes

Marilyn Ranson Principal Child Development Center Walker County La Fayette, Georgia

The Walker County. Child Development Johnny play jokes in it. Me and Johnny ferences (paws-feet, claws-nails, whiskers - Center is an old, rambling, two-story stucco pretend we.getin a cannonball. A cannon- beard)-all motivation for children's dance. house with large, oak trees in the front yard. ball is a rolling thing." Our philosophy can be summed up with The center, which once housed the indigent Johnny, "Thank you, I get in it.I this statement: "I saw tomorrow look at me citizens of Walker County, Georgia, is now crawl through it and, play monster with through little children's eyes, and thought filled with the laughter and movement of 100Norman'," how carefully wet ti plan, if only-yve were four- and five-year-olds enrolled in the full- Frankie, "Thank you for my 'towel' wise." year Head Start program. (tile).I jumped off it." It is interesting to note in America, as we Last fall, before school began, it was our isn't it great to capture those teachable scan the country, that we find many people privilege to-wife-0am in a movement edo----moments and oevelop a writing-leworr?working-with three-to-five-year-eld-ehildren cation workshop directed by Tommye Since our program is highly language- in their own nooks, branies, and crevices, Yates. Realizing fully the importance of alented, we don't just think or say. it, we oblivious of others around-surging along, movement in a child's life, our,staff devel- write it for the whole world to see! doing "their thing" by providing the envi- ped a curriculum which integrated moye- Our four-year-olds did an exciting study ronmertts and opportunities for movement m nt education intovarious,areas-language, of animals. The teacher initiated the study and dance experiences. m ic, art, math, science, and dance. Becausewith a story, "How the Camel Got Its we believe that parents are the most vital Hump," and things were wild from then on. fac or in the success of our program, we They cutout large cardboard animals and inv lved them in a movement education racetharound them. They selected their workshop and gave thenipeas about how favorite animal and illustrated stories about to h 1p their children. !Vents developed it. Music, movement, and dance were the the C nter's playground and various com- core of this study. Children learned to panieSand county agencies donated most of gallop, skip, jump, hop, and leap. Ques- the eqUipment. Large tiles for the plar- tions posed by the children were: "Does a ground were furnished by, the county turtle really crawl or creep?" "Why doesn't a snake wear out his skin from crawling? commissioner. ,- ' Whit really goes on in a child's mind as creeping? or wiggling?" "How-can a kanga- he crawls in, out, and on top of the tiles? roo jump or leap without knocking her The teacher found some answers when the baby out?" five-yearolds dictated a thankyou letter to The teacher devised a unique method of the ccimmissioner. evaluation for this study( Carge, colorful rM Chuck said, "Thank you for that tile. cutouts of the animals were placed on the We can play Billy Goats Gruff with trolls wall. As each child mastered jumping, his under the bridge." name was placed on the rabbit; galloping, Sharon said, "Thank you for that thing on the hOrse,.etc. Some of the activities out yonder.I crawl through it and play were: classification of animals (zoo, pet, horse on it and play like I'm a dog in.it." farm); Okntomiming and dancing animal Robert, "l'm having fun in it. Me and stories, guessing games of likeness and dif-

°43 Kindergarten in Suburbia o I Jo Anne Fulton Teacher Arlington, Virginia

Children have universal needs, one of attitudes and influences tha were reflected "I-low can you get from this wall to that which is movement. Many research studies, in the children's statements "I can't get my wall without using your feet?" requires th according to Mary Lou Stewart, indicate dress dirty." "Vly mommy does not want each child solve the problem at his own that motor development in the early ine to sit on the floor." "If I run, I might level lnd in his own way. Different selec- months is enhanced-by "increasing sensory fall dbvvn." tions are made possible with this question: stimulation, security, freedom of movement, Another prevalent difficulty for the "What things in the room might you dance and flexibility of rules." And, finally, man children in the beginning of the school term (The Jight switch, clock, water faucet, uses moverhent t& organize his world. was fear of criticism. They were faced with blocks, crayon, and many more. My Movement exploration is a way of such questions as: "Am I responding observations showed that the children mad achieving a sort of spontaneity in the class- correctly? What is permitted, acceptable, or obvious gains in problem solving, which in room whether,it be creative a la Torrance or desired?" Children responded differently itself is an important justification for emergenitive a la Piaget.It provides for over the course of time (ffom September to including movement exploration in the individual differences in the external December) to the follow& instruction: curriculum. environment which, in turn, helps a child "Show me how you can make a bridge with Young children enjoy feeling the move- in his inner environment to feel more secure your body and leave room for cars to pais ment.Questions such as, ''How did your .and Competent in dealing with the forces , underneath." At first, the responses were arms help ycv move?" and "What happen (urban; suburban, or rural) around him. If mostly a two handstwo feetface down to your sense of balande When you turned proLides for"healpy peer relationships and structuie. However, the, responses later quickly?" help them verbalize their under- experiences. It reduces such problems as branched out to cne handtwo feet, low standings.. discipline, for the hyperactive child may bridges, wide bridges, backbend types of Although it is importint to find ways t expend his energy and it relieves the pressuresbridges, and knee and elbow bridges. stimulate a child's imagination, the activiti of competition, as satisfaction is a personal At this age (five and six years), children must relate to the child's general,familiari goalAlso, it is an appealing basis on which use forward-standing, functional movements with the world. Hiding in the woods, wad a child can build an understanding o4 -the like adults and have already limited other in the creek, going up hills, sleigh riding, a world around him. possibilities. Thus, proceeding from the riding bicycles were some of the children's The educatjqnal diet that children usual to the unusual, from the concrete to experiences in the environment in Arlingt . receive is ultimately the responsibility of the abstract, created an awareness of the The contrast of a sunflower seed and corn the teacher. Although it is difficult to vast range of movements. "Walk around kernel sprouting was the subject of two

)-ra . assess gains in self-expretsion and creativity, anywhere in the room without touching girls' movement activity. A group of boys 1 feel that physical movementaotivities anyone. What are some other ways of walk- demonstrated the problem of balancing op which can be used in a variety of ways to ing? Show me what your head can do while logs. Certain imagery suggestions such as meet different. goals and objectives should you are walking. How can we vary what we subways or tall apartment buildings would be an important part Of the curriculum for are doing? How can we do this differently? be inappropriate for use in this particular five- and six-year-olds. While a teacher in Let's try-this with other locomotor move- suburban environment. Arlington, ViNinia, I utilized this source of ments." The hands, as Barbara Mettler In general, movement and dance activit natural integrative activity to enrich my suggests, can open, close, stretch, scratch, should be compatible with the thoughts a program. point, rub, pick; clasp, slap, beckon, needs of children. After noticing that one A basic characteristicofany activity is squeeze, snatch, pinch, pat. Ns one child the boys in my class haddifficulty distin- movement. Movementls evident in block said, "My feet can do things I can't think guishing between the words "push". and construction, :and play, painting, and of." - "pull" when directed to open the classroo practically anything,we do ut, movement, Movement exploration can be challenging door or get an object from a container, I as Iam speaking of it, may-bi thought of as when questions are raised since this movement activities to help himundersta an art activity, an entity in itself. technique stimulates thought and action. the two concepts. "Push your partner wi Each year, the chief problernS f encoun-4 The question, "Can you keep your hands anpaFt of your body except with your tered were not with planning or arranging low in-hild walking at a high level?" simply hands. Pull your partner to the other side the room for needed space, bOt with parentalcalls for a child to follow directions. But, of the room." Dance in two Schools, K-3 and 4-6

Dorothy S. Mozen Teacher Berkeley, California

As the year progressed, children began to Spending half my time at a K-3 school andpart of the program the children made work well together. "Move away from your half at a 4.6 school gives me the opportunity creative use of some folk dances by re-. partner. Move at a high level if your partner to see the development and progression of arranging the basic patterns. is at a low level. Do any movement, then let movement and dance in the total elementary In relating to the Negro history section your partner add one. Try them together." program. of our elementary social studies curriculum, Children began to arrange their movements In the lower grades the teacher seems to the club danced to the poem "Runagate consciously, in order to repeat them as well be more involved with process, while in Runagate" by Robert Hayden. This was as to share and try them with each other. grades 4.6 one finds the teacher also moti- a new experience for most of the youngsters Some children created such fantastic move- vated toward performance. Perhaps the because they were dancing to words instead ment arrangements as "the leopard whose reason is that the upper school has several of-music. spots floated away," "the seed trapped insideother performing groups, such as an Before the program began four years the watermelon," and "the nutty noodle orchestra, a band; and a jazz workshop. ago I had only one hour a week to develop recipe." As a dance specialist I am movement dance with specially interested students. The functions and values of movement oriented, and have a backlog of ideas. The With this new apprOach, I now have six are complex, but there are variables such as challenge lies in finding classroom activities hours for this activity. The rest of my nutrition, body chemistry, and experiences, which can be approached through.move- schedule is devoted to teaching about 700 that do affect movement. These variables ment, .thereby integrating movement and children in grades 4, 5, and. 6. In these may be found in an urban, suburban, or dance with the child's other learning exper- Wessell try to develop a broad concept of rural environment. In any case, while there iences.It doesn't always workbut we try. movement exploration, which calls on each seems to be a huge void in our knowledge Because of space scheduling in the K-3 child to integrate individually his intellectual of all aspects of movement, children's school we are not always free to use our and motor processes and to interpret these enthusiasm to "move" suggests an inborn large auditorium so many ideas have been experiences with value judgment as well as characteristic that provides for active worked out in the classroom. emotional awareness. Students are aware creativity and learning. that with me they explore ideas through Photo: Simon Bailey movement. This allows me to tie in to any Dance Discovery Club and every subject that comes to mind. One irena we developed was related to Opportunity to develop dance work at arithmetic problems. On a large chalkboard Columbus School in Berkeley, California I set up a problem; the students answered it came through g special "discovery" program by responding with their bodies. As they which extended throughout the school Eachcaught on with enthusiasm, the problems child could select one of about 30 activities progressed to two and three digit !answers. 'Offer*, in a club-like fashion for one hour The students had to cooperate on their each week during school time. Ours was a answers and work not only with the spatial dance discovery club which culminated in perception of their bodies but with a visual, performances.at two school assemblies and sense of how an audience would view their a PTA meeting. number from a particular direction. A var;ty of ideas developed in the dance Further choreographic concepts devel- discovery dub during the year. We adapted oped. Several children would create a single digit and a choreographer was appointed to BibP09mPtiV some of out physical fitness exercises to arrange answers that moved about the floor Mettler, Barbara. Materials of Dance As a soul music, which gave the effect of dance Creative Art Activity. Arizona: Mettler Studios, technique. Counterpoint was created space, keeping their shape. Those creating 1960. through use of the round form. The childrena group answer to a problem would then be Stewart, Mary Lou. A child's first steps: Some taped their own voices singing "Three Blind asked to move apart and form an individual speculations, Childhood Education, March 1971, Mice" and from this they created a unison answer to another problem in order to en- 290-295. dance as wellas a three-part form. For sure a fresh approach as the same problems

45 were never repeated and new ideas kept Developing coordination for writing Another class had just seen a.science film emerging. numbers on butterflies and was also ready to develo Recently ,we developed a unit on black --- The children stand in the classroom with the dance. poetry, scanning several books of poems by a pretend chalk board extending from floor One class had a lovely large poster poe black authors. The children then selected to ceiling in front of each of them. They "The Caterpillar" by Christina Rosetti. W poems they especially liked and got togetherwrite numbers on the "board" to music. Ver-first learned the poem and then used it as in smog groups to create movement ideas bal cues may help at first as with 1"start at the stimulus for the butterfly dance (dances) to go with their poems. the top and go straight down." They repeat activities. To develop further those dances for a each spatial number several times, taking In still another class, a girl had already program, I taped some piano music by John the imaginary chalk out of their hands and brought in some baby caterpillars in a far. Coleman and some jazz piano music that attaching it to the top of their heads, knees, These servedas the start of the lesson. the students brought in.I taped this back- elbows, etc. Variations and development: Another Class approached the dance fro ground music on one channel of my tape The children become numbers with their a lesson in one of the reading books'. recorder, and on the second channel I bodies, alone and in pairs. They even I never dreamed I'd get so much mile separately recorded a student reciting his become equations. They write large num- out of that one Hopi Butterfly Chants M groups poem. This enabled students to bers on paper to music and then dance out and more I realize the key to a good move polish their dances fora definite accompani- what they have written. One classroom ment and dance program in the elementa ment which each had helped to create. The teacher completed this experience by school is lots of communication and shari result was a charming dance suite. . reading the book Number Men to her class. of ideas between the classroom teacher an the specialist.It is psychologically suppor see me hearing fragile Pipe cleaners and dance tive to the.adults as well as feeding the leap One class had a general discussion on children a double dose of enthusiasm. and lead a black boy observable body partsarms, legs, trunk, reckless to succeed head, etc. and different positions the body Syllabicating and ideas for dance to wrap my pride can assume Each child took three to four Another lesson developed from syllabi around iomorrow and to go pipe cleaners, createcla human figure,.and ing. Using a drum, each child beats out th there then created that position with his own separate syllables of his name, creating his without fearing body. Later the children "danced" their own rhythm. A variety of other words ar

pipe cleaner ideas. In lane ir -tance, two . then used. The class responds to the June Jordan children combined their figures to repre- separate syllables by foot stomping and th sent a partner they had seen at a total body movement. We then branch recent performance.of the Dance Theatre to sentences. Sometimesia class will start Relating Dance to the Curriculum of Harlem. In another class, the children movjng to the syllables in the headlines of emphasized balance in their pipe cleantrs, the morning newspaper. Most children love movement and dance, and after working with their own bodies, SD it seems a natural activity to build into they collected the pipe cleaner figures and *Dancing to our school orchestra the elementary school curriculum. As the glued them onflat cardboard to create a Last spring the orchestra at the 4-6 *di child responds to situations which demand They ti this project ir1/4with a played a polka at their concert, and the that he move in certain ways frith his own health unit as wel as making their collages rhythm was so good that I taped it. This timing and spacial preferences, and as he come alive in dance;\. year they are going to play it again and a communicates creative ideas the cognitive group of children will dance to it. Using process of learning takes place, and the Life cycle of the buttely tape for practice, the class divided into child is totally involved. Early in the fall oneone c as was studying partner's, and each couple made up patte Indians. We found a Hopi Butterfly Chant to the polka tape. We then took the on a record and used it to accompany a patterns we liked best and arranged them creative dance on the life cycle of the sequence to fit the music. butterfly.

46 The Urban School,

Lillian Buchner I- Elementary Teacher betroit, Michigan

Sharing dance experiences

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

- 47 had at least four experiences in performing schools, churches, community cent#and creative dances which he has helped to occasionally to a convention to show their develop: creative dances. Although many aspects of family life, Fall: Halloween or ghostly thanes social structures, and community dwellings (grades 3 and 4), themes of have changed, the needs of children have thankfulness (grade 5) not changed. The dance program has moved Winter: Christmas and winter themes with the times, but is still based on the (grades 1, 2, and 6) same purposes developed many years ago. Spring: Themes of joy, rebirth, and fun For the simple reason pat the pressures of (dance club and others). . the world have increased, children may apprar more sophisticated, verbal, and Carefully selected professional duke rebellious. Nevertheless, all of them must performances are attended by several classes. be allowed to experience the physical and The entire school is the audience for at least emotional joys of childhood while they are one professional dance concert each year. still children. Otherwise they can be Dance clubs are developed for the extremely expected unconsciously to seek their lost enthusiastic dancers, and for individuals whochildhood for the duration of their lives. need just a little more support to help them accept their self-images. One year a Chinese restauranteur served a Chinese dinner to all the dance clubs at a reduced rate. That year the clubs were working on developing oriental dances. Another time a community worker donated a packet of tickets so-that 100 children were able to attend a religiotis dance concert given by a university group. In the past several years, interested teachers in our school have purchased tickets to attend the Wayne State Univer- sity's Dance Program for Young Folk. Now that dance has become an integral part of our school, the children buy their own tickets for this program. Recently, the PTA has taken an active part in helping to support the school's interest in dance. Each year, a gi-oup of our children travel to other Chapter 5 Boys Like Dance

Experiences With Boys in Dance

Shirley Ririe University of Utah Salt Lake City, Utah

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

49 V

we both discovered that his world of com- was a well-known research scientist, a munication was through the arts. His class- circumstance Eric used to further alien mates responded to the same perceptions. himself from his peers. The teachers to He was smiling more and beginning To me he couldn't find his social niche and relate to both teachers and peers in a new that he was a problem in school. In our way. first session I was talking about,fast and George was a third grader. For awhile he slow, and he challenged me by saying, was the only third grade boy who attended "What do you mean? The terms are rel ,Examples of Boys in Dance Mrs. Curran's after-school dance club. But His interest was impossible to captu he was very faithful and never missed a he was constantly interrupting the data In getting acquainted with a fifth grade time. His teacher commented that she did Then one day I used Israeli folk music class before I was to teach them, I happened not know what it was that kept him coming a class. He seemed to be interested and in an art lesson on "observation." Most without any of 'Cis friends there. Dance after class asked if he could bring some of the'children were sculpting driftwood in seemed to fulfill a need for George that was similar records, as he had many at ho clay:, but one boy was doing a headhis own stronger than the social pressures. He We did, a whole unit using Eric's recor head: I was fascinated to see him make his became very caught up in a lemOn ape, day. responded with great feeling to the m observations through the sense of touch. Thetson was about to stop when George One Ay he and a 15-year-old girl impr He Would feel the curve of his ear, then beca very wild with a great deal of together a particularly lovely duet. Tit woriCn the clay ear, taking time to explore leaping and rolling. As the children began. class was spellbound. The girl, Laura; each ridge inside. Later on, he went to a leaving the room after th, class, George one of the most popular girls in school. marble bust in the room and explored 02 called out to the teacher: "Watch" and knew shelhad accomplished something eyes in same way, with his fingers. He with that he did a most incredible movethentmeaning in working with Eric. They la was very absorbed, and in fact, was working phrase. It took him to the door, then back performed this duet on stage. Eric's . on thii same project for several days, long diagonally across the room, a sudden parents kept in touch, and they later to after the others had abandoned the assign- reverse, some intricate foot patterns, me that this incident had been the turn ment. As I talked to the teacher about this swerves in the body, leaps and air turns, point for Eric. That summer he gained boy I found that he was very shy and had and then he fell into an attenuated shape self respect. His aggressive behavior greatdifficulty relating to his classmates. and was deathly still. The teacher went and when school started he had than He was not doing well in school, yet she over to comment on how nicely he had into a person the other children wan felt he had superior intelligence. When this done, but he was still "in" his shape, which know. When he was older he expressed class came into dance I noticed this boy he held for about 30 seconds before he felt his gratefulness for that dance experien *doing some very free,isolation movements. ready to finish. This was a glorious moment I had the chance to bring him in front of the of true dance although only two or three class to demonstrate several times. think saw it. But George knew what he had it is important to note here that the format done, and that is what counted, of the class that day made it particularly easy Mark was the fourth grade bully, he was for some to demonstrate.) The class really large and older than the other children enjoyed his movements and there were many because he had been held back in school. verbal comments. A sense Sof accomplish- He came to class defiant and refusing to ment in his bearing was pciticeable after participate. At the end of the third lesson that. We began talking In the halls and the he stopped by-the teacher to say, "Gee, next time he came to dance he was con- this is the most fun I've had in all of school." tributing ideas as fast as I could field them. Eric was 13, large for his age, and with no His classroom teacher was thrilled with friends because, even though he had a quick what she saw in this boy. In those few days mind, he was labeled a show-off. His father Men Can Teach Dance

Sal E. Abitanta ..Elementary Physical Education Consultant New_Jersey State Department of Education Trenton, New Jersey

Dance that can emerge from classroom year in and year out. But can we just experiences is plentiful, as illustrated by the physical education by developing for "Doze" (see page 37) and the other exam- athletics several highly skilled childre ples given in this book. Classroom happeningseach class of 25 to 30?.Can we conti can be correlated with meaningful dance to convince administrators of the ne experiences in lessons on such subjects as more time for physical education whe transportation, migration of birds, com- are not reaching all children? munity helpers, hats, World Series, weather We need to demonstrate what a t and seasons, Olympics, folklore, states and meaningful physical education progra countiesindeed, with any unit of study. should be and the important part den Dance as a correlative activity is one contributes to the overall program. thing, but to make dance a vital part of teachers can no longer say, "Boys h physical education and the total curriculum dance. "Do:they really hate dance?-W is another. We need the courage to begin might restate the question, "Who hat . taking a hard look at the things held sacred dance?" As physical educators, we n in physical education programs. We will to do some in-depth soul searching. agree that working with children in physical one reason we have avoided dance is education can be a relatively easy taskif we have never been exposed to the we perform in the traditional American masculine, virile kinds of dance. We sports-oriented program, beginning as embued with the nineteenth century early as possible to ready another.generation approach and /refuse to put dance in for sports, Ad repeating the same program proper perspective for boys.

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

Bruce King Writer and Lecturer on Dance Education New York University

If dance education is to reach a greater younger children in the kindergarten and "dance." Many children came to me to number of American children than it does first grades were, predictably, the most where they could study more dance. I today, a way must be found to include boys.open and eager. Except for this fact, could refer girls to several good teache Dance is masculine when it is done by neither age nor sex had as much to do with the area, but there was no place to send .males who are not inhibited by preconcep- the success of the classes as the attitude boys. Therefore, in 1960 I.began a spe tions of what dance "should be" or what and ability of the classroom teacher. class of boys dance after the regular men "should do." When parents and A supportive attitude was recognized by Saturday program was over. From fa t educators are convinced of this, dance will the childrenand it affected their attitude 15 boys have participated in this course be accepted as appropriate for boys in the positively. The teacher who looked for- 10 years, and its strength and influence

way music and the visual arts are. ward to the dance classes as an opportunity continue to gram. . There is an opinion, too Widely held, to get rid of her class for a while was never Through the 19 years of teaching at that. boys don't like danceespecially dance able to keep this a secret from the children Adelphi, I had the opportUnity to devel as art. Adults, not boys, hold this opinion. or from. the and we reacted negatively. and clarify a way of teaching that is spe Since 1958 I have performed for children in Children doh't like to be "gotten rid of" for boys. Boys can be included when t my own program, "Dances for Children," a and teachers of special subjects don't like are considered individuals and members concert of dance for "Young Audiences," to be used this way. There are times when the coed group. The over-eager.teacher and with Nel le Fischer's "Littlest Circus." it is not necessary for two teachers to be lets boys dominate the class gives them Having done so many performances with with a class, but the children and the false sense of their importance and the varying degrees of successfrom near specialist like to feel that the classroom in the class are deprived of their rights disaster to triumphI have reached several teacher is willing to see what we are doing individuals and members of the group. conclusions.. and willing to help when problemS arise. Classes that are made up of boys who.h 1. The boys in the audience are as enthu- American boys have been participating chosen dance after experience in the siastic as the girls. in dance approached as an art for many group are most interesting. These boys 2. If the audience does not respond, it is years. Their participation may have-been usually more interested in the creative not because "boys don't like dance," but made possible by calling the activity improvisational and choreographic a rather that the boys and girls were not "rhythms" or "movement" but they have of dance. They can be motivated throu reached by that perforMance. been dancing and likingit.It is through the the creative experience to ask for help 3. The attitude of the adults involved has satisfaction of boys working in dance that specific skills. Then one can teach cart- more bearing on the response of the parents can best be influerfeed to support wheels, leap frogs, etc. and everyone p children than any other factor. dance for boys. wants to learn. ; The development of dance for boys at If there is a difference in the attitu During the 1969 to 1970 season I set the Ade 1phi University Children's Centre boys and girls toward learning, it is th up a dance curriculum at the Packer demonstrates how a community can be boys seem more eager for results. Boys Collegiate Institute in Brooklyn Heights s influenced to support this work, When I want to do, rather than to be told how that included boys and girls in grades. K-4. joined the faculty in 1951 it seemed neces- do. Iteasier to teach girls process a There were two classes at each grade level. sary to call my work "movement." The techniques: Only the specially mot' The children responded to the dance pro- coed classes in movement won enough. boy will submit to the "long working, gram with varying degrees of interest. The acceptance by 1953 for us to call them toward" period that is the essence of training a body for professional dance. just for little girls. When children are a The term "creative dance" seems to manyto explore the movement possibilitieso to be a problem in relation to boys.I their own bodies, to become aware of recognize this but have nevertheless used rhythm of their own movement, to r it to describe my work with boys because nize the relationship of the rhythm of t creative dance refers to the area of dance movements to sound rhythms, to find that allows the participant to move impul- of ordering their movement, and to r sively.It uses a problem-solving approach nize the possibilities of the expressiven to dance. When the child is challenged to of human movement, they are dealing find a new way of moving, he is solving a dance as a meaningful, appropriate ex problem creatively.It may be as simple as Dance as an art form is neither sups working out how to change the direction of nor irrelevant. Many students and edu a movement; it may be making use of throughout the country are currently a imagery; it may be finding a way of bringing for relevance. Unfortunately, most of -a story into movement terms; it may be are confusing superficial familiarity wi making use of human actions or feelings. relevance. Many people are unaware of When the participants select and develop value of the fine arts and the creative a the movements for their dance, then that experience. They seek relevance and d dance must be appropriate for them. structuralization, forgetting that the fi In a special summer workshop, "Creative arts deal with significant human experi Arts in Action," directed by Grace Stanis- and that the creative art experience is treet at Adelphi University, we deal with upon the creative process developedy boys and girls 5 to 12 years old, under- students themselves. Creative teaching ; graduate and graduate college students, and aspect of the creative art experience th Photo: George H. Meyer, Westbury, New York teachers who have been in the profession fordevelops flexible structures for though many years. When I have taught the dance feelings. Section of these workshops, the adults A program of dance can be implem involved are worried about how they will in the public elementary schools. The handle the dance activity. They also express ciples and techniques of teaching crest great concern about how the boys will dance can be learned. Courses are off respond. Their preconceptions that only especially in summer sessions, by coil young girls will like and be able to dance are and universities. Now is the time for t founded upon two erroneous ideas: that giant step forward. Dance as a creativ dance is what is seen on television and that experience can include and be appropr \ dance is a stylized form of movement. for boys. When Amerkans realize this When dance is approached as a fine art, great benefits of the dance experience \ rather than entertainment or stylized move - be available to all of our children. ment, it is appropriate for all peoplenot

/3156 - Chapter 6 Folk and Ethnic Contributions

Introduction

Gertrude Blanchard Recreation Arts Supervisor Richmond, California

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

57 The American Indian

Edith De Angelis Boston State College

.Boston, Massachusetts

The American Indian is a fascinating subject for 4ildren. It is important to provide opportunities for children to le about the American Indian culture and heritage so that there will be a better u standing and appreciation of this peopl The rich heritage of the American Indian has been vanishing rapidly. The that everyonen do with aminimum'of discussion on folk dancing. If you are an legends, dances, music, artistic skills, a instruction, eveif it is a Grand March. Whenanthropologist, researching and recording religious cerpnonials are extinct or ne the Gran Marcis done in groups of eight, for posterity, it is a very. important word. extinct; therefore, it is imperative to it is easy to rch into circles, squares, or If you are an elementary classroom teacher serve what we know of the authentic In longways sets with partners. Then you are or dance specialist, belaboring authenticity history and life activitieswhich can be ready for a familiar dance or review, which is questionable. If a black child instinctively studied through dance, a means of expr should be followed by your teaching for introduces a "bump" and finger, snap at the sion frequently used by the Indian. the daya new dance, or special work on end of each turn in Korobushka, if a There are some 263 tribal groups some step or formation in a familiar dance. Mexican child adds a little zapateado to thrOughout the United.States. Each h Try to ena the class with a request frc m the Nava Nagilla, if another child prefers to distinctive customs, dances, dialects, e children, even if it is a repeat of something substitute a countdown and blast-off for Indian customs and contributions abou already done. Movement should be at a the B-I-N-G-0 in the dance of that name, in our everyday life and can be found i maximum, teacher-talking at a minimum. the teacher's concern should be whether it every part of this country. Laughter and talking are more important is adding to the fun of the dance, rather Throughout history, the Indian's lif for the children than perfection. Folk than whether it was included in the direc- was interwoven with nature. Nature w dance is for the pleasure of the participant, tions. predominant in his material culture, rather than for the pleasure of an audience. . We are accustomed to having to justify organization and activities, and ceremo Changing partners is a good experience. our curriculum with academic declamations Survival was based on the Indian's kn If your teaching comes from a basic move- that the idea of putting happiness in educa- and understanding of ecology. Symbol ment background, then the concepts will be tion sometimes makes one feel guilty. The representing natural phenomena were u well established before you get to specifics. developing child has need of joy. The extensively by the primitive artists and However, there are always some who do not ingredients are in folk dance, butthe still used by contemporary artists in po connect in a progressive dance. Do not teacher must put them together and bake weaving, jewelry, and other handicrafts panic. Let the mimic play and the dance---:7 the cake. Games, poetry, legends, music, chants, continue for those who did connect. The dances, and ceremonials also reflect.the unclaimed can go to a "lost and found" in Indian's close relationship to nature. the center of the circle, find new partners, The interrelationihip of nature and and step back into the dance at any point Indian culture is probably more eviden in place or pattern that they can manage. Indian dance and music. Even musical If you can let them struggle with the instrumei: Is were made from the nay'. problem without assistance from you, materials indigenous to the geographica they will learn a great deal more about region of the tribal groups. The most human relationships than can be taught in common time beater was the rattle. Many a month. If the children who have coastal tribes of the Northwest made connected are having full, the "lost and elaboretely carved rattles from wood, found" will be more eager to make decisions contrast to.the leather gourd rattles. quickly anreturn to the dance. commonly seen in the tribal groups of Authenticity rears its Hydra head in any plains and the Northeast. Although much has been written on the mic accuracy. The mind, body, and emo- experiences for children. Suggested class- history of American Indians, a very limited tions become so completely involved in tfie room activities include the following: amc unt of accurate information is available physical act of the dance that they combine 1. Study the' history of the various tribes pertiining to their concept of play and to create a 'oneness of being." At times; and their geographic location. danoe and the psychological and sociological the involvement is so great that the perfor- .2. Study games, dances, competitive dimensions of the dance. mers become almost delirious. It is not activities:1nd other physical sills. In 1907 the Bureau of American Ethnol- uncommon to find the divine healer, also 3. Make designs, drums, rattles, baskets, ogy published Games of the gorth American called the shaman or medicine man, the dolls, rugs, pottery, regalia, jewelry, clothing, Indians. This book provided the first com- most skilled dancer of the tribe. masks, totems, and sand paintings with prehensive scientific study of Indian games. For thousands of years, Indian life, utith indigenoui materials. The songs, dances, and ceremonies not only all its intricacies, has been expressed through4. Compare music and chants of various expressed every phase of Indian daily life dance. Dances were an integral part of the tribes. Learn about and play musical but were also a means of appealing to the hunt, planting of crops, harvest, and almost instruments indigenous to these tribes. gods for special favors and blessings and a every other daily activity of the Indian. 5. Learn about the power of music and means of showing appreciation to the gods Some dances were purely religious, others dance to the Indian as a healer for the for favors received. The annual Thanks- were competitiYe, still others were for physically and/or psychologically afflicted. giving progi-am for the first flowing of the entertainment. The Indian used dance as 6. Transform the classroom or recreation maple sap and, the ceremonies for the a means of expressing and solving problems. room into an Indian village or a series of ' planting and ripening of corn are but two Indian danceS are still performed today villages representing different tribal groups. examples of the spectacular rituals prac- with great ceremony to signify major periods ticed by the Indians. of the life cycle: birth, puberty, marriage, The out-of-do o rs'also lends itself to the and death. Some tribes perform dances study of Indian !Ore. The campfire circle is The blessings derived from practically imitating animals as a sacred ceremony to an ideal setting fo4. the reconstruction of all ceremonies were brought about, honor their supernatural guardian spirit Indian customs. The teacher can take the through dancing. Dancing served the animal. To some tribal groups, music con- children to archaeological digs to study how same purpose for the Indian aetreligious tains power; it is more than entertainment, the Indians livedhow they built their service or church procession semis among it is basic to ritual. The Navaho, in particu- shelters and campfires, made tools and Christians. Many people today have the lar, believe that the power of music can cooking utensils, gathered food, and idea that Indian dances were conducted bring a successful harvest or hunt and can dramatized legends and ceremonials though in a wild savage manner without any provide protection and curative powers. chants and dances around the campfire. fixed pattern or plan. This idea, of Opportunities should be provided for course, is wrong for Indian ceremonial visiting museums and reservations and seeing dances were rigidly conducted within a Teaching Indian Dances. documentary movies.. The American Indians fixed pattern. They were complicated, themselves provide one of the richist difficult to learn, and required long and To gain a better understanding, apprecia- resources available. intensive study and practice. A'good tion, and personaljnotivation, a teacher It not only makes good sense to provide Indian dancer was both an artist in should engage in same basic authoritative . children With enriching experienees relating choreography and an expert actor.1 research on the American Indian before to the Indian culture, but it is also our obli- introducing the dances to children. Because gation and responsibility to siit the Indjan Dance is the Indian's ultimate artistic every phase of Indian life is reflected in the story straight! Physical education, recrea- attainment. Indian dances provide us with dances, they should be taught in context tion, and dance are disciplines which can, concrete examples of natural expressiOns with the lifestyle of the Indianhis art, 'and should, provideone of the most effec- through dramatic presentations and rhyth- music, religion, philosophy, and reverence Nye and appropriate vehicles to open new for nature and living things. Indian lore vistawf understanding and appreciaiion of a 'Ralph B. Raphael, The Book of American. Indians provides endless opportunities for correla- peopIntho have provided, us with a rich and (New York: Arco Publishing Co., 19591, p. 90. tion with a wide variety of. educational valuable legacy. . \ Black Dance

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

experience," which makes blacIF people a different, distifict, and unique race of people. Leaders of black groups in danct, or any

other subject matter, should be oncerned ' 3 with this. However, a leader should also be aware that the less a black is allowed to develop and grow in his ethnic culture,re I it less he be black in manner, movements, and modes of living. One of the values of -being reared jp an urban ghetto is that you es are surrounded by similar types of people and life styles. (Urban ghetto is defined by Webster's New World Dictionary, Second College Edition as: "Any sectipn of the city in.which many members of the same minority group five, or to which they are restricted as by economic pressure or social discrimination.") In the black ghetto, pr the black communities, a child listens to black sounds, sees black styles of living and/ learns black gestures. In contrast, in a so- called "better neighborhood" where the environment is diltited by other subcultures, the child will most frequently undergo less of a "blabk experience." This point must be Stressed, because an instructor cannot antici- V pate similar reactions from a black with an Anglo-Saxon middle class wok- ground, in a white suburban school as ;om a child with a truer bladk living experienc Blacks should be leading blacks.If their Ethnic groups are distinguished by cus- education, background reputation, and toms, charactristics, and language. The quasi-liberation haven't alienated them too ethnic group I will be directing my attention much, black instructors are usually a part to is black American children, and the ethnicof the "black experience." Their culture for dance is black oriented. More specifically,1 the most part has probably been rooted in will not only be making reference to childrenthe blick community. Therefore, they of African descent, but those who have been usually, identify more with and better allowed to develop their blackness, whose understand-their students black movement envi-onment has played an absorbing role in and mannerisms. black culture. Black culture in America like Nonblack leaders have a unique responsi- all other subcultures manifests itskif in bility when leading black dance groupS. music, art, language, movement, and modes Their role (as it would be in teaching any of living. The black style of living creates ethnic groups) is to learn as much as what I will be ieferring to as the "black possible about the experience and background of their students. (This should be an instructor puts on a soul recording Leaders of ethnic groups are account done without loss of identity by the leaders.) and watches black kids do the latest soul ble.for establishing positive images. The While American black culture has its roots dance. The closeness to the earth, undula more teachers can be positive in the selec- and its traditions, it is also constantly tion of the torso (like the Jerk), or joint tion and presentation of books, pictures, enriching itself with cultural patterns that involvement (like Hully Gully or the films, music, games, and stories the affect ethnic movement. Leaders of black Typewriter) are blended into a total better will be their students' movement groups should be in tune with such con- movement experience. These inherent artistic experience. temporary patterns. Most important is the styles will be sustained as black children dance instructor's responsibility to take move into other areas of dance, although Resources, advantage otevery opportunity to inject they will vary in degree and intensity from pride, dignity, and a sense of identification Dietz, Betty W. and Olatunji, M. B. Musical child to child. A dance class should use Instruments of Africa. New York: John Day, in the black youngsters they reach. Simple these movement qualities. Music with a 1965. A 1.112 record accOmpenies the book. African folk dances or other movements distinct beat yet rich in flavor will impel that relate to the black heritage or culture black children to move. Many black Film Portit of a Black Artist. 16mm, 20 min., should be the nucleus of the lesson plans. b&w. Ren al from Oakland Recreation Dept., children have low arches or insteps so they 1520 Lakelide Dr., Oakland, Calif. 94612. ,'Instructors must constantly ask themselves, relate easily to dances that call for flexed "How does this dance situation enhance feet. Isolated joint movements are diffi- the positive black image?" In interracial cult for all children until they are 9 or-10 classes, instructors should make MI ethnic years of age. Until then,1 they still move groups feel that their heritage counts, that big body parts, i.e. the whole arm, leg, or their differences are recognized and body. It is difficult totally to isolate head accepted. Once children know that their movements from chest involvement, or teachers respect their culture without shoulder and hip movements from those of trying to be assynilated into it, they will the torso. Basically their maturation level be more comfortable and happy. will not allow them to achieve such diffi- But what is it that makes ethnic groups cult coordinations. Older elementary move differently? For example, what are children can better perform isotaVon and some of the characteristics of "black dance" polyrhythmic movements. As students that make it unique from other forms? To become more experienced, instructors can analyze contemporary black styles of move- play with these characteristics, making , ment one must immediately go to the roots them more intricate, and perhaps adding of all black dance, the African traditional other movement qualities. dance. The movement characteristics It is impOtant to be aware of the fact which are innate in these dances are 1) that children frequently come to dance undulation,,of the torso, 2) polyrhythmic classes for many reasons other than the pattern, flexed position for the feet, desire to learn dance steps.If a class is 4) emphasis on joint movements, and 5) called "African Dance" for example, emphasis on the down beat. Although students who come to it might be saying African dance varies in mannerisms, "tell me sorpething of my heritage," or emphasis, and subject matter from region "let me finally relate to something with to region, these characteristics are found which I feel comfortable." The true throughout the continent, Not only are substance of the class then should be a they the nucleus for African movements cultural exposure. The more students are in Africa, but for all black movement aware of the reasons an art form exists, the universally. deeper the involvement in relating to the This fact becomes most evident when form.

