DOCUMENT RESUME ED 344 865 SP 033 758 AUTHOR Oliver, Wendy, Ed. TITLE Dance in Higher Education. Focus on Dance XII. INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. National Dance Association. REPORT NO ISBN-0-88314-521-9 PUB DATE 92 NOTE 126p. AVAILABLE FROM AAHPERD Publication Sales, 1900 Association Drive, Reston, VA 22091. PUB TYFE Information Analyses (070) -- Collectod Works General (020) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Adult Learning; *College Faculty; *College Students; *Curriculum Development; *Dance Education; Higher Education; *Program Improvement; *Teacher Education Programs; Teaching Methods IDENTIFIERS *Choreography; Historical Background ABSTRACT This monograph opens with an historical overview of dance in higher education from 1887-1991 and then focuses on issues for the 1990s. The publication is divided into five sections: (1) "Current Perspectives: Over7iews of the Field" discusses what constitutes an appropriate dance education at the college level; (2, "Teacher Education" calls for program improvement, consistency among technical, conceptual and pedagogical knowledge, Ow need for a discipline-based approach to teaching dance, incorporation of African-American dance history into the curriculum, and integration among the arts in order to promote better understanding of dance competition;(3) "College/Adult Beginners" addresses strategies for studio classes based on 1.,rinciples of learning, introduces self-teaching into technique classes, describes the challenges in working with adult-beginner ballet students, and talks about an experience in which a university community became involved in dance; (4) "Teaching Choreography" takes an historical view of the dichotomy between process and craft; and (5) "Faculty Issues" focuses on the problems of tenure and promotion, presents a survey on dance administrators, and discusses mentoring among dance faculty. The document contains 18 papers. (LL) **************(**************************************A**********.******* Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** U DEPARTMENT OF EDUCATION REPRODUCE THIS Office of Educational Research "PERMISSION TO and improvement MICROFICHE ONLY EDUCATIONAL RESOURCES INFORMATION MATERIAL IN CENTER IERIC) HAS BEENGRANTED BY C This document has been reproduced rec., red from the person or organizationt Originating It ey-1,--8-6-7A-- CI Minor changes have been made toimprove reproduction quality Points of view or opinions slated in this docu ment 00 not necessarily represent official TO THE EDUCATIONALRESOURCES 0E141 POSItiOn or pOlity IIFORMATION CENTER(ERIC)" 2 BEST COPY AVAILABLE FOCUS ON DANCE XII Dance in Higher Education Wendy Oliver Editor A Project of the National Dance Association An Association of the American Alliance for Health, Physical Education, Recreation and Dance EDIMIt's NOTE ON FOCