Dance for Young Children. Finding the Magic in Movement. INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA
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DOCUMENT RESUME ED 294 866 SP 030 266 AUTHOR Stinson, Sue TITLE Dance for Young Children. Finding the Magic in Movement. INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. National Dance Association. REPORT NO ISBN-0-88314-381-X PUB DATE 88 NOTE 173p. AVAILABLE FROMPublications Department, AAHPERD, 1900 Assocation Drive, Reston, VA 22091 ($9.95). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Childrens Literature; *Class Activities; Classroom Techniques; *Curriculum Development; *Dance; Educational Resources; Instructional Materials; *Movement Education; Preschool Education; Young Children ABSTRACT The purpose of the book is to help teachers develop an understanding of dance in the preschool setting, sense when dance can be a natural extension of classroom activity, and develop skill in planning and leading meaningful dance experiences. The first chapter of this book discusses what dance in preschool education is about and its importance for young children. In the second chapter, the content of movement is presented; these elements are the building blocks from which dance activities are created and provide reference points for developing ideas into class activities. The third chapter discusses general preparation for dance activities, and chapter 4 offers a step-by-step description of the process of developing an idea into a class session. Chapters 5 and 6 discuss the reality of teaching a dance class, and the final two chapters give suggestions for adapting material to particular groups--the very young, the handicapped, and parent-child groups. The appendixes include resources and strategies for recorded music, ideas for use in lesson.1, children's literature, sample original stories, sample lesson on a specific movement theme: curved and angular lines, and suggested resources for further reading. (JD) **************************.********************************************* * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************t**************************** DANCE F wYOUNGCHILDREN FINDING THE MAGIC IN MOVEMENT U II DEPARTMENT OF EDUCATION "PERMISSION TO REPRODUCE THIS r>tfice of Educational Research and Improvement MATERIAL !N MICROFICHE ONLY EDUCATIONAL RESOURCES INFORMATION HAS BEEN GRANTED BY CENTER (ERIC) C Th(s document has been reproduced as received from the person or organization I originating it 0 Minor changes have been made to improve reproduction quality Points of view Of OProOns stated in this dot e TO THE EDUCATIONAL RESOURCES ment do not necessarily represent OffiCill INFORMATION CENTER (ERIC)." OERI positron or policy SUE STINSON 005.1kOlim 11.111111rm. Dance for Young Children Finding the Magic in Movement Sue Stinson Sponsored by the National Dance Association an association of the Amencan Alliance for Health, Physical Elucation, Recreation, and Dance copyright '1'1988 fhe American Alliance for Health, Physical Education, Recreation, and Dance 1900 Association Dr. Reston, Virginia 22091 ISBN 0-88314-381-X 4 To Chelle and Ben, who taught me most Contents Introduction 1 What Is Dance and Why Is It Important in Preschool? 1 2 The Material of Movement10 3 Preparing for Dance39 4 Planning a Dance Session49 5 Conducting the Class70 6 Potential Problems and Some Suggestions for Handling Them 82 7 Sources and StimuliThe Integrated Curriculumc2 8 Children with Special Needs 111 9 Leading a Parent Child Session124 Appendix A Resources and Strategies for Recorded Music132 Appendix B Ideas for Use in Lessons135 Appendix C Children's Literature144 Appendix D Sample Original Stories153 Appendix E Sample Lesson on a Specific Movement Theme: Curved and Angular Lines157 Appendix F Suggested Resources for Further Reading159 V Introduction There exists in each of us a desire to achieveto know more and do more. We want to ran, jump, and fly, and then go farther and faster. This drive has generated many individual and societal accomplishments of which we are ;ustly proud. Human knowledge has increased dramatically and continues to increase by geometric proportions. We have made a complex world in which there is much to know and do, enough challeitges to last several lifetimes. This part of ourselves lends excitement to our lives and stimulates us to move beyond where we are. At the same time, this desire generates conflicts for us, because our lives often seem too busy. There is far more to get done in a day, a week, or a year than there is time in which to do it, and we seem always in ahurry to finish the present task in order to move on to the next one. Today, educators seem particularly faced with this dilemma. As there is more and more that people need to know, how will there be time for teaching and learningit all? Teachers of young children struggle with an increasing demand for teaching their students the 'basic aca- demic skills' at an earlier and earlier age, and parents struggle with how to schedule all of the acti Mies that seem necessary for their children to become accomplished and productive individuals. Even preschoolers seem rushed at times, as they insistently ask us when can I ...r or 'How many more minutes until ...r Despite the strength of this drive, we also possess its oppositea desire to stop trying to get somewhere and appreciate where we are right now. In this dimension, we pay attention not so much to where we are going as to how we are getting there. This happens, for example, when we vii 'l viii DANCE FOR YOUNG CHILDREN stop trying to get dinner over with in order to accomplish the °vening chores, and instead appreciate the tastes and textures of our food, allow- ing mealtime to become a sensory experience. When we pay so much at- tention to the familiar, it often becomes strange for us, rather likea super-enlarged photograph of grains of salt that reveals a crystal garden. At such moments, we feel as though we have steeped outside everyday time and space, or even entered another world. We know ourselves and oar world in a different and deeper way. We may even imagine new iden- tities for ourselves, or new worlds we might enter. Preschool children seem to have special access to this other reality. Anyone who has tried to get somewhere with a young child knows that these children have an uncanny way of not only slowingus down, bet also helping us notice things along the way that we might otherwise missthe procession of ants down the sidewalk, the importance of a hug right now, even the sound of grass growing. I cherishyoung children for leading me into this world with them, for helping me find this part ofmy- self that all too often gets ignored in the busy-ness ofmy life. Artists treasure this other reality into which young children enterso readily, because it is where the creative spirit lives. Indeed, the arts offer another way to get in touch with deeper parts of ourselves anda deeper awareness of the world. Some adults even speak of how participating in the arts helps them find the child within themselves. Of all the arts, dance is the form in which 1 have founda "home." While in everyday life 1 just use my body, in dance I sense it ina different way. I become aware of much that 1 otherwise take for granted, such as what a stretch feels like, or how 1 use my feet to get into the air ina jump. Further, I become more attuned to other forms and other movements that exist in the worldthe energy of a crowd of children enteringa room, patterns of light and shadow, pathways of leaves falling to earth. Yet, dance also satisfies a need i share with young childrenthe need to MOVE ... to run, jump, and even fly. It speaks to my desire for challenge an ! excitement and achievement as well as calmness and centering. Being a teacher has given me an opportunity to combine my love for children and my love for dance. Of course, I found out quickly that love, while essential for teaching, is not enough. Somevery important knowl- edge and a lot of hard work are also necessary if one is to createa vision, whether that vision is an artistic or an educational one. As our visions grow, so do we as teachers. I used to think ofa teacher as a finished product in the business of learning, the perfect (or nearly so) model to whom the student would aspire. Now I recognize the inaccuracy of this view, especially in the creative arts. As a teacher, 1 first must sharea part of myself, creating a space in which children are free to disc' er and share a part of themselves In the process, we both learnmore zut our- F), DANCE FOR YOUNG CHILDREN ix selves and each other. We do not have a preconceived notion of just how we will 'end up; but are constantly in the process of becoming. Children have the space to become, not just like the teacher, but more fully themselves. Each teacher will also develop differently, with an individual style of teaching, based on unique experiences and the special gift of who he or she is as a person. The teacher does not need to be perfect, but has the right to try new ideas, and also to fail, in the process of growth. Seeing this kind of openness also gives children the freedom to risk themselves in the learning process. This book is meant to be a part of the growth process for you, the teacher. It will not by itself make anyone a master teacher of dance; that requires extensive experience in the art. Learning in any of the arts de- mands more than just reading and thinking.