61 Mexican American Culture

Magdalena Cantu Program Coordinator Ballet Folklorico Mexicano Richmond, California

dance have been acquainted since the begin- Mexicano of Richmond that is "quasi" ning of time. As time passed and man pro- professional. The group has a complete gressed, dance became an important part of collection of regional costumes of Mexic his life. Ethnic dancing provides three main and has often performed in schools and elements: self expression, art form, and the community. culturalidentification. Many nctions have In the development of our program adopted dancing as part of the curriculum in found that we have awakened the desire their school system. our young people and children to learn Since 1921, the Mexican government has more about their heritage. This has m recognized the importance of its native folk them proud of their backgroundso mu ails as an integral-part of its cultural and that they want to share their new disco national heritage, and folk dance was made with other people. The program is im a required part of the physical education tant to our young people and children, program in all its schools. Through the to the Anglo community as it learns to Mexican Federal Department of Education, understand us better. folk and ethnic dance information is dis- We believe that it is the duty of the tributed to rural and city school teachers. system to help us carry on these progra In this way ,the child learns through dancing and to implement them in the general about nature, Indian legends, and historical education system. In order to do this it events. Our historical heritage has been important to make funds available to enriched by the emphasis on folk and acquire the necessary materials and tea. ethnic dancing in our 'school systems and Let me introduce you to Mario Varg has carried over into our communities the lovingly called by his parents and relati art form of folklore. "El tapito" because he is small for his a The Child and La Danza (The Dauce) In 1968 in Richmond, California a group Mario started dancing at the age of four of parents sponsored by the United Council tits been dancing. for three years. Acco Dance has always existed and been used of Spanish Speaking Organizations formed to his teacher, a professional dancer fro to eXpress human feelings. Primitive Ilan a.cultural development program, for the Mexico City, Mario has learned almost thought of himself in relation to the gods, youth of the community. The purpose of perfection the intricate "zapateado" st rather than in relation to other men. Dancesthis program was to teach our children to from Veracruz and Jalisco. were performed in celebration of a god understand and appreciate their cultural Many of us remember Mario as the through tradition& rituals. Forces in nature background. We had quite a task ahead little boy who thought everyone was m such as the sun, the wind, the rain, were alsoof us. The program was planned to include fun of him. We remember the first tim incorporated in dance rituals. The child, the whole family. Folkloric dancing, music, came on-stage to performat the sight influenced by this environment, learned fromsinging, drar)ia, history, and sewing classes the audience he became petrified and a very early age to_dance by instinct and alsowere included in our curriculum. Eighty- not move a leg. Mario is not shy any by imitating-grownups. Later, the child five students were enrolled in the classes. He has performed in schools and col learned to consjder -dance as an integral and Since no funds were available, teachers and and teaches children when the teacher necessary part of kiis everyday life. Through workers donated their time. All expenses absent. One of his favorite danCes is L dancing, the child acWired the attitudes and were met by the parents and contributions Viejitos, a religious dance of Michoaca expressions of his culture. In order to par- from furid raising activities.' also dances La Raspa, and Chiapanece. ticipate in certain dances the child had to Today, four years later, many of the (Note: See appendix for dance sources. learn to obey orders, to get along well with original participants are teenagers and other children, and to express emotion. A college students. There are folkloric child knew that he was an important part of groups in most of our county schools and his society. So it was that the child and the colleges. There is even a Ballet Folkloric° Chapter 7 Dance-Art-Dance

The Where of Dance

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

For several summers the Tucson Public chools have held fine arts programs in elementary schools' qualifying for Title I 'funds. The dance sections have been conducted by high school and college aides under'the direction of Virginia Robinson, a master teacher. Amon their-- objectives was involvin ent in move iences through which he ould have the-opportunity,to understand better his physical capacity. Basic to the entire program was a deep concern for increasing the student's self-awarenes through his orientation to space and his movement in it. Many novel methods were attempted, and often the study of space was heightened by the young students' fresh explorations. The use of objects to delineate space was a per- sistent factor. Although several of the young teacher aides used the same materials, each achieved unique results. Children were concerned with extending their spatial worlds by a wide variety of group-constructed environments, usually in a classroom or multipurpose room setting, although patios and playgroundswere sometimes used. Where one was in relation to the total space, as well as to the specially designated space, was always evident in the way the space was usedwhether this involved sheer gauze-like scarves, transparent plastic screens, parachutes, elastic bands, ropes, scaffolding, natural objects, or merely the furniture in the room, or the equipment on the playground. An extension of concern Pbgtas: Virginia Robinson Tucson, Ariz. for 'apace was introduced in discussions around phenomena like blowing bubbles to bring the diversified teaching concepts of and making clay impressions of the textures her fresh young aides to successful fruition of objects. Imagination was stimulated, by providing reinforcement as well as curiosity was piqued, activity was engaged materials. in, and language resulted along with move- Whether these brief summer encounters ment patterns. Often the most involved had, or will have, any long-range effect on student became the most vocal. In many the young children would be impossible to cases, students talked about their experi- evaluate, for indeed to most it must have ences. However, this was not always the been a fleeting summer adventure. That it case. Many of the younger children were was an awakening experience for the teacher- content merely to do their thing, leaving aides, however, was immediately apparent. the verbalizing to others. Their enlightenment and enthusiasm was Over the three-year period of these rewarding to observe. Those who partici- summer programs several children planned' pated in the project more than one summer group efforts climaxed by performances for grew in their understanding of the process themselves. These group choreographies of education and what dance has to offer exercised the imagination in unusual ways. as a potent force. More than one has M,ost gratifying to the administrative decided upon teaching as a career, and staff was the rapport between young aides among the undecided are those who know and their younger students. None of the themselves better through a cohsideration College and high school aides was bogged of where it all is. down by pedagogical restraints since none had teaching background or training.- What they had was imagination, courage, freedom to work in their own ways, and a coordinat- ing master teacher who allowed them to do this in a creative manner. They met often and shared experiences. These meetings led to an extension of their mutual successes. Their failures also were shared. Most important to the initiation of a program of this kind is the master teacher, who must be a person of experience and extreme sensitivity, one who can truly ; coordinate rather than control; one who can encourage freer:16m and individuality and give support where. it is needed and assistance where it is desired; one who can help Photos : Virginia Robinson, Tucson. Ariz. Dance and the Related Arts

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

Historically, dahce has been related to 3) individual artistic experiences that demands that the artistic experience and other art forms, such as music, visual arts, encourage relationships beyond the activity: form be of high_q_uality. theatre, film and other media. However, Typical exampldsorf attempts to correlate the relationship of dance to other arts in subject areas include: using Indian dances to the school setting has not been nearly as Correlation Activities accompany a unit on Indians in the third widespread or successful. In some elemen- grade, or performing the minuet during the tary schools no form of 6nce is included in The term "correlation" has been used in Early American unit in social studies. the curriculum. In other schools, it is elementary education for many years.It Although these are perhaps the most com- included as a part of the physical education implies that more than one subject area can mon examples, the results can ranggrom program in the form of movement or cales- be related on an equal basis. The problem horrendous to exhaltingdependingiin the thenics, and at times, within the music pro- with correlation is not in the definition or skill with which they are presented. The gram as creative` movement. intent of the word but in the implementa- problem in correlating activities is to provide More recently dance has been included as tion of the conceptnot in the theory but a dance experience that is both meaningful an art form, teamed with other arts in exper- in the practice. In many correlation activi- and educational. iment& pilot projects in which the arts were ties the various subject areas being.related Other activities relating dance to music included as an important part of the.general are not treated or perceived as equals. One or the visual arts potentially provide the education of all children. The project subject area is used to illustrate another. same type of problem. These attempts are schools of the Arts in Education Program of The use of one subject to explain concepts typified by the creative movement activities the JDR 3rd Fund and the five school dis- or facts.in another subject area is education- sometimes used in music classes. A recording tricts selected for the U.S. Office of ally sound, but more than likely, the stu- is played and the children are asked what Education Project IMPACT are good exam- dent will ultimately value the subject the music makes them "feel like doing." ples of dance being included as a vital part toward which the learning is directed more The answer to such a question could call of a total arts program./2 The specifics of than the subject which is being used to for the teacher to honor any response, like: how dance was related to the total school assist in that learning. "It makes me feel like going home." This curriculum can best be learned from the . The arts have generally been relegated to is not to say that activities in which music schools thetnselves.3 The general problems the latter status and social studies, arithmetic,is used as a stimulus for dance or movement in relating dance to other arts will be ex- reading, writing to the former. A major are not valuable. They can be if, and only plored in three general ways: 1) correlation effort on the arts side is usually required to if, the dance experience and the music with other subjects, 2) problem solving, and effect an equal status. Correlation also experience result in learning about music

I 1Kathryn Bloom, 'The Arts for Every Child," Dance Scope 6:2 (Spring/Summer 19721, pp. 6-25. Toward an Aesthetic Education (Washington, Walter Terry, ''The Impact of IMPACT:," Saturday D.C.: Music Education National Conference, Review 55:6 (Feb. 5, 1972). 1970). "Columbus Arts IMPACT," Today's Education and 60:8 (Nov. 1971) pp. 20-24. Stanley Madeja, All the Arts for Every Child New York: JDR 3rd Fund, 19731. 2Araminta Little and Gene Wenner. "IMPACT: Interdisciplinary Model Programs in the Arts for Children and Teachers," JOHPER 43:8 (Oct. 1972), pp. 27.32. 3For further information see: Lydia Joel, The Impact of IMPACT: Dance Artists as Catalysts for Change in Education,"

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

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

Photo:Virginia Robinson, Tucson, Ariz. 4/ vital part of creative thinking. Children can make dances from many Using music, percussion instruments, and different approaches. Some suggestions vocal sounds to accompany movement can become a natural part of the teaching 1. folk dances or similar simple dances environment. Children can accompany on l000rrntor movements themselves and each other. Making per- 2. children's songstape their own voice cussion instruments can be a correlated art and use them for accompaniment project, and thus many instruments with 3. activity themesi.e., seasonal, occu unusual sounds could be available for the done', special occasions children to use. Making vocal sounds as 4. literary themespoetry, action word well as stamping and clapping is great fun 5. aspects of sculpture or design and helps children to catch the feel of a 6. factors of time, space, and energy movement, develop their musicality, and 7. prop manipulation enrich their dance experiences. Rhythmic 8. sounds of various kinds acuity improves noticeably and movement 9. rhythmic components becomes more dance-like when accompanied 10. imaginary situations by music. The music used should be clearly pulsed and phrased and possess a Making dance Studies helps a child t mood, quality, or dynamic that supports organize his knoWledge and allows him the particular dance activity. Moving to respond to a problem in a variety of wa music ought to feel like singing with your and to work with others in tasks requiri body. decision making and verbal communiea Imagery is a vital part of the creative To assure success in this type of experi dance experience since it helps to motivate, the teacher needs to set some limited° clarify, stimulate, and identify the com- For example, she should require that th ponents of movement. Therefore, the study: meet a space limitation, be of a teacher needs to find images which elicit certain time length, consist of a given refinement of the action. To be objects number of parts, include several sp outside the human experience is quite actions, fit a certain piece of music, a difficult, except for the very young. convey an idea. In other words, the ch Learning can-take place instead through to solve a specific problem is the core. recognition of the action or movement teacher should allow the students enou content to be found in the object, its time to work on the study and offer gu construction and behavior under a variety ance as sparingly as needed. of circumstances. It is vitally important to help childr Children should learn to make dance discover the potential for creativity wi studies, not for the purpose of performing themselves. This process of discovery before audiences, but for the opportunity rate, depth, and realizationwill vary to create an artistic product that is uniquely ing to the child's own rate. their own. Such experiences teach children to make choices and to organize materials into a logical progression, thereby creating a whole unified structure. These dance studies need not be long but should represent a bringing together of acquired skill, fresh discovery, and new understandings.

68 Composing Dance With Children

Gladys Andrews FleMing School of Education Virginia Commonwealth University Richmond, Virginia

Today a new emphasis is emerging in fantasies, faces, perplexities, and questions. to perfect movement skills necessary to dance for children. From community to All of these elements make up the inner and make their bodies do what their emotions .community, dance is gaining prominence outer worlds of boys and girls. The "It" is dictate. Such experiences should be com- with offerings for preschool children, tele- sensing and responding to that which makes mensurate with what is known about vision programs, and teachers of dance and the difference to them. "It" is inside and physical and psychological development. professionals going into the congested urban must come out in some tangible form; or Boys and girls 6ecome secure in movement centers and camps to present various kinds "It" may be an outward sensitivity which as they have opportunities to understand of dance for children. There has been an calls for a response to something real, their movement and to analyze movement increase in folk dance festivals, and in many something to be looked at, heard, or felt. in terms of how it feels, how it looks, and areas children are being transported to At times "It- seems important only for a how to invent combinations of movements. ; theaters to see dance. It is gratifying to moment and is expressed in dance form , As this happens, they are discovering and find acceptance and appreciation of dance which belongs within the child's private fashioning their own individual storehouse as well as greater understanding of the con- world end may be appreciated only by him of movement. tributions dance makes to children. While at a specific time because he has been the Movement experiences can be initiated the current situation is wholesome, it magical conceiver, producer, and performer and presented in such a way that children poses new problems and increased responsi of his dance. Children have many such are anxious to respond to new and more bilities for leaders in dance. moments. At other times the individual complex situations. This involves thinking Children profit from meaningful dance wants to share his dance with others. about movement of the self rather than activities in multiple ways. These values Whether the performance is for self or for just about the self and "how I look." Dance should be cherished and nurtured since an audience, the "It' can be intense and that is based on movement is not concerned with developing movement in a vacuum but dance may well be one of the last frontiers the work of launching can be so potent . for helping children in nonthreatening ways. that the reflection remains with children rather with developing, inventing, and con It offers opportunities for recognizing for a lifetime. The same qualities may be trolling movement simultaneously with self, for belonging, for aesthetic involve- true for group activities. thinking, sensing, responding, feeling, and ment, and for individual achievement. Such The "Its(ideas, thoughts, feelings, inquiring. It is moving through, with, and potential values are important for all reactions) which go into each child's human in dimensions of space, and moving with children whether they reside in the ghetto computerare not the problem in dance. various degrees of speed and, intensity.It or in suburban communities, in small towns The diffictpty tends to come in recognizing, is moving to control and to change oneself or in Jarge cities. There are broad, basic, andsharing, ac ting, channeling, clarifying, at will, going through space with time not fundamental values to be realized. Those and extending the "Its," and then helping because it is good exercise but because there who teach children's dance need toclarify the child to portray -It- in the form of is so much to discover. The development purposes to be served and values to be dance. The problem is for the, adult figure of the imaginal :on is ignited and creativity attained in dance. to know how to help boys and girls dance. is uncorked as inventiveness and selection of Children have plenty of "Its" to dance about movement are used abundantly. For all of this to come about, adults must understand or to dance out. The role of adults is .to The Essential Quality: "It" encourage and to help children begin. and respect the uniquenew of boys and girls Adults must leafy to listen and to lookto at various stages of growth and recognize Dance that makes a difference in and to see and to feel what children have performed. that no two children have the. same struc- the lives of boys and girls is dance con- ture, the same makeup, the same potential. ceived and performed by them in their own They must enjoy movement and present way. -Although difficult to define, this Dance is More Than Movement endless, progressive, satisfying opportxpnities essential quality has been labeled by for children to explore and invent move- children as "It." Tremendous in scope, Movement is not dance, but all dance ment possibilities; and they must offer "It" encompasses ideas, thoughts, feelings, involves movement. Children must be able movement opportunities according to the hurts, longings, !earnings, projections, con- to move easily and readily in order to com- interest, motivation, and sensory perception ceptions, urges, imaginations, concoctions, pose dances effectively. They require time of all children within the group. The teacher is essential in fostering dance chances; extensive exploration and the use for children. He makes it right for children of many of the explorations in improvisa- to be themselves and to express themselves tions and dance studies; opportunities to through their movement repertoire, improvise spontaneously, to solve sensory Teachers help to establish ideas that are and movement problems, to figure out' to be communicated by talking with children,sequences, to combine elements, to stylize raising questions, providing varied and mean- movements; and experiences to portray ingful movement opportunities, and by help- from the quality called "IC' ing to clarify that which children themselves want to build into a dance. Without 'this Al& clarity of ideas (of the "It") and without a child wanting to design and to build, there

is little meaning in dance for children. 1D, Teachers listen and take many leads from students' responses. Children may say, ''That was a real dance because we meant it from inside::It is the "inside" which makes dance. "It feels good and we think it should look good because it is our dance." Teachers need to assist children rather than try to fashion them in an adult stage. Unfortunate- ly, some adults often show a lack of appreciation for the children's concentration on finding ways of molting their bodies. At times these adults try to superimpose on children their own form or system of techniques or patterns of dictated movement. This is not the way to assist children to realize their own potential of quality in movement. Instead, teachers should help children dance what they most want to Photo: Robert Grey, Richmond, V. dance, rather than what adults think they should dance. In a way, the teacher is With students the teacher plans ways of constantly evaluating and assisting boys developing dance studies and compositions and girls in their self-evaluations. which emerge naturally from dance songs, The teacher's role as an expediter movement discoveries, spatial designs, and " remains constant. The essential ingredient rhythmic responses. This is quite different is for the teacher not to be in a hurry to get from having boys and girls dance out stories involved in the process of composing dances or ideas before they have sensory experien- with children before the children have ces to which they can respond with move acquired a small repertoire of movement; ment and before they are comfortable with some awareness of the great phenomenon of their movement venturing. This is q6ite space and rhythm and can respond rhyth- different from presenting a dance program mically; some degree of control of that humanin a school, studio, or children's -theater just communication system flowing continually because it is Spring, May Day, et wistmas, or within; a willingness to invent, to take because a program is expected rather than

7Q because children have completed meaningful compose many dances on various subjects sation. Often explorations develop studies compositions which they cherish and want in solo and with groups. Their fondness for which combine to form an interesting to share. the skip composition, however, which had dance composition. In the process of helping, teachers need its beginning as it spontaneously emerged, One must be prepared to accept what to be continually watchful that children do was not forgotten. In fact, much time was emerges when involved in improvising, not take on more than they are capable of spent in refining and perfecting before they inventing, discovering, or selecting move- handling. It is suggested that teachers make shared it with an audience. ment or thematic material. This is true of it possible for the composition to prow by The world of a 9-year-old is so different any age group. In the beginning, what helping children clarify what they are frbm the world of boys and girls of ages 11 occurs may appear to be "groovy," brash, trying to say, by keeping the ideaS simple, and 12. Some of the most expressive or triteIn time, with enriching and and by helping them build their ideas. Care moments have come from 11- and 12-year- appropriate experiences, quality will be should be taken to prevent children from old boys. They share realizations of honesty,developed. Care must be exerted to keep becoming overwhelmed with too much at power, and depth of living reflected in their the compositions short and to the point of once. For example, a sixth-grade group dance compositions. Through dance, boys communicating the,central-statement. wanted to portray their conceptions of and girls are invited to reveal themselves as Children need help in not cluttering their Thanksgiving in a dance. They began with they are in their environment or the envi- compositions with extraneous substatements explorations which came from the pumpkin. ronment in which they would like to be. which go on and on. This led to more involved ideas about harvestCare must be taken continually that this This does not mean, however, that one and terminated in a larger piece which they invitation is not withdrawn. If this happens, settles for just anything. Instead, one works refined and'perfected into their dance of they only dance what they think adults toward the kind of excellence which par- "Thanksgiving Proclamation." Ultimately, want to see or hear or know about them. ticular children can achieve in their com. , they asked to share it with the entire school. Children have shown, regardless of age, positional work. Children desire quality. It would be fascinating if we could cap- that they are able to handle details in Quality can come through readily because' ture in words the exhilaration and spon- sequential and organized ways. They see young children are not adorned with taneity of meaningful dance which so often relationships and make associations, gimmicks and clichés. They can be them- erupts from youngsters.saying, "Can we just Abstractions such as love, happiness, hope, selves and can portray through dance their skip?" Here is movement magic. Here is anger, brotherhood, or democracy mean dialogue of self and movement, When they mgyement conquerability. Here, too, is little to children and are usually merely decide to, perform, this calls for practice, dance composition emerging. This happenedwords. if such adult concepts are given to perfecting certain sequences of movement, with a group of third-grade children who them, their responses tend to be superficial. and provision for transitions. At this time, translated their "Can we just skip?" into The concept must be associated with some- the teacher's role becomes one of critic "Our Skipping Dance," This dance had the thing real such as "The Happy Time at the rather than expediter. He helps children to recognizable elements of composition: Fire Static:in," "The Angry Bumblebee," understand the refinement necessary to reach various'grouping and regroupings of "The Fireflies Keep HopingThey Won't a desired and appropriate performance level. children and interesting spatial patterns Turn Off." Having reached this level of skill in dance they charted graphically so they could more There are many levels of maturity for and having developed mutual trust and effectively remember the sequence. Variety dance composition among children in a respect between teacher and children, boys was achieved not only by the accompanimentgiven schbol.. The younger they are, the and girls are then ready for other dance to their arrangements of high-and-low and simpler the statement and'the more clearly experiences which may involve compositions fast-and-slow variations of skip, but also in allied to their particular world at the introduced by the teacher. the quality and Styles of skipping. In com- moment. As youngsters mature, the quality There are times when a group (or individual posing this dance, the children had a strong of experiences can yield dance composition needs to perform. This calls for awarenets of feeling for unity and for organization. Theyof a more sophisticated nature. factors involved in communicating to others, remarked that they were "really dancing Other compositions emerge from dis- ' projecting oneself, and for refining elements their skips." -Before the year was over, this covery of selected combinations of move- in the particular dances to be shared. group of children had opportunities to ments from exploration or out of improvi- While working on dance compositions,

71 '- children and teachers together can learn, derived from the above sources include: participating in various dance forms; but laugh, feel, and share gooSe bumps, pene- "The Crack in the Sidewalk,"" "The Human most of all, and more important, will trate realms of curiosities, tackle problems, IBM," "The Shortest Distance Between Two emerge boys and girls with "feelings" and experience achievement. How ci4fferent-Points," "My Line Goes For a Walk," " w aesthetic understandings and appreciation this is from the adult being on the sideline the Scabernachel Got His Name," "A V it watching, telling, and manipulating. to the Green Men on Mars," "From Columbus to Glenn," "Dialogue with Prokofiev," "The Story of the Whe Sources for Children's Compositions' and "Come Ride on a Rocket." Costumes as trimmings can coribute Sources for dance compositions are to a dance composition, but cdv ing up Children do not have to resort the magnificent moving bodiesith un- to fads, clichés, or unrelated elements be- related costumes should be av Wed.

cause their world is full of the "It" which is Children enjoy costumes whi enhance, . to be danced. These sources have to do withextend, and intensify the dance. Simple age, activities, surroundings, and feelings of costumes include hats, masks, patches boys andvirls. They are different for each over the eye, sashes, capes, and .tied-on group and each child .within a group. The helium balloons. If the costume is what sources are real rather than hypothetical. is important, as the children say, "forget "-Angelo, a four-year-old whose whole world it." The dance is all important! has been one block long, dances about that .Simple props often add to the setting whichthe knows. This is quite different for children's compositions. Again, these from the world of four-year-old Pete who should contribute to the dance and the travels the township with his dad on his child's realm of reality, rather than hinder garbage truck. Sara, who lives in the middleor detract from'his dance. of the ghett3,and Jeff, who journeys with Do not be in a rush to make boys and his dad, a diplomatic attache, are also girls into adult performers. They must be different. Yet, all have much to dance. allowed to be children who are not afraid Compositional sources are suggested from of dance, who want to dance, and who can the world of outer space, children's express themselves with sensitivity. literature, history, poetry; folk songs, Adults should want quality in children's dances, and tales; field trips, holidays, dance. Children should want to ask, How mechanical and electrical wonders, science, can I dance "It" better? pets, museum the world of music, including Out of all children's dance will come the current and avant-garde; work, customs some of the artists of tomorrow, performers, and traditions, lives of people; and the master teachers, teachers of children's exciting world of sound and color. Some dance, dance critics, writers for dance, specific examples of children's compositionschoreographers, and people who just enjoy

72 Moving Ahea

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73 tt Chapter 9

. Lake of 'the Ozarks Conference on Children's Dance, Excerpts from Proceedings

Leadership forthe1910s a

Robert S. Fleming Virginia Commonwealth University Richmond, Virginia 4

When we look ahead to the 1980s we A. Establish positkye and ongoing relationships 3. Arrange for a meeting with other insti view the role of education with great with stale education- agencies. tions in your state to find commonaliti anticipation. Vast new developments are the state certification problem. projected in all facets of life. Such develop, 1. Be sure that each state unit is given a 4. Communicate with school superinten- ments relate to population, urban centers, report of the Proceedings and is urged to ,dents concerningneedi in this area. technology, family life, the workweek, and call a conference of state officer's to consider"5. Arrange for a meeting with state cert education. Implicationslorjtysical educa- your recommendations carefully.. Oation directors which reflects.unity and tion are extensiof 2. Make certain that the 1972.73 state consolidation of state problems. The work of the Lake of the Ozarks meetings are concerned with the new thrust 6. Encourage AAHPER to identify new Conference emphasized physical education, in movement. certification developments -in various sta including dar.ce, as a vital component of the 3. Request your state director to organize and to communicate them to other state total curriculum characterized by qualities and attend a clinic in your state on a quality groups. such as: program of elementary physical education 7. Arrange for the certification problem and dance. to appear conspicuously on the state 1.It recognizes the dignity of each person 4. Request your state director to inventory directors' agenda for the Gull Lake Con- as a basis for operation. and report outstanding physical education ference and State Directors Conference. 2, Its content is unique, specific, clear and and dance programs in elementary schools. vital. has its own structure, beauty, and 5. Encourage each state meeting to presentC. Continue to study and work with accred unity. Its base is movement and its com a children's dance pnAtram.. tion groups at all levels. Accreditation o ponents relate to all domains of develop. /6. Arrange a meeting between elementary public and private schools, rrell as in ment. It is concerned with both skillsde- schgdljphysical education specialists and tions of higher education, InIrpersistent veloprnent and aesthetics development. nci als to clarify directions and under- concern. This occurs at the state, reg They are inter*ated.It maximizes standings about newvigor in dance and and national Itvels. What are the requir sensitivity. physical education.r ments for an accredited elementary scho 3. It is a unique and vital aspect of the total in your state? Must it have space form curriculum and must flow into and out of B.Continue your work with groups concerned ment? An. elementary physical speciali all areas of knowledge. about certification. Although this is a An emphasis-on dance as well as physic.a 4. It is increasingly concerned with quality complicated area it must be viewed ancr,-- education? Must it provide an opportun performance for all. studied as a major means of facilitating for planning between the classroom teac professional preparation, and physical education teacher? The fol New leadership is needed to help remove ." ing activities illustrate some ways.of mo barrier which inhibit progriss. These 1. Review the status of your statrcertifica- ahead in this area: barriers are often complex and difficult to tion policies. Identify clearly yotir con- remove; yet, to move ahead they must be cerns about certification and discuss them 1. Public school accreditatio recogni:. The hIlowing suggested activi- with your department chairman. Solicit his a. Review the status Offisting pro- ties appear to offisr'prpmise for removing help in relating them to your dean or admin- cedures. barriers and establishing strong, vital istrative leader., b. Clarify inour state group ways to activities: 2. Inform and involve your state director. provide more adequinely for elem

74 Our Concerns for the Profession

Gladys Andrews Fleming Chairman, Task Force Children's Dance

tary physical edutation and dance. 6. Encourage college personnel to assist in c. Make several schoolapproved visits to developing instruments which sharpen . study the problem. interview procedures and observational d. Discuss evaluation accreditation with techniques and which focus on comprehen your state council. sive evaluation. e. Encourage and invite teachers to 7. Develop ways of encouraging case con- participate in several school evalua- erences. tions. 2. Cdtlege accreditation E.Encourage and support vigorous research Over the years AAHPER has created a a. Encourage active participation of efforts. The absence of research thwarts setting in Which various groups could express pub c school personnel in college development.' No profession can survive interest, look at differences, and develop aspditation procedures. without a strong research component to plans. But until lately it has been difficult b. Solicit data from public Schools about give validity and power to its field. Empha to movt ahead in aconcerted conrted way with a recent college graduate's. sis should be given to all facets of research nationI thrust in the elementary school c. Encourage AAHPER to sponsor state which help teachers relate to children in area. and regional conferences on accredita- meaningful ways. In 1930 at a conference in Boston, pro-' tion as it relates to physicaliEducation 1. Design programs to help teachers become fessional educators were working on many ant dance programs in eleritelitary more intelligent consumers of research. of the same important ideas for helping schools. 2. Develop a new AAHPER publication children as we are today. Do you know d. Encourage AAHPER to sponsor with which deals with research on: movement, that at the 1930 convention of the National other group's, including those from the skill developmerit, aesthetics, early child- Society of Directors of Physical Education arts, a conference dealing with a new hood, and outd6or education. for.Women, Dorothy LaSalle made a plea look at accreditation. 3. Design your program and put it into an to college directors for greater interest and active research setting. Develop a case reportattention to dance in elementary schools? Continue and intensify work on evaluation. on it throughout the years. As a result, she was appointed chairman of We have a new emphasis on evaluation. 4. Analyze relevant research reports at a committee to develop a report on dancing Increasingly it relates to budgeting, planning, faculty meetings. in elementary schools. In its report the 'Face, nd personnel. Many are now sensi, 5. Build a research shelf in your school committee, emphasized the need for more to' the need to refine and develop new library. scientific study of objrtives, particularly and creative approaches to evaluation. The 6. Have a research conference in which you social objectives; child nterests; future Fitness Test is often '',the" test. We need raise questions: Use such questions to experimentation with dance tgr boyst much more effeeeve instruments in many solicit work from your university, teacher preparation; and standardized areas. terminology and bibliography. Some 40 7. Describe the impact of children's-dance years later, history 11 repeating itself. on other aspects of growth and learning., 1. 'Review methods for evaluating programs We have moved a iong way since 1930 Leadership' irtthe 1980s will be concerned anci/exaWe other sources of data. in terms of organization. Dance has an with helping people in large crowded cities 2. Develop a variety of new evaluation important place in the' ssociation as a and using technolcgy. It will work on roany Division. Our concerns children's clancb, procedures. fronts, including early childhood education, 3. Conduct a local clinic on ways of evalti- however, are about the sae as they were many facets of special education, world four decades ago. We still need to recog- ating programs. understanding, community focus for year - nize that: 4. Find ways to involve children, parents, round schools, new concepts of the arts, and and other teachers. ../ new concerns f health.It will be a world 5. Examine the record system in your 1. Dance programs should start with pre- in which the di II s will certainly not school. Does it communicate anything \separate but instead will work cooperatively school and elementary aged children. about a child's aesthetic or movement for the well-being of all children. 2. Assistance needs to be given to public quotient? school-oriented people.

75 Competencies of the Teacher of Children's Dance

Ruth Murray

- 'Profess& Emeritus Wayne State University Detroit, Michigan

ns.

3. Movement, including dance, is basic to D1nce is an art and must be taught with' qualities of movement and its relationshi all physical education. an appreciation for its unique values as art, to ether experiences in drama, art, and 4. Aesthetic,-expiessive activities are not merely as another motor activity. What musicin other words, children's creativ essential in fostering positive feelings about are some of these values that dance, alone dance! self and others. in physical education:offer% to children? According to statistics, 89% of the O. A comnicii term', is nixessary. We use the words creative, imaginative, physical education specialists seeking K- expressive, and aesthetic to describe these certificates have had one overall, cover-a Today our most pressing concern is to values, but how do we affect children's course in elementary physical education. build dance and other forms of physical actions so that these qualities are developed those of you who are in that category lo education for children in terms of who they specifically through dance? 1 believe it can were, when you were in college), I shoul are, what they are like, where they are, and only be done if teachers themselves have like you to consider how many times in . What they are interested in. Let us begin had experiences in their professional your professional training you handled a building and directing our programs from training (and hopefully before that) which basketball compared to the number of the bottom up rather than from the top parallel and supplement the expressive, times you skipped to music. What child own. Let us provide for children to be imaginative uses of movement that dance poetry or rhymes, songs, or classic litera b, ys and girls, not mini-adults. Childhood can offer. characters do you know? What do you is too precious to be abolished. Children A professional curriculum for the regular know about nature and its creatures? -H are dignified, unique personalities who have elementary teacher which Offered sueh many dance performances of any kind h the right to request that viable, meaningful, experiences would not be as great a depar- you seep? What would you say is your and developmental programs be offered to ture from the norm as the present curriculumaesthetic index? them. for the physical education specialist.It I am, sure you did not come to this c As we face the;late 1970s we must would have as its core the total developmen- ference to find better Ways of rnaking' realize that dance is here to stay, that boys tal pattern of the young child, which physi- varsity sports players out of children, b and girls like to dance, that teachers need cal education studies often omit. The rather to find ways of bolstering their special preparation, and that dance requires elementary education program also usually esteem, -improving their ability to move time, space, resources, and competent includes courses in children's literature, art, different ways, and broadening their cr leadership. and music. In the past, physical education tive and aesthetic horizons. And befo This conference is concerned with a new courses for classroom teachers have included conference is over, you may be willing look at professional preparation. We need to everything from L'ooby Loo to relays. A try to motivate them to accept expressi come up with some -Clearly defined, practical, course in basic movement education, how- imaginative, creative, Fhythmic movem and relevant ideas and begin putting them ever, is now beginning to appear in some of as being at least on a par with moveme -into action in a cooperative effort. We these programs. After this Conference, it that is athletic, gymnastic, or acrohatic cannot afford to wait. should spread throughout the country at Perhaps a glance'at some of the Gui least as fast as did the new math. Quite lines for Children's Dance is now in or logical, then, would be a sec,,iel to such a What specific competencies does a to movement course which would carry the need to perforM adequately in at least elementary education student into the some of the following areas? expressive, imaginative, and textural See Cheliter 2

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

77 The Consumer Speaks Out About Professional Preparation

Gertrude Blanchard Recreation and Parks Development Richmond, California

So, let the children play the drums, and with children, the process is of greater other sound instruments, Some of which importance than the product. One's ability they can make. Let them sing and move, to "read" body movement, a major language let them listen, and then clap or tap or beat of young children, assumes great significance. or sway, and soon supposedly arhythmic As reported in the brochure on the confer- children will be "keeping time" as well as ence on Motor Activity for Early. Childhood, everyone else, Delores Curtis stated, "We need to give more I would likto,emphasize one more consideration to the child's use of his body Guideline: as a mode of creative and human communica. For the past 12 years I have served asa tion,"1 resource person and instructor for the I will finish by paraphrasing the excellent Richmond Unified School District in Guideline 6. The relating of dance move- article by Keturah Whitehurst in that same California in which some 40,000 children ment to other curriculum experiences, such brochure, entitled "What Movement Means are enrolled.I have conducted numerous as art, music, science, social studies, and to the Young Child."2 What can dance mean' teacher training courses in folk, square, language arts-wherever and whenever to the child? Certainly, it can mean some of social, creative, and modern dance. At appropriate. the same things-self-discovery, freedom for present, I am responsible for about 50 self-expression, communicate n, enjoyment, in-school classes each week; I observe abou Few attempts have been made to prepare and sensuous pleasure, and if onwe will let 10 classes a week, substitute for teachers either the physical education or the dance it, it can also mean the acceptance of him who are ill, and teach 4 classes a month. specialist to do this in most cyrriculums withself and of all others who dance, both with This kind of schedule keeps me constantly which I am familiar. "him and for him. in touch with both children and change. How is this Possible when the special When reading the Saturday Review last Each year, I interview approximately 2 teacher is uninformed as to the other night, I found this little story in Goodman young people who wish to teach dance on curricular areas, either structured or un- ----Ace's coturnry, A young phildtopher came-.Patt:time basis, from 6 to 30 hours a week. structured, which are part of the child's home from school every day with a skinned They come from universities, private day? And yet imposing discreet, fragmented knee. studios, and professional companies; many pockets of learning, unfated to the rest of 'Why do you fall down every day?" have a Master's degree in dance. Applican the child's activities, no at all in agreement asked his mother. seem to have two things in common: they with modern pedagogi theory. This, then, He replied: "Because !always run fasted like to dance, and all have studied with the is another place where we must mend our - than / Cal" Perhaps we all will need to etri world's greatesi teachers. Three other fences so that those who teach dance per- faster than we can, in spite of skinned knees, things are chafacteristic: they have great ceive the innumerable ways it can supple- or as Gladys Fleming said, we will be in the difficu ly verbalizing about dance, they ment and enrich othfr parts of the school 21st century, anti children still will not be know ractically nothing abouchitdren, day. All teachers of movement must have dancing. and t ey know only one teaching method the ability to observe each child's character- I Delores Curtis, "Confer nce Rvmt,''Asoi--lem nstration. My problem is to discover istic ways of moving. In physical education Activity for Early Childhoii:d1WaViigion, D.C,: whe er they are raw material which can so much attention is geared to the end.. AAHPER,1971). helped-so I probe for attitudes, imaginat product of movement-did he win the 2Ketursh Whitehurst, "What Movement Means to prejudices, and desire to learn. Can they race? Did he make the goal? Did he con- the Young Child," Motor Activity for Early work honestly with children? Can they nect with the ball? But in, dance, especially Childhood (Washington, D.C.: AAHPER, 19711. dance as a developmental subject? Can

78 hey work under close supervision with 8. effectively apply what has been learned children, however, is like a pool full of nstant evaluation and from a specific in their education, e.g., posture and waterif you know how to work with them, manual?' Can they accepnd work produc- kinesiology. they will sustain you; if you. do not, they tively with the shifting autrity between will drown you. The problem of realistic- classroom teacher and specialist. Can they Is this too much to ask of four years of ally preparing elementary specialists to be motivated to see the importance of college tr. r ling?t think not, especially if truly serve the needs of today's children positivei.notivation? How much effort two year of that training could be accom- can be solved, not by massive legislation, will they put into trying to understand the panied by laboratory experiences with. not by a revolution in the curricula, not by problems of language, minorities, poverty, children. manna from Heaven, or any other such affluence, defensiveness, large classes, and Theoretically, the student with a college mountainous thing. There is not time. .. diversity of achievement within a single education would have been exposed to most None of us, I.ern sure, has the power or class? In years of interviewing, I found only of this knowledge. All the answers are, no wisdom to make changes on such. vast one whom I could send with a clear con- doubt, in books, but the student reads scales. What we can do is to light one science into a class without first giving her books not to learn how to teach children, small candle, rather than curse the basic training. but to pass an exam. Since it well may be darkness. Specialists, whether they are in recreation, a year qr several years before the student physiCal education, or education, need many has any use for the information, it is easily of the following skills in working with chil- forgotten. Theory and practice should be dren. We are looking for perlons who are moving sideby-side as partners, each helping trained to: the otherrather than Theory, sitting com- fortably at base camp, watching Practice 1. organize a class for teaching try to climb up through the shale, and

2. find the place to begin. yelling for encouragement "Read Chapter 3. use dance as a tool for thinking as well as Nine!" moving , Those who are going to prepare special- 4. verbalize about dance ists also need practice in working with 5.(construc.tively\. evaluate a child's perfor- children if they are to make efficient use manse of the students' time. If you don't know 6. fulfill the needs of the children and the how to swim, it is a frightening to be classroom teacher as Weil as the specialist thrown into deep water; if you haven't 7. know and use a variety of methods to fit taught children, it is frightening to be individual and group needs thrown into a classroom. A room full of

79 Epilogue

This publication stands as encomi the origin of a project; for the vision dream; and for the concerted effort a "..N.di : dedication of the Task Force on Chit Dance in pursuance of both. Over the country children are dan discovering their being, molding their worldwith meaning and joy. Enabli them to do so are the many people w care abbut children, who dare to den plastics of the now and see with the Serving as initiator as well as catal the enablihg process, the Task Force drawn back the curtains on the exper tial world of children and heightened potential through questions implied. questions arc' vital and urgent: What like to be alive .,. human and real .. t.:. seeing, througl- one's own imagery, a of joy ... seeing by moving, and in m 42'6 being ...seeini one's own sensual' ex ience of seeing? What is it like to be to have someone know it; to recogniz yourself; to be able to express it? Whin these pages are vivid atte that dance is one viable answer to all quests. Thus, with this publication, t Task Force on Children's Dance disc its dream: that "all over the country children will be dancing." The Dance Division endorses that dream and affi its dedication to the endeavbr that ch dren of all ages may ever dance.

Araminta Little Vice-president of AAHPEF? and Chairman of the Dance Division 1972.1973 0.I? lf ti Chapter 10 Annotated Bibliography

Mary Rae Josephson Reading Materials Minneapolis Public Schools Minneapolis, Minnesota . The Task Force studying children's Creative Dance in Grades Four Murray, Ruth Lovell. Dance in Elemen dance has reviewed resources in many areas to Six. Ontario: Longman Canada Limited, Education. 2d ed. New York: Harper & related to dance for children. Since profes- 1971. Row, 1963. sion& literature in these areas is extensive, A companion book to Creative Dance in A comprehensive text in which ideas inclusion of a comprehensive bibliography is the First Three Grades. Provides informa- developed to provide guidance and a se impractical in this publication. However, a tion on how creative dance can be taught. teaching freedom. Includes analysis of suggested list of resources is provided which Includes lesson plans. niques, creative activities, and tradition is illustrative of the diversity and quality dance forms. Provides approaches to available. Carroll, Jean and Lofthouse, Peter. Creative making from songs, words, music, dan Teachers are encouraged to continue Dance for Boys. London: McDonald & ideas, and dance skills. Valuable refere their search and assessment of materials Evans, 1969. materials and resource lists included. not only in dance but also in allied fields of Contains a specific structuring of material professional educationhuman development,for men teachers toward movement experi- Russell, Joan. Creative Dance in the Pri learning, mental health, evaluation, curricu- ences relevant to boys, 10 to 16, although School. Ncw Ycr,Praeger Publishers, lum developinent, creativity, and methodol- much of the material can be used in mixed An approach to cmative dance based ogyas well as in related arts: such as music, class situations. Each of the five chapters movement education principles. Emph art, drama, film, and literature. takes an aspect of movement, places it within an exploratory approach to the develo the educational setting, and gives specific of movement themes. Among its stro 'examples of its application. Good photos. points are clarity of eXpression, philo objectives, and methods. Contains an Books 1. Dimondstein, Geraldine, Children Dance in insight into theoretical considerations o Creative Dance ' the Classroom. New York: Macmillan, 1971. dance in education and their relationshi Presents a discussion of dance as a creative to the total physical education program Andrews, Gladys. Creative Rhythmic Move- expression. ment for Children. Englewood Cliffs, N.J.: Prentice - Fall, 1973. Laban, Rudolf. Modem Educational Dance. Folk and Ethnic Dance An overall approach based on children 2d rev. ed. London: McDonald & Evans, and teachers learning and sharing together 1963. 114 pp. Beliajus, Finadar. Dance and Be Merry. through creative movement and dance ex- In this book, written 10 years before his Chicago: Clayton F. Summy Co., 1940 periences. Contains many specific sugges- death and revised by Lisa Ullman, Laban (out of print). tions such as hoo use songs, space, and explains his analysis of human movement Provides description and background rhythm factors rn movement exploration and describes the 16 basic "movement formation about dances of different co and children's dance. Can be used as a' themes," of which the first 8 are appropriate tries, including dances from southern guide toward a better understanding of for elementary school use. European counWlas not found in other children in general and their creative poten- collections. Music included. tial in particular. Mettler, Barbara. Materials of Dance as a

Creative Art Activity. Tucson, Ariz.: 3, Durlacher, Ed. Teacher's Manual #1 for Bborman, Joyce. Creative Dance in the Mettler Studios, 1970. Nursery, Kindergarten, 1st, 2nd and 3 First Three Grades. New York: David Contains unique ideas of movement and Grade& Freeport, N.Y.: Square Dance McKay, 1969. sound, movement and shape, and movement Associates, 1958. Provides practical help on development as a creative art experience. Can be used as Includes play party games, singing of movement concepts. Stresses the impor- a "jumping off" place for children and folk dances, and marches. tance of human movement as a means of adults. creative exploration. Utilizes the analysis and terminology of Rudolf Laban. 0

Teacher's Manual #2 for In ter - Lidster, Miriam and Tamburini, Dorothy. Humphrey, Doris. The Art of Making mediate Elementary Grades 4, 5 and 6. Folk Dance Progressions. Belmont/Calif.: Dances. New York: Holt, Rinehart & Freeport, N.Y.: Square Dance Associates, Wadsworth, 1965. Winston, 1959., 1958. A source book of international folk The unique contribution of an outstand- Includes singing games, folk dances, dances designed for teachers. Major ing dancer, choreographer, and teacher to square dances, waltz quadrilles, couple strength is on ethnic style, philosophy, and the understanding of choreography as an art. dances, and mixers. culture of the Philippines, the Balkans, Israel, and Scandinavia. Primarily for Martin, John. John Martin's Book of ,the Gilbert, Celia. InternationalFolk Dance at upper grades and beyond. Dance. Brooklyn: Dance Horizons, Inc., a Glance. Minneapolis: Burgess Publishing 1963. Co., 1969. Powers, William K. Here is Your Hobby: A history of dance as spectacle and com Of value to those learning and teaching Indian Dancing and Costumes. New York: munication. Relates contributions of many folk dance. Provides basic step and forma- G.P. Putnam's Sons, 1966. dancers and dance periods to dance today. tion in ormation and teaching suggestions. Easy to read material on a number of Contain dances from many countries Indian dances and their function as a part Stearns, Marshall and Stearns, Jean. Jazz includin frica. Emphasis is on dances of Indian ceremonials or social gatherings. Dance. New York: Macmillan, 1968. without partners and mixers. Bibliography Includes illustrations and directions for A scholarly study on the history of jazz and record sources. executing basic and advanced Indian steps, dance from its African origins to the present. along with examples of Indian songs, music, An enlightening look into American jazz and Harris, Jane A.; Pitman, Anne; and Waller, and costumes. the cultures thit produced it. Marlys. Dance A While. 4th ed. Minneapolis: Burgess Publishing Co., 1968. 386 pp. Squires, John L. and McLean, Robert E. A comprehensive and classic text on American Indian Dances. New York: Ronald Related Arts , teaching folk dance. Although most of the Press, 1963. dances are best suited for secondary stu- A collection of Indian dances. Arbuthnot, May Hill. "Poetry of the Chil- dents andadults, many are appropriate for dren's World." In Children and Books, 3d fifth and sixth graders. ed. Chicago: Scott, Foresnian, 1964. Understanding Dance As Art An anthology of children's poetry, Hofmann, aharles American Indians' Sing. New York: John Day, 1967. Gates, Alice. A New Look 'at Movement: A Bruce, Violet R. Dance and' Dance Drama Cokains sensitive, well-written descrip- Dancer's View. Minneapolis: Burgess in Education. New York: Pergamon Press, tions of American Indian songs, music, and Publishing Co., 1968. 1965. dances, and their important function in Discusses movement in terms of sensory Laban's work is used as a basis to explain Indian cultures. Includes excellent illustra- experiences. Designed to help teachers dance and dance drama as art forms which tions and pictures, and a record, American cultivate an attitude about it, and about can be taught in the schools. Indians Sing. creative dance and creative ways of teaching it. Note: Most large music book publishers issue a ICHPER Book of Worldwide Games and series of graded texts for teething music in the Dance& Washington, D:C.: American H'Doubler, Margaret. Dance, A Creative Art kindergarten and eliinentery grades. Different Awociation for Health, Physical Education, Experience. Madison: University of Wiscon- series are used in different communities, sin Press, 1957. depending on the recommendation of the music and Recreation, .1967. supervisors. All of them use national authorities An anthology of 68 favorite children's Theoretical background for the teacher on music education as consultants and contain games and 39 dances from 58 countries for into "the transformation of experiences into many.excellent songs and music references which students in grades 1.6. IncluleS diagrams expressive, meaningful form in dance." are useful, in teaching dance. Consult your local and music, indexed by type of activity and music.education department fbr the series used crow-referenced. in your community. Fleming, Robert S. "Learning from Looking While concerned primarily with visual DanceEdQtion, MovementEducation, Within. A Different Focus: Relating and arts, this book also includes a noteworthy and Physical Education Responding through the Arts." Childhood section on movement and dance relating Education, pp. 395-399, May 1972. both arts through such factors as space, American Association for Health, Physi design, focus, and motion. Education, and Recreation. 1201 Sixtee Gray, Vera and Percival, Rachel. Music, Street, N.W., Washington, D.C. 20036.J Movement and Mime for Children. New Nye, Robert Evans and Nye, Bernice T. Designs for Dance, 1968. 32 pp. Imp York: Oxford University Press, 1962. Music in the Elementary School. Englewood cations for dance in general education, A small but exceedingly useful book Cliffs, N.J.: Prentice-Hall, 1964. physical education, teacher education fo with practical ideas for guided exploration A review of music fundamentals which elementary and secondary schools, the using movement elements. Helpful pic- emphasizes fundamental physical responses. education of the performing artist and i tures and musical resources. Includes a sequence of activities suitable for research. working with elementary children and Focus on Dance. 6 vols. 1960-1971. Hughes, Langston. The First Book of teachers who have had a limited musical volume covers a specific dance subject o Rhythms. New York: Franklin Watts, 1954. background. interest. Of great value to teacheri of A poetic and delightful account of in schools, colleges and, universities. rhythm for children's better understanding. Sheehy, Erma. Children Discover Music and People Make Ideas Happen, 1971. Pr Dance. New York: Teacher's College Press, ceedings of a January 1970 conference o \Jacobs, Leland B., ed. Using Literature with 1968. creativity. 'Young Children. New York: Teacher's Especially valuable for its discussion of Professional Preparation of Elemerita College Press, 1965. creative dance and ways to approach it. School Specialists, 1972. Proceedings fr A collection of articles concerning Includes experiences. with singing, moving, the Lake of the Ozarks Conference. approaches to teaching language arts. One and listening to music and their importance Promising Practices in Elementary Sc article refers to an approach through to a child's development. Physical Education, 1969. Focuses on creative dramatics. cepts, curriculums, and methods which Sikes, Geraldine Brain. Children's Literature vide teachers with a better understandin Jenkins, Ella. This is Rhythm. New York: for Dramatization. New York: Harper & children and leadership techniques to im Oak Publications, 1962. Raw, 1964. prove programs. A simple explanation of rhythm, illus- An anthology of dramatic stories and Trends in Elementary School Physica trated songs, music, and poetry. verse with introductions as to why children Education, 1970. 29 pp. A series of r enjoyed them and how they used the articles interpreting new developrnents, Monsour, Sally; Cohen, Marilyn C.; material. role of physical education in learning, m Lindell; Patricia, Rhythm in Music and ment education, teacher preparation, an Dance for Children. Belmont, Calif.: Way, Brian. Education Today: Development the use of loop films. Reprinted from t Wadsworth, 1966. Through Drama. London: Longman Group, Journal of Health, Physichl Education, The special strength of this book lies in . Ltd., 1967. Recreation.

the/ appendix of recorded music for move- A text for teachers containing many . ment and program ideas/Different types practical suggestions for movement responses Anderson, Marian; Elliott, Margaret E.; are listed with excellen selections for each. through movement and sound, awareness, LaBerge, Jeanne. 2d ed. Play with a Pu Comprehensive less°plans and extensive and improvisational ideas. New York: Harper & Row, 1966. bibliography. A very complete program of physical Wilt, Miriam E. Creativity in the.'Elementary education activities for 'Children from ki Montgomery, Chandler. Art for Teachers' of Schools. New York: Appleton-Century- garten through eighth grade. Contains a Children. Columbus, Ohio: Charles E. Mer Crofts, 1cln. chapter devoted to movement explorati rill 1968. Practical s.;;estions for motivating a section on dance skills, and extensive? children to c...Live expression in the arts references. painting, dal , music, and dance. 0

Andrews, Gladys et al. Physical Education General Education GOwan, John Curtis; Demos,-George D.; and For Today's Boys and Girls. Boston: Allyn Torrence, E. Paul. Creativity: Its Educationr; & Bacon, 1960. Association for Supervision and Curriculum Implications. New York: John Wiley & Sons, One of the few elementary physical edu- Development. Perceiving, Behaving, Be- 1967. cation texts emphasizing the creative coming. Yearbook. Washington, D.C.: Creativity in children's learning. aspects of dance. Includes general philo- the Association, 1962. sophy, composition ideas, locomotor activi- Provides insight to the psychological Mearns, Hughes. Creative Power: The Educa- ties, action-movement songs, accompani- foundation of education with related impli- tion of Youth in the Creative Arts. New York: ment, and resource listings. cations affecting the social and philosophical Dover, 1958. aspects.Is concerned with the truly ade- .An ageless docufrient dedicated to the Association for Childhood Education. quate person (i.e:, sufficient in the sense of belief that every child has something International. Physical Education for fully filnctioning and self-actualizing) rather worthy to contribute and should be en- Children's Healthful Living. Washington, than adequate in the sense of "good enough couraged to do so. D.C.: the Association, 1968. 80 pp. to get by." A compilation of 10 articles on the role Rogers, Carl R. Freedom to Learn. Colum- of physical education in child development, To Nurture Humaneness. Year- bus, Ohio: Charles E. Merrill, 1969. movement as a way of learning, safety, book. Washington, D.C.: the Association, Emphasis on preparation of individuals environment, and trends. Annotated 1970. and groups to live in a world of change. bibliography and film list. Emphasizes a commitment to education for humaness. Gilliom, Bonnie. Basic Movement Education Children's Books for Children: Rationale and Teaching Units, Borton, Terry. Reach, Touch and Teach. Reading, Mass: Addison-Wesley, 1970. New York: McGraw-Hill, 1970. The books listed, below were selected and An introductory text containing an A perceptive look at teaching and learn- annotated by Jeannette Saurborn with excellent discussion of the movement edu- ing in a large integrated school and in special additional contributions from elementary cation. Combines creative dance and workshop environments. Explains how classroom teachers. educational-type gymnastics in an interest- schools could become places which students ing format. Valuable material for teachers want to attend because their education is Preschool who have missed a.movement education important to their own personal growth. training program or feel insecure with the. Brown, M. W. Good-Night Moon. New concept. Fleming, Robert S., ed. Curriculum for York: Harper & Row, 1948. oday's Boys and Girls. Columbus, 'Ohio: A wonderful way for children to, learn Halsey, Elizabeth and Porter, Lorena. Charles E. Merrill, 1963. to identify objects and animals and be one Physical Education for Children. New York: A comprehensive view of the mult4,:e with nature. Contains substance for Holt, Rinehart & Winston. 1963. purposes of the elementary school. Much thought. One of the first books on physical educa- emphasis is given to physical education tion to pace sfrong emphasis on using move - including movement and dance as a dyna- Carle, Eric. Do. You Want to Be My Friend? ment exploration and creativity in developingmic component in children's learning. New York: Thomas Y. Cromwell, 1971. motor skills. Provides many examples of Chapters on aesthetics and creativity are The only words in the book are the same problems and challenges that can be used in of special interest. as the title. Highly imaginative pictures. this approach to physical education and dance Chapter 12. Montgomery, Chandler. activities. Sensing and responding to the world: Chwast, Seymour and Moskof, Martin. Still Aesthetic development. Another Alphabet Book. New York: McGraw- Chapter 13. Andrews, Gladys. Releasing Hill, 1969. creativityExtending curriculum A picture puzzle book which could be opportunities. easily adapted for use as a movement story involving letters and word meanings.

85. Hoban, Tana. Shapes and Things. New Grades:: 1-3 'Johnson, Crockett. Harold and the Pu York: Macmillan, 1970. Crayon. Mew York: Harper & Row, 19 Photographs of familiar objects. Similar Atwood, Ann. The Little Circle. New Mork: The illustrated story emphasizes m awareness can be translated into shapes by Charles Scribner 's Sons, 1967. ment situations based on fantasy. children. . The circle in nature is beautiful. Pants or all of the body can make circles. Kuskin, Karla. All Sizes of Noises New Lionni, Leo. Inch by Inch. New York: York: Harper & RoW, 1962. AstorHonor, 1960.. Bond, Jean Carey. Brown is a Beautiful An introduction tb sounds that peo Can help child learn to "measure" with Color. New York: Franklin Watts, 1969! make. the body and develop coordination. Pictures and verse about a child in a cty. Lamorisse, A. RegBalloon. Garden Ci Scheer, Julian. Rain Makes Applesauce. New orton, Helen. Do You Move as I Do? F. N.Y.: Doubleday, 1956. York: Holiday House, 1964.' York: Abelard-Schuman, 1963. A story about the adventures of a Nonsensebut what nonsense! "Stars are One of a series of books written by the balloon, A of the sartie title isms ', made of lemon juice and rain makes apple- author between 1959 and 1970. This one available. sauce." ImaginatiVel and motivational. combines verse and illustrations, using man action words and imaginary ideag for move McAgY, D. E. Going for a Walk With a Schlein, Miriam. Shapes. New York: rent. Line. Garden City, N.Y.: Doubleday, 1 William R. Scott, 1964. Explores the concept of line in /a co Motivational ideas for creating and Brandy, Franklyn. Gravity is a Mystery. Ne tion of contemporary pieces desined changing(bady shapes in space. York: Thomas Y. Crowell, 1970. stimulate the reader's perception w . Explains in simple text, with illustrations, he sees. Schmiderer, Dorothy. The Alphabeast what is known_about the force of gravity. Book. New York: Holt, Rinenart & Mendoza, George. The Marcel Marcea Winston, 1971. CharoJ1, Mannes. Straight Lines, Parallel Counting Book. Garden City, N.Y.: Each letter of the alphabet is trans- Lines, Perpendicular Lines. New York: Doubleday, 1971. formed into three different shapes until it Thomas Y. Crowell, 1970. Mime Marcel Makeau wears 20 dif resembl 1 s a living creature whose name Explores various types of lines. Can be hats representing different professions. Withith the appropriate letter. related to movements of the body in space Color photographs. and in floor patterns. Sesame Street Books, The. Boston: Little, eet, Bill..Whingdingdilly. Boston: Ho Brown, 1969. Ets, Marie Hall and Labastida, Aurora. ifflin, 1970. Series of five imaginative books: Num- Nine Days to Christmas. New York: Viking Using a dog names Scampwhf. is tr bers, Puzzles, $hapes, Letters, and People Press, 1959. f rmed into a hodgepodge of animal p and Things. Pictorial and informative about a tis book takes a look on the positive Mexican Christmas celebration. o accepting what you've got. Wildsmith, B. Circus. New York:. Franklin Watts, 1970. Heide, Florence and Van Cleif, Sylvia. How The Wump World. Boston: Picturezbook for development of circus Big Am I. Chicago:, Follett, 1968. H ughton Mifflin, 1970. type movements. 'Comparisons are good and the conclu- Color crayon drawings and story to sion "I'm big enough for me" can be used are used to illtitratethe bad,effectso Zolotov, C. Over and Over. New York: to develop biglittle movements. pution on people and natural resou Harper & Row, 1957. Important holiday events presented in Rad, Ann and Rand, Paul. Sparkle time sequence. Ends with a birthday party. SpitA Book About Words. New Yor Har rt-Brace, 1957.

1 Sitomer, Mindel and Sitomer, Harry. What O'Neill, Mary. Hailstones and Halibut Dance Perspectives Dance Perspectives Is Symmetry? New York: Thomas Y. Bones. Garden City, N.Y.: Doubleday, 1961. Foundation, 29 E. 9th St., New York, Crowell, 1972. Explores the effects of color on people. A N.Y. 10003. Gives examples of different kinds of film of the same title is available and recom- Provides in-depth information on a symmetry in nature and in man-made mended. particular dance personage, or a specific objects, and instructions for creating sym- aspect of the dance worldpast and metrical patterns; also gives ways to test Winds. Garden City, N.Y: present. Quarterly. $8. for line and point symmetry. Filmstrip Doubleday, 1970. also available, Imaginative lyric poetry captures the Dance Scope. American Dance Guild, 124-16 different moods and images of the winds. 84th Rd., Kew Gardens, N.Y. 11415. Contains selected articles about dance ,Grades 4-6 Penrod, Jones agiPlastino, Janice. The which are of interest" to dancers and educa- Dancer PrepareMfodern Dance for Begin- tors. Semi-annyal. $2. Conno !ley, Olga. Rings of Destiny. New ners. Palo Alto, Calif.: National Press York: David McKay, 1968. Books. 1970. Journal ock/ with, Physkai Education, Sport is visualized as an art form. Contains basic information about dance Recreation. American Association for technique and preparation, anatomy, Health/Physical Educatidn, and Recreation, klaskell, Arnold. Wonderful World of injuries, diet, history, and choreographic 120)16th St., N.W., Washington, D.C. Dance. Garden City, N.Y.: Doubleday, approaches. Recommended for uppei- 2036. 1969. elementary grades. Features articles on a wideyariety of A history of the development of some/ subjects, including dance. 9 montrie dance forms. Well illustrieted, helpful Rey, H. A. The Stars Rev. ed. Boston: issues, Sept-June. glossary. Houghton Mifflin,. 1970. Explores ways of seeing shapes and/ Vi/ris. V.F. Beliajus (Editor), P.O. Box 1226, Hentoff, Nat. Jazz Country. New York: designs made by stars. Denver, Colo. 8020). Harper & Row. 1966..146 pp. Provides international folk dance infor- A fine book about jazz, a good story Stevenson, William :Bush Babies. Boron: mation collected by a well-known authority. about New York, and a wonderfully Candid Houghton Mifflin, 1965. Bimonthly. $5: story about racial attitudes. An African journey involving a little girl, a bush baby, and Tambo Murumbi.. Mendoza:George,. And I Must Hurry for the Sea is Coming In. Englewood Cliffs, White, E. B. Trumpet of the Swan. New N.J.: PrenticeHall, 1969. York: Harper & Row, 1970. Poetry is used as an accompaniment to Various scenes can be danced, especially movement. the one in Boston which is rich in music.

Nickerson, Betty. Celebrate the Sun. New -York: J. B. Lippincott, 1969. Periodic ls DesCribes "a heritage of festivals interpreted through the art of children from Dance Magazine. 10 Columbus Circle, New :many lands." Is related to ethnic dances York, N.Y. 10019. from many lands. Reports on lealing dance companies and dance personages from throughout the world. Although the emphasis is on ballet and to a lesser extent on modern dance, there are occasional articles on dance in education. Monthly. $10.

87 Audiovisual Materials

Records Electronic Record for Children, The. Lotus Palace, The Alan Lorber, MGM Dimension 5 Records, Box 185, Kingsbridge Records Div., =-V6-8711. The records listed below are examples of Station, Bronx, N.Y. 10463. Stereo =E-141. Features a sitar orchestration of popu classical, ethnic and folk, electronic, rock, Presents selections of electronic music in songs.Interestiiig sound, conducive to and jazz music, along with music recorded a variety of musical and rhythmic forms. slow angular movement. Dance-drama especially for movement exploration and Imaginative ideas such as in -Upside Down possibilities. dance. Some of the records are accompan- and -Spiders" can be used to develop self. ied by guidelines, instruction, and book awareness. Many selections are narrated. MoogThe Electric Eclectics of Dick supplements. All records are 12- LP Hyman. Crgnmand Records. Stereo unless otherwise indicated. Fiddle Faddle. RCA. Stereo =LSC-2638. =938S. Selections by Leroy Anderson such as The unusua', tonal and rhythmic effec dela Bartok. Phillips. =SAL 6500.013. the Syncopated Clock and Plink, Plank, which can be prnduced by the moog syn Features piano music with excerpts from Plunk provide humorous popular arrange thesizer make these selections a fascinati -Mikrokosmos," -Out of Doors,- and ments for improvisation. and usually Frer,orous listening and movi "Sonatina.- Derived mainly from folk experience inr children. dances, many of these short selections are Four Swinging Seasons. Capitol Interna- ideal for exploration and improvisation tional. Stereo =SP-10547. Music for Rhy,4mls and Dance, Vol. #4. purposes. Although not on this recording, Features a jazz version of Vivaldi's Four Freda Miller 7ecords for Dance, 131 Bay Bartok's suiteFor Children- is also appro Seasons by the Gunter Noris Trio. Arrange- view Ave., Northport, N.Y. 11768. priate for creative dance purposes. ments observe Vivaldi's sudden shifts in Presents the late Freda Miller's excel! tempo, rhythm, and melody while borrow compositions for basic and dramatic mo Carnival of the Animals. Saint-Saens. ing from blues, pop, rock, folk, and bossa merit. Suggestions for movement ideas a Columbia. Stereo =MS6368. nova. Can be used in upper grades for provided. Can be used by children to explore the rhythm purposes and for creating dance movement characteristics of such animals as studies. Music of Edgar Varese. Columbia. Mono lions, chickens, donkeys, turtles, and ele- and Stereo-WS-6146. phants. Narrated by Leonard Bernstein. in Sounds From Way Out..K Perry. ingsley. Wind, brass, and unusual percussion Vanguard Records. =VRS9222. instruments produce a multitude of soun Children's Corner Suite. Debussy. Columbia. Presents electronic pop music which sequences and rhythmic interruptions. Mono and Stereo =MS6567. lends itself to humorous improvisations, The selections are too long and complex Presents a piano suite of six pieces with changing body shapes, and isolated move- use in their entirety, but sections can be varied rhythmic and melodic qualities ment of body parts. There is an easily effectively used as motivation for solo o suitable for exploration, improvisation, identifiable beat in the short selections. group movement responses to rapidly- and further development. changing sounds and rhythms. Best Listen and Move Series. McDonald & Evans, suited for upper elementary grades. Electronic Music. Philips. Stereo =PHS Ltd., 8 John St., London, W.C.I. Four 600-047, Mono =131-1M 200-047. records (Green label). Music Today. Angel Records. #S.36558. Can be used to motivate original move- Features simple to complex progressions Features new music from Britain. ments based on problems in special ele- of percussion rhythms and piano pieces for Roberto Gerhard's -Collages" is excellen ments, shapes of movement, and imagina- movement exploration and dance activities. for improvisational work with children. tive studies. Best for upper grades. Follows the Laban approach to movement.

88 Pop Corn by Hot Butter. Musicor Stereo. Bowmar, 622 Rodier Dr., Glendale, Calif. Dances. of the World's Peoples. Two =MS-3242. 91201. (Regional outlets are located records, =6501-4. Authentic folk dance Features a moog synthesizer and other throughout the country. The company is music from the Balkans, Europe, Near and instruments in 11 selections with arri ,ge- sole distributor for its records.) Middle East, Caribbean, and South ments of many recognizable melodies. The America. Accompanying notes include *Children's Rhythms in Symphony. value of this type of popular music is in its directions. Great composers' music for movement and association with today's music. interpretatione.g., "Gavotte," "Polka," *Dances Without Partners. Two records, "Gigue," "Over the Hill." =AR-32.33. Group dances based on folk Space Songs. Motivation Records, Div, of forms, some with instructions, some with Argosy Music Corp. =MR-0312, *Rhythm Time -.1:1 & -.7:2. Two records, music cues, and others with instrumental One of a series of singing science records =023 and =024. Basic movement, rhythm, music only. Suitable for upper grades. used successfully in elementary schools to and idea activities. Honor Your Partner Records. Series support the learning of basic science con- Two Record Series =201 208. Square cepts, Can be used as motivation for dance Dancer's Shop, Children's Music Center, dances for upper elementary grades. ideas whether using the song and music 5373 W. Pico Blvd., Los Angeles, Calif. included, or, preferably, finding other 90019. Folkways/Scholastic Records, 907 Sylvian music or composing own music to develop A source of any dance record or book Ave., Englewood Cliffs, N.J. 07632. ideas gained from the record. in print, Catalog lists records under Dance Therapy as well as Dance. Sounds of New Music. #FX -6160. Switched on Bach. Columbia. Stereo Orchestration sounds associated with a steel -4-MS-7194. Educational Activities, Inc., P.O. Box 392, factory, barnyard scene, banshees, fantasy Moog synthesizer provides electronic Freeport, N.Y. 11520. (Kimbo Educa in space, reverberation, and others provide interpretations of Bach selections. inter- tional Records also included.) numerous creative movement possibilities. esting contrasts for improvisation and African Heritage Dances. :IA R -36. Sounds, Rhythm, Rhyme and Mime for locomotor responses. Presents music and instructions for some of Children. -;;FC-14504. Instruments and the easier African steps and dances. rhythms relating to African cultures are Way Out Record, The. Dimension 5 Authentic Afro-Rhythms, Early Elemen- associated with sounds, sights, and rhythms Records. Stereo =D-131. of city life, Children's own experiences can A participation record using unusual tary Through College, =9070. fizeatures 16 rhythms from Africa, Cuba, Haiti, Brazil, be motivated in music and movement impro- sounds and electronic effects. Suggest visations as a result of this association. The record side without narration. Trinidad, and Puerto Rico. Description of dances included; teacher's manual available. "Body Rhythm" selection is effective in using hands, feet, and body. Authentic Indian Dances 6.,nd Folklore. Record Sources and Selections =9070, A Chippewa chief narrates the Hoctor Educational Records, Waldwick, history and meaning of the Corn Dance, N,J. 07463. The records that are preceded by an asterisk Rain Dance, and Canoe Dance. Contains (*) have been suggested as appropriate for four appropriate bands of drums with *Come Dance With Me. Virginia Tanner movement and dance activities by teachers chants; manual included. presents her approach to creative dance. who assisted the Task Force in compiling Basic prMciples of movement and rhythm material for this chapter. Records without Come and See the Peppermint Tree. are explored to music with such titles as an asterisk are included because they repre- =DPT-101. Contains unusual sounds, "Words that Rhyme" and "Daddy's Car." sent a cross-section of dance materials combinations, tone, poems, and non '-ense One record is of music only. offered by the company under which they stuff; fantasy and reality. Lyrics, and are listed. Catalogs and listings are available especially the music, can be used to moti- from these companies. vate children toward creative movement.

89 Popular and Folk Tunes for Rhythmic Films Dance with Joy. 1971. 13 min., sd., Movement. Features orchestrated selec- color. Sale $155, rental $17.50. Docum tions compiled and directed by a dance The letters in parentheses refer to film dis- tary Films, 3217 Trout Gulch Road, Apt. therapist. tributors, listed on p. 92. Calif. 95003. Two-anda-half to four-year-old childre RCA Records. Radio Corporation of Instructional respond to the inner stimuli of music and America, 1133 Avenue of the Americas, rhythm in an experimental early childhoo New York, N.Y. 10036. (Order records These dance films illustrating method, con- education program. The film was direct through local record company distributors. tent, etc., are primarily helpful to dance by Gertrude Copley Knight. Catalog available for school and library specialists and classroom teachers. materials.) Dancers In School. 1972. 28 min., sd., 3eing Me. 1969. 13 min., sd., b/w. Sale 'Adventures in Music. A 12album color. Sale $250, rental (mail cost). Penn $75, rental $5 (EMC). record series (two at each grade level). baker, Inc., 56 W. 45th St., New York, N. Grades 1-6. Primarily used by music This film documents a creative dance 10036. specialists and classroom teachers. However, class of nine girls, aged 8 to 13, as taught by The film was commissioned by the Hilda Mullin. There is no formal instruction the great variety of classical seections pro- National Endowment for the Arts as a or attempt to elicit stylized movements; vides a good music resource for creative documentary on dance in education as a dance experiences. Few contemporary rather, each child follows her own body part of the Arts Impact Program. It pro- rhythm in a series of explorations which music selections are included. jects a vivid impression of the liveliness a involve the physical, mental, and emotional interplay between artists and children wh *World of Folk Dance. An album in self. dance is brought into the schools. The graded series for elementary school three artist/teachers are Bella Lewitzky, children. Child of Dance. 1970.9 min., sd., color. Murray Louis, and Virginia Tanner. Sale $140, rental $15 (F1). S & R Records, 1609 Broadway, New York, Children ages four to six and members of Early Expressionists. 1965. 15 min sd,, N.Y. 10017. Virginia Tanner's Creative Dance Studio are color, Sale S185, rental $15 (CMH). "African Dances and Games. In Ewe engaged in dance exercises, expression, and T"e views of Rhoda Kellog, noted exp style from parts of Ghana and Togo. free movement experiences. There is no on child art and behavior, are combined Manual available. narration. The film can be used to motivate with Joyce Brook's sensitive filming of tw children and for teacher education classes to four-year-old children in spontaneous *Dance Music foi Preschool Children. and general adult purposes. and rhythmic movement sequences with Presents original music to accompany basic various art media to make this film a visu rhythmic movements. Arranged by Bruce Children Dance. 1970, 14 min., sd., b&w. experience of educational and aesthetic King, a leading dance educator. Sale $85, rental $8 (EMC). merit. Not specifically a dance film, it ha The film was produced by Geraldine something to offer parents, teachers, and Young People's Records, c/o Living Lan- Dimondstein and Naima Prevots as an exten- anyone eke concerned with children and guage, 100 6th Ave., New York, N.Y. 10013.Fion of a pilot program designed to make Many of these records ale useful for very dance an integral part of the elementary Looking for Me. 1971. 29 min., sd., b& young children, combining as they do songs curriculum in Washington, D.C. K-3 childrenSale $175, rental $12.50 (EMC). or chants which guide the action to excellent explore time, force, space, and imagery con- Written and narrated by Janet Adler, music. Recommended especially are: Build- cepts presented by classroom teachers who dance therapist, the film illustrates simp ing a City, My Playful Scarf, The Little Fire- had explored the same basic concepts at clear examples of the importance of mov: man, Train to the Zoo, What the Lighthouse their own level of experience. ment awareness and explorations with no Sees, When the Sun Shinesalthough all mal and autistic children. Although not have value for children's dance. a sense a creative dance film, the importa of body movement and awareness of self communication between adult and child i recorded in a convincing manner. Movement in Time and Space. 30 min., sd., Motivational Hailstones and Halibut Bones. (Parts I & b&w. Sale from Peter M. Rodeck and Co., Il).1964-1967. 6 and 8 min., sd., color. 230 Park Ave., New York, N.Y. 10017. This is a list of primarily short films which Sale $90, each part. Sterling Educational Rental S14 (EMC). can be used effectively to motivate creative Films, Inc., 241 E. 34th St., Ne...br York, This film is part of a BBC series on movement response, through an under- N.Y. 10016. "Discovery and Experience" filmed in the standing of the relationships between dance Selected poems from Mary O'Neil's book 1950s but only recently made available in and languz;ge arts, visual arts, humaMties, Hailstones and Halibut Bones are read while this country. Boys and girls in an elemen- and music. Some of the films are available colors such as gold, blue, red and green tary school explore movement problems from local public libraries and state univer- visualize the author's "ways of feeling." based on time and space. In the final film sities at no cost or for a small rental fee. Such feelings can also be expressed in segment children create their own words, movement. Art and Motion.17 min., sd., color. Sale sound effects, and movements in a dance 5167,50 (EBEC), rental $8 (EMC). Hoo H. 1967. 5 min., Ed., color. Rapa- presentation of Jabberwocky closely The film describes movement as an inte- port Co. (Monroe), 175 W. 72nd St., New related to creative dr amatics. Sound track gral element of the arts.It has been used York, N.Y. 10023. is not too clear. effectively with children in upper elementary This film is of a folk dance which is grades for exploring the movements found slowly fragmented into views of dancing Movement Speaks.1961. 16 min., sd,, h&w,in nature, such as clouds, birds, and melting feet and abstract colors as the music Sale from County Council of West Riding, snow. changes. Yorkshire, England. Rental $4 from Wayne State University, Systems Distribution and Christmas Cracker. 9 min., sd., color. Sale Images from Nature. 1962. 7 min., sd,, Utilization Dept., V5440 Cass Ave., $110, rental $6 (CMH). color. Rental 53.60 (IND). Detroit, Mich. 48202. The subject of this animated film is Nature scenes are interspersed with Eleven- and 12-year-old boys from a treated in an original manner. Parts can be abstractions inspired by seasonal changes. mining community in Yorkshire, England extracted for specific objectives of a lesson. Animations are created with flowers, colored lights, pressed glass, dry ice, etc. are encouraged to explore the expressive Dance Squared. 1963. 4 min., sd., color. aspects of movement through improvisations Sale $65, Rental $6. International Film Little Blue and Little Yellow.1962.11 of dramatic themes and qualities of move- Bureau, 332 S. Michigan Ave., Chicago, Ill. ment. The film is particularly helpful to min., sd., color. Sale $125, rental $10 60604. (CMH). teachers because of the teaching approach Movement, color, and music (square and the fact that not all of the movement This is a film version of the award- dance) are used to explore the symmetry of results are successful. winning children's book, where abstract the square. The film could be used to splotches of pure blue and yellow hug introduce concepts of space and floor design each other and become green. When their .Moving/Making/Me.1972. 16mm, 28 min., and group relationships. parents don't recognize them they cry sd., b/w. Sale $225, rental S14. Realist tears of blue and yellow which separate Photographers and Filmmakers (Att: William Fantasy of Feet. 1970. 8 min., sd., color. them and they return home. The film is Jungels), 96 North Park, Buffalo, N.Y. Sale $120 (EBEC). used primarily to teach the concept of 14216. This film shows feet walking, dancing, primary colors; the idea can be expanded Working with a public school special running, and jumping barefoot and in san- to include a threepart dance form. education program for 13 primary, educable, dals, flippers, and slippers. A pail of cow- mentally-retarded children, art and dance boy boots perform a square dance. The McLaren, Norman Films. 1944-1961. teachers show how concepts in movement film can be used to encourage children to Sale and rental. International Film Bureau, and art can be interrelated. The film records create their own dance about feet.It is Inc., 323 S. Michigan Ave., Chicago, III. several sessions, revealing and amplifying one of four short visual language films from 60604 (also CMH). the children's individual styles and gradual Magic Moments, Let's See (Unit III) to Among these short imaginative films, understanding of themselves gaincd through develop children's awareness of self and the most appropriate for dance experiencas the media of dance and art. the world. The other titles are: Toes Tell, are ,4 Chairy Tale, Canon, Fiddle-de-dee, Lopsided Land, and Hands Grow Up. Hen Hop, Rhymetic, and Hoppity Pop.

91 Sources for Reading Materials, Audiovisual Materials, and Inforrna

Once Upon a Time There Was a Dot.1967. F l Film Images (Div. of Radim Films), American Association for Health, Physic 8 min., sd., color. Sale S135, rental S12.50 17 W. 60th St., New York, N.Y. Education, and Recreation.1201 Six (CMH). 10023, and 1034 Lake St., Oak teenth St., N.W., Washington, D.C. 21 This amusing animated film is effective Park, Ill. 60301. Refer information requests to the Da or Elementary School Consultant. in stimulating children's imagination. A IND Indiana University Audio-Visual dot-circle squirms, bounces, wiggles, and Center, Bloomington, Ind. 47401. changes its shape into an airplane, people, Bureau of Indian Affairs.U.S. Departm musical instruments, etc. There is excellent NF BC National Film Board of Canada, of the Interior, Washington, D.C. In synchronization between music and visual 1251 Avenue of the Americas, New 1965, the BIA published Answers to impressions. York, N.Y. 10020. This film- Questions About the American India producing company distributes its It can be obtained by writing to the Snowy Day.1964. 6 min, sd., color. own films for sale only. Rentals above address. Sale S90, rental S5. Weston Woods Studio, are distributed by Contemporary Weston, Conn, 06880. Films/McGraw-Hill. Country Dance and Song Society of The film captures a boy's delight in Moto: The most compete list of dance films up tt, America. 55 Christopher St., New Y observing the silence and wonder of a city 1969, with annotations and film distributors N.Y, 10014. An excellent source of snowfall. The action-animated collages as included, appears in the April 1969 issue of Dance English and American folk music and Magazine The films were compiled and annotated he slides down snow mountains and takes a by Allegro Fullet Snyder and Monica Moseley, dance, including reading materials an snowball home reflect the quality of snow with additional drinotatiOnS by D D Livingston films. Publishes a newsletter. and the warmth of the family. The film is based on Ezra Keats' book Snowy Day. Dance Horizons, Inc.1801 E. 26th St., Brooklyn, N.Y. 11229. A source of paperback reproductions of out -of- Film Distributors print and presently available dance b Book listing available upon request. The increasing list of films on dance and related areas -ballet, ethnic, modern, folk, Dance Mart. Box 48, Homecrest Sttio square, therapy, educational, and experi- Brooklyn, N.Y. 11229. A source of mental-- is surprisingly large. Some of these and good used dance books. Listing films are suitable for viewing in grades K-6, available upon request. and many are available from the distributors listed below. Dance World Books. Box 101, Blawenb "7"71mir N.J. 08504. Source of hatdcover an BFA BaileyFilm Associates Educational paperback books on dance. Listing Media, 2211 Michigan Ave., Santa available. Monica, Calif. 90404. Dancer's Shop, Children's Music Center. Contemporary Films/McGraw-Hill, CMH 5373 W. Pico Blvd., Los Angeles, Cal 330 W. 42nd St., New York, N.Y. 90019. Annotated listing of books a 10036. records available. Will attempt to lo, EBEC Encyclopaedia Britannica Educa- any published dance material. tional Corporation, 425 N. Michi- gan Ave., Chicago, III. 60611. EMC University of California Extension Media Center, Berkeley, Calif. 94720. Photo: Bill Sears, Tucson, Ariz.

92 Chapter 11 Pilot Projects, Activities, and Happenings

Katie Planche Friedrichs Joan Tillotson

Nariortl Folk Festival Association, Inc. 1346 Connecticut Ave., N.W., Washing- ton, D.C. 20036. A clearinghouse for folk dance information sources and various community, state, and regional folk dance societies and groups.

New York Public Library. Genevieve Oswald, Curator of Dance Collection, Lincoln Center, New York, N.Y. The Dance Collection is the world's most complete dance information source. MissOswald has compiled book form catalogues of materials --books, prints, photographs, manuscripts, films, and tapeson any particular dance or dance related subject.

State Arts Councils. Provide information on local dance resources and personnel as well as funding possibilities for workshops and other danc.? endeavors.

State and Private Universities and Colleges. Refer to dance or physical education department personnel.

Uni-Pub. P.O. Box 433, New York, N,Y. 10016. This organization deals directly with UNICEF. Book lists of UNICEF catalogs are available.

United Nations Bookstore. New York, The Task Force recognized the importance New York. of identifying programs, projects, or activities emphasizing children's dance. Communica- tions were sent out to solicit data from state and district dance chairmen, Executive Council of the Dance Division, and city and state directors of physical education, Infor- mation was also collected at state meetings, national conventions, and workshops throughout the country. Such an activity was carried out in an effort to determine the kinds of experiences underway as well as to identify places in which children's dance could be observed.

93 In an effort to secure some uniformity Title: Courses in Children's Dance on the College 2. Projects Dealing with Relating Dance to Variou in collecting materials submitted, an infor- Level Curriculum Areas mation sheet was sent out to the individuals Location:Pan zar School of Physical Education Participants: Physical education, classroom, Title: A three year project in children's dance and places suggested. (See Appendix, p. 99 dance, music, and drama students/ Location:Richmond, Va. for the information sheet.) teachers Participants: Thirty-three boys and girls at Blac A variety of responses were received. Contact Person: Betty K. Sommer, Panzar School well Public School, their classroo Upon analyzing the materials, illustrations of Physical Education, Montclair art, and music teachers. State College, Upper Montclair, Contact Person: Gladys Andrews Fleming, of the projects tended to fall into the follow- N.J. 07043 Virginia Commonwealth Univ ing categories: sity, Richmond 23219 Title:Creative Dance in the Elementary School 1. Projects Dealing With Teacher Education Location:Victoria, British Columbia, Canada TitleIntegrating Creativity in Movement with Title. Dance Internship in Children's Dance Participants. Elementary school teachers, fourth Three Areas of Curriculum: Arts, Music, Location: Southeastern Louisiana University grade boys and girls and Language Laboratory School and Tangipahoa Contact Person: J. R. Ellis, Jenkins Elementary Location:Allentown, Pa. Parish School System, Holy Ghost School, 1824 Fairfield Road, Participants: Sixth grade boys and girls Catholic Parochial School, Hammond, Victoria, British Columbia; or Contact Person: Judy Moatz Hummel, 31 S. P Louisiana David Docherty, University of Street, Allentown, Pa. 18102 Participants. Children in grades K-8; interns from Victoria, B C., Canada Southeastern Louisiana University, TitleIntergration of Language Arts with Hammond 70401 Title. Children's Movement Classes ACTION VERSES: Poems for moveme LocationCity of Sierra Madre, Los Angeles Location: New York City Title: Dance for Children: A Dance Project for County, Calif. Participants: Elementary grades K-3 Community Groups Participants: 4 to 6-year-olds, 7-year-olds, college Contact Person: Olga Kulbitsky, Hunter Colle Location: Auburn, Ala. students New York City, N.Y. 10021 Participants: Brownies and Junior Girl Scouts Contact Person: Dennies Lynn Barber, 55 W. from three different troops Sierra Madre Blvd., Sierra Madre, Title: Creative Dance in Elementary School Contact Person. Louise K. Turner, Auburn Calif. 91024 Location:Durrance Road Elementary School University, Auburn, Ala. 36830 Participants: Split grade 4 ar'd 5; boys and girl Title:Creative Dance for Children Contact Person: A. J. Fry, Principal, Durrance Title: Summer Dance Camps Location:Brigham Young College of Physical Road School, 6021 W. Saani. Location: Aia. Education Road, Victoria, B.C., Canada Participants: 4. 5, and 6th grade students and Participants: Children ages 4 through 18 their teachers Contact Person. Sara Lee Gibb, Ballet and Contact Person: Louise K Turner, Auburn Modern Dance Coordinator, 3. Projects Dealing With Innovative Efforts to Te University, Auburn, Ala. 36830 Brigham Young University, Dance Provo, Utah 84601 Title: Workshops in Creative Dance Title: Teacher Training for Developing and I Location: Victoria, British Columbia, Canada Title: Movement as a Way of Learning menting Elementary Curriculum with Participants: Teachers, college students, groups Location: Richmond, Va. Aesthetic Core of children for demonstration Participants: Classroom teachers and elementary Location:City School District, Columbus, 0 Contact Person: David Docherty, Department of physical education teachers Participants: Cranbrook and Eastgate Elemen Education, University of Victoria, Contact Person: Gladys Andrews Fleming, Schools Victoria, B.C., Canada Virginia Commonwealth Univer- Contact Person: Jerry Kvasnika, EPDA Arts, sity, Richmond 23219 Title. Classroom Teachers In-Service Program IMPACT Project, 270 E. Sta St., Columbus, Ohio 43215 Location: Baton Rouge, La. TitleProject in Children's Dance After-School Participants: Classroom teachers and elementary Program Title: Teaching Experiences with Children physical education specialists Eastwood Elementary School, Upland Location: Location.Salt Lake City, Utah Contact Person: Katie Planche Friedrichs, Terrace Elementary School, both in Southeastern Louisiana Univer Participants: Nursery school to 12th grade Utah Contact Person: Connie Jo Hepworth, 840 S. sity, Hammond 70401. Participants: Boys and girls in the elementary Street, East Salt Lake City, grades 84112 Contact Person: Shirley Ririe, University of Utah, Salt Lake City, 84112 Title: Dance in the Elementary School Title: ArlingtonHighland Early Childhood Title: EPDA Project IMPACT Location:Berkeley, Calif. Development Center Location: The five locations of IMPACT Projects Participants: Middle grades 4,5, and 6, boys and Location:Route 3, Baton Rouge, La. were: girls Participants: Two groups of multi-age (3 -5) 1. Troy, Alabama Contact Person: Dorothy S. Mozen, 1380 Summit children, one of 5.yearolds 2. Glendale, California Rd., Berkeley, Calif. 94708 Contact Person: Bonnie Burns, ArlingtonHighland 3. Columbus, Ohio Early Children Development 4. Eugene, Oregon Title: Dance or Rhythm in Elementary School Center, Route 3, Baton Route, 5. Philadelphia, Pennsylvania Location:Independence, Mo. La. 70808 Participants: Selected schools and teachers in each Participants: Primary grades school system Contact Person: Feryl Graham, 1231 S. Windsor, Contact Person: Shirley Ririe, University of Utah, Independence, Mo. 64055 4. Projects Dealing With Performing Groups Salt Lake City 84112 The p-ojects reported represent a variety of Title: An Innovation at Hunters Woods The Title:Children's Dance Programs efforts unaerivay in children's dance. The range Inclusion of Creative Dance as Part of the Location:Binghamton, N.Y. of activities is impressive. A variety of projects Creative Arts Curriculum Participants: John Harshaw Elementary School in are related to teacher education, both preservice Location:Hunters Woods Elementary School, Chenango Lorks and inservice. Many of the projects were curricu- Reston, Va. Contact Person: Caroline Magee, Drummond State lum oriented. Some reflect a concern for relating Participants: The six teams of children which University of New York, Bing. dance to other curriculum areas while others are comprise the school population are hamton 13901 concerned with ways of improving dance in the multi-age grouped elementary school. There are marled variations Contact Person: Marie Sterne, Hunters Woods Title:Project in Children's Dance among projects, some take place within one Elementary School, Reston, Va. Location.University of Utah classroom and others on a school-wide basis. 22070 Participants: Children K-12 Contact Person: Shirley Ririe, University of Utah, Title:Physical Education and Dance Project Salt Lake City 84112 Location:Lehman College, Public School 86, the Bronx Title: The College Serves the Public Schools Participants: Mostly fourth, fifth, and sixth LocationBarrington, R.I. and Providence, R.I. grades Participants: Dance Club of RIC, elementary Contact Person: Blanche R. Teitelbaum, Public school children of Barrington, R.I. School 86, Bedford Park Blvd. 5th and 6th grades West, Bronx, N.Y. 10478 Contact Person: Fanny Helen Melcer, Director of Dance, RIC, Providence, R,1. vt, TitleAdapting OrffSchulwerk and Movement 02908 Exploration to Second Grade Physical ,` Education Title: Dance Concert for Children Location:Roosevelt University, Chicago, III. Location: Oklahoma City, Okla. Participants: Second grade class in a suburban Participants: Two adults, audience of children parochial school Contact Person: Barbara McDermitt and Dena Contact Person: Robert E. Marciante, 2740 Norma Madole, Three Circle Arts, P.O. Court, Glenview, III. 60025 Box 704, Oklahoma City, Okla. 73101 Title: Perceptual Motor Coordination Location:Richmond, Calif., Richmond Unified School District, 1108 Bissell, Rich- 5. Funded Projects mond, Calif. Participants: Children in the EH primary and Title: Jackson Pilot Project in Creative Movement intermediate grades in Elementary Education Contact Person: Gertrude Blanchard, Richmond Location:Jackson, Mich. Unified School District, 1108 Participants: First through sixth grade children, Bissell, Richmond, Calif. 94801 their teachers, resource personnel Contact Person: Florence Price, 6750 Ann Arbor Rd., Jackson, Mich. 49201

95 Chapter 12 Personal Contacts for Children's Dance

Katie Planche Friedrichs Joan Tillotson

The following is a list of names and Gay Cheney District of Sharon Lee Clark addresses of individuals who responded to Hayward State College Columbia George Washington Un Washington, D.C. 200 the Task Force inquiry. These people Hayward 91242 teach some aspect of children's dance. They Carol Clark Margie R. Hanson Elementary Consultant may he contacted since they have confirmed AAHPER Health and Physical Education Elementary Education their willingness to be of assistance. This Services Consultant list is organized by states since geographic Los Angeles County Schools 1201 16th St. distribution may be helpful. Los Angeles Washington, D.C. 200 Emily Dawson Florida Mary Alexander 1717 Manhatton Ave. Alabama Bob Goss Tully Gym Hermosa Beach 90254 IMPACT -Troy City School Florida State Univ. Troy 36081 Abe Friedman Tallahassee 32306 San Diego State College Louise K Turner Judd Gatlin San Diego 92115 771 Cary Dr. Escambia County Sch Auburn 36830 Buzz Glass c/o Pensacola Jr. Coils Recreation Dept. Pensacola 32504 Arizona Gloria Kosowski Howard C. Gray, Jr. University of Arizona Dakland 1316 Airport Rd. Dept. Women's Physical Lois E. Johnson Panama City 32401 Education California State College Lonc Tucson 8F-,:21 Beach Deanne Lister 1318 High Rd. Norma Pike Long Beach 90801 Arizona State University Dorothy S. Mozen Tallahassee 32304 Dept. of Physical Education 1380 Summit Rd. Georgia E. Ruth Green Tempe 85281 Berkeley 94708 119 Harden Rd. Apt. 4 Virginia Robinson Jesse Nixon Statesboro 30458 Public Schools San Jose State College Tucson San Jose 95114 Vafjeanne T. Grigsby Slater Elementary Sch California Dennies Lynn Barber Verna Smith Atlanta 588 Tamarac Dr. Los Angeles City SchoolArea Pasadena 91105 North- 4931 Inadale Ave. Joanne Rae McGhee Ann Berlin Los Angeles 90043 Holy Innocent's Parish School 5126 N. Hartwick St. Lois A. Tidgwell 305 Mt. Vernon Way Claremont 91711 430 Elder Dr. Atlanta 30337 Evelyn Bjugstad Claremont 91711 Mary Womack 371 Wilde Ave. Pride Anderson Colorado 750 DeKalb Ave. N.E. San Francisco 94134 University of Denver Atlanta 30307 Denver, 80210 Gertrude Blanchard Idaho Bob Dliphant Recreation and Parks Dept. Robin Gregory Rich College Civic Center Fort Collins State Univ. Rexburg 83440 Ri:hmond 94804 Fort Collins 80521 Illinois Jo Ann Busch Madeline Boyer J. Mark Ralston 1608 Coronado Dr. San Francisco State College Clifton Elementary School Champaign 61820 San Francisco 94132 Grand Junction 81501 Mini Chapman Pat Caldwell Connecticut Clare Albom San Fernando Valley State Superintendent-- Heal th, 1146 W. Lawrence St. College Physical Educttion Springfield 62704 Northridge 91324 Rockville Public Schools Faith Clark Jack Capon Rockville 06066 Western Illinois Univ. 1020 Camellia Dr. John Hichwa Macomb 61455 Alameda 94501 RFD *2 W. Redding 06896

96 Jean Duff Catherine J. Williams Fran Oppliger National Colle'je of Education Box 269 7357 Carleton Ave Evanston 60201 Grambling 71245 St. Louis 36130 Barbara Heimerdinger Maine Jan Goodwin Ray Ovekmann 315 Dresser Rd. Gorham State College 6037 Harney De Kalb 60115 Gorham 04038 St. Louis 63136 Robert E. Marciante Maryland Ruth Cinsky Delores M. Plumk 2740 Norma Ct. 4504 N. Charles St. Central Missouri State College Glenview 60025 Baltimore 21210 Warrensburg 64093 Nancy McGaw Maida L. Riggs Sally Robinson Rockford Board of Education 14 Frost Lane 1492 Craig Rd. 201 S. Madison Massachusetts Hadley 31035 St. Louis 63141 Rockford 61101 Linda SI ama Philna E. Miller C.E.M.R.E.U. Rockford Board of Education Michigan Mary Irene Bell Aesthetic Education 201 S. Madison 1101 W. Cross St. Elementary School Rockford 61101 Ypsilanti 48197 10646 St. Charles Rd. Iowa Carol Berger Lillian Buchner St. Ann 63074 606 N. Buxton Couzens Elementary School New Hampshire Harriet F. Stone Indianola 50125 Detroit RFD 1 Betty Towman Ruth Murry Bristol 03222 Iowa State Univ. 8900 E. Jefferson Ave. New Jersey Sal E. Abitanta Ames 50010 Detroit 48214 State Dept. of Education Louisiana Carroll Breeland Florence Pricl Trenton 703 Carondlet St. 6750 Ann Arbor Rd. Betty K. Sommer Jackson 49201 New Orleans 70130 Panzan School of Physical Bonnie Burns Ann Zirulnik Education Arlington Highland Wayne State University Mountclair State College Childhood Development Center Detroit 48202 Upper Montclair 07043 Rt. 3 Minnesota Mary Rae Josephson New York Caroline Magee Drummond Baton Rouge 70808 Minneapolis Public Schools State Univ. of New York Katie Planche Friedrichs Minneapolis Binghamton 13901 Southeastern Louisiana College Shirley M. Price Eric Gassen Hammond 70401 155 Windsor Lane Physical Education Dept. Jessie Garrett New Brighton 55112 William Floyd School System Physical Education Missouri John Billingham Mastic 11950 Elementary Supervisor 2953 Endicott Bruce King East Baton Rouge Parish St. Louis 63114 160 W. 73 St. Baton Rouge Helen Boehm New York 10023 Muriel Moreland N. Hawthorne School Olga Kulbetsky Univ. of Southwestern 1351 N. Hanley Rd. Hunter College Louisiana University City 63130 New York Lafayette 70501 Paul Dearduff Connie Mayo Colleen Nelken 9706 Newton Dr. 141 Joralemon St. Dept. of Health, Physical St. Louis 63136 Brooklyn Heights Education, and Recreation New York 10021 Natchitoches 71457 Feryl Graham 1231 S. Windsor Irma Pylyshenko Susan Nesanovich Independence 64055 State Univ. College Country Day School Brockport 14420 1305 Airline Park Blvd. Don Masker Judy Schwatz Metairie 70003 11080 Golf Crest Dr. St. Louis 63126 School of Education New York Univ. New York 10003 97 Rose Strasser Rhode Island Fanny Helen Melcer 23 Coleman Ave. Director of Dance, Rhode Marie Sterne Brockport 14420 Island 1817 Hunter Mill R Providence 02908 Vienna 22180 Blanche R. Teitelbaum South Dakota Public School 86 Marge Wikle Lucy Stockdell Bedford Park Blvd. West Dept. Physical Education St. Catherines Scho Bronx 10468 Emerson and Longfellow Richmond Schools Joan Tillotson Sioux Falls Washington Andrea Boucher RFD #1 Western Washington Morrisonville 12962 Tennessee Katherine Sevedge Mary Ann Watson College North Carolina Rosalie Bryant Bellingham 4825 Beverly Dr. Mrs. Gray Donna Jean Claypol Charlotte 28207 Sherwood Elementary School Memphis Central Washington Ohio Jerry Krasnika E Ilensburg 98926 EPDA Arts Project Glorir.- M. Venson 270 E. State St. Hamilton High School Lou Dawes Columbus 43215 Memphis 6229 N.E. 202 Seattle 98155 Texas Betty Benison Jo Ann Seker Univ. of Texas Alice Gates Valley View Elementary 1620 A Carter Dr. Washington State U School Arlington 76010 Pullman 99163 Vermilion 44089 Joan C. Hayes E. S. "Red" Hende Oklahoma Beatrice D. Lowe S.W. Texas State College W. 825 Front Ave. Director of Physical Education San Marcos 78666 Spokane Tulsa Howland Reich Zaidee Sadler Dena Madole and Barbara Box 1388 Resource Teacher McDermitt Port Arthur 77640 1525 N. Fourth St. Three Circle Arts Renton 98055 P.O. Box 704 Utah Sara Lee Gibbs Oklahoma City 73101 Brigham Young Univ. Lavere Shaffer Provo 84601 1806 Wilson Ave. Oregon Shirley M. House Bellingham 98225 Shirley Ririe 620 N. Fremont Wisconsin Alice Duran Portland 97227 Univ. of Utah Dance Dept. Superintendent of Eva Montee Salt Lake City 84112 Oshkosh 54901 Box 28 Virginia Mary Brown A. Bruce Frederick Warm Springs 97761 21 Dozier Rd. Wisconsin State Un Glenn Norris Newport News City Schools Superior 54B80 Univ. of Oregon Newport News 23603 Bill Meiser Eugene 97403 Alice Ferguson Wisconsin State Un Pennsylvania Jeanne Beaman Granby High School Eau Clair 54701 Univ. of Pittsburgh -Dance Area Granby Bivd. Sally Robinson Pittsburgh 15213 Norfolk 4849 Sheboygan A Lillian Hasko Gladys Andrew Fleming Madison 53705 Slippery Rock State College 4150 October Rd. Virginia Weiler Slippery Rock 16057 Richmond 23234 10000 W. Edgerto Judy Moatz Hummel) Jo Ann Fulton Hales Corners 531 31 S. Penn St. Taylor Elementary School Canada David Docherty Allentown 18102 2600 N. Stuart University of Vict Arlington 22207 Sister Natalie Lann Victoria, B.C. Our Lady of Victory Convent Earlynn Miller A. J. FryPrincip BIO Westerly Pkwy. Dept. of Physical and Health Durrance Road Sc State College 16B01 Education Victoria, B.C. Madison College Barbara Southall Lee Harrisonburg 22801 Mary Elizabeth Ha Supervisor, Health and 250 Roehampton Physical Education Dixie Rittig Toronto 12, Ont. Philadelphia 8925 Battery Rd. Alexandria 22308 Zelda Walofsky Mary Sane Walbers 1375 W. 15th Ave 111 South Green St. Vancover, BC. East Stroudsburg 18301 98 Appendix Survey Questionnaire

Sal E. Abitanta Task Force Member

The Status Study: Design DANCE DIVISION, AAHPER QUESTIONNAIRE FOR TEACHERS ON DANCE AND/OR RHYTHMIC ACTIVITIES IN ELEMENTARY SCHOOLS (NURSERY THROUGH SIXTH GRADES) Name_ _ Position School System Address (S--treet) Years of 0.5 10-15 Teaching:5-10 15-more CCty) (Zip) In the spring of 1969, the Task Force on Dance in Elementary Education undertook (Check and complete where necessary) a survey to determine the status of existing 1. Status of Dance and/or Rhythmic Activities in your Elementary School(s). 'programs and practices. Over 1,000 ques- A. Are dance and/or rhythmic activities a part of your program? Yes No tionnaires were mailed to state directors; If Yes, how frequently are they offered? Daily Weekly Unit 0 Occasionally 0 city and county directors of health, physical education, and recreation; state dance chair- B. List dance and/or rhythmic activities you offer in your elementary school program. men; and 10 selected teachers in each state Check in the appropriate box at which grade level you offer these activities and plus the District of Columbia. Questions how: were asked regarding the (1) status of Nursery Third Through Sixth dance, (2) preparation for teaching, (3) Through Boys Girls Boys and Third Alone Alone Girls problems encountered, and (4) help needed to improve. The questionnaire is shown opposite. Essentially the same items were presented to each group mentioned above. This instrument was prepared by the Task Force and tried out in a variety of situations by 2. Your Preparation for Teaching Dance and/or Rhythmic Activities: various people. Modifications were then A. Was dance and/or rhythmic activities included in your professional preparation? made in an attempt to improve the instrument. Much (Major or Minor) Some (Two or more courses and/or workshops) 0 Little (One course and/or workshop) 0 None 0 B. Comment.

C. Was this preparation sufficient?Yes 0 No 0 3. What are the problems you encountered in the teaching of dance and/or rhythmic activities?

4. What would help you improve your teaching of dance and/or rhythmic activities?

99 Inquiry Forms Information Concerning Children's Dance Activities Revised Aprii 1971

The following suggestions might be help- 5. Relationship of the project to information promptly to the Task Force ful setting up pilot projects or demonstra- physical education program member responsible for reporting these o tions in children's dance. They may also 6. Plan for record keeping- including lines. The roster of Task ForceChildren help you in writing up descriptions of your video tapes, recordings, logs, case Dance is: dance activities. The suggestions are made studies, planning, observations of to develop some degree of uniformity in children, etc. Sal Abitanta reporting these projects.It will be helpful 7. Projected calendar of proposed Division of Curriculum Instruction to have as complete information as possible events or activities State Department of Education concerning each center, location, individuals 8. Resources, facilities, and material 225 W. State St. involved, and projected plans. The folloi,ving available Trenton, N.J. 08625 items are proposed: 9. Length of time project or activity is conducted Katie Planche Friedrichs I.Background Information C. Plan for evaluation or assessment Locator of Projects A. Title of project, demonstration, or 1. Case studies of children P.O. Box 702 activities 2. Log of experiences Southeastern Louisiana University B. Location of demonstration, project, or 3. Observations Hammond 70401 activities 4. Samples of experiences, studies, C. Complete address of the school, dances created Mary Rae Josephson school system, or place 5. Pictures North High School D. Name principal, classroom teacher, 1719 Fremont No. and administrative officers involved Please share with us any information you Minneapolis, Minn. 55411 E. Name and full address of individual(s) can concerning the nature of your project or responsible for dance activities or activity and its design. This outline should Ruth Murray project and those directing it. be shortnot more than 2 or 3 typed pages. Coordinator of Dance F. Grade level or age groups (including This will enable the Task Force on Children'sWayne State University 3- to 5-year-old children) with whom Dance to contact you and, hopefully, to be Detroit, Mich. 48202 activity is to be carried out. of assistance. Your help will be appreciated. In addition to the designed projects pre- II.Design of Project viously described, the Task Force Commit- A. Statement or description of proposed tee needs to know of other ongoing activities. project, demonstrations, or dance Any short-term project- in a regular school, activities series of Saturday programs, demonstrations B. Overall plan with children, clinics or inservice programs 1. Kinds of activities to be included in dance, dance-physical education, dance- 2. Unique features of the plan art, or dance-music will be of great interest. 3. Ways of getting started In order to coordinate the various local 4. Relationship of program to total pilot projects and demonstrations underway, curriculum it would be helpful if you would send this

100 Criteria For Viewing Selected Films Dance Division-1968

Needed Research Dance Division Task Force (Dance in the Elementary School)

Is the content relevant to curriculum Relationship of dance to reading Relation of dance to variety of charactaris objectives of children's dance? Contributions of dance therapy and learning ticspersonality, emotional, appearance, 1. Movement should be motivated and disabilities in general gestures, movement, etc. spontaneous. Why dance in the elementary school? Interviews with children to determine what 2. Are movement problems appropriately movement and dance means to them complex for purpose? Values of dance for children Conduction of a variety of studies similar 3. Is there a sequential development? Relationship between the dancer and to Mary Ella Montague and Dorothy Madden's a. Simple to complex intelligence Doctoral studies b. Projections of ideals) Technical aspects of the film Personality profile of students who are Dance relaxation study. Ways of using dance oriented 1. Light (intensity, color aspects) dance to help teacher become a more creative 2. Sound (music and/or speaking) Adapting materials from various researchers person 3. Camera (distance, closeups, angle, to dance, i.e., Torrence Description of a variety of experiences with focus, time spent on segment) Repeat major dance studiesuse of cycle boys in movement and dance At what levels would film be used most technique Evaluation of dance experience successfully? N-K LI; 1.3 fl; 4-6 El; parents Li; Relate dance to total development Development of inservica experiences for teachers Li Continuation of study of relationship of teachers of dance for children dance to creativity Pertinent comments about children's Development of simple creative movement dance revealed in the film, including Uses of dance in socialization of children tests creative aspects, relationships to curriculum content, and purposes of the film. What are socialization experiences in dance? What are socialization experiences in dance with young children? Development of inservice experiences for men desiring to teach dance Uses of dance with various ethnic groups Role of dance in working with urban groups Ways of interpreting power of dance to administrators Relationships of dance to verbal skills, attitude development, and self-awareness Case studies in dance with children in diverse school situations Study of movement in dance

101 Photo Credits

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

Page iii Agnes I. Michaels, Fredonia, New York 52 Agnes I. Michaels v Agnes I, Michaels 53 Agnes I. Michaels vi Joan S. Tillotson, Mornsonville, New York 54 Bruce King, New York, New York viii Nik Krevitsky Tucson, Arizona 55 Bruce King Agnes I. Michaels 56 Bruce King Shirley Ririe, Salt Lake Coy. Utah 60 Gladys Andrews Fleming 1 Gladys Andrews Fleming, Ricrimond, Virginia 62 Magdalena Cantu, Richmond, California 3 Linda Hearn, University of Oregon, Eugene 63 Nik Krevitsky 4 Shirley Ririe 64 Nik Krevitsky 5 Anne and Paul Bailin, Claremont California 67 Nik Krevitsky 6 Gladys Andrews Fleming 68 Shirley Ririe Shirley Ririe 70 Gladys Andrews Fleming 8 Shirley Ririe 73 Shirley Ririe 12 Joan S. Tillotson 80 Gertrude Blanchard 16 Joan S. Tillotson Barbara Mettler, Tucson, Arizona 23 Gladys Andrews Fleming Louise K. Turner 25 Gladys Andrews Fleming 81 Anne and Paul Baffin 27 Gladys Andrews Fleming 92 Barbara Mettler 28 Gladys Andrews Fleming 93 Marie Sterne, Vienna, Virginia 29 Gladys Andrews Fleming 95 Bonnie Burns, Baton Rouge, Louisiana 30 Gladys Andrews Fleming 32 Gertrude Blanchard, Richmond, Virginia 34 Ruth Wilson, Cheyenne, Wyoming 35 Ruth Wilson 37 Shirley Ririe 39 Shirley Ririe 4() Louise Flotte. Hammond, Louisiana Katie Planche Friedricks, Hammond, Louisiana 42 Tommye G. rates, La Fayette, Georgia 43 Louise K, Turner, Auburn, Alabama 45 Shirley Ririe 47 Dorothy Mozen, Bei keley, California 48 Louise K. Turner Shirley Ririe 49 Shirley Ririe 51 Shirley Ririe

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

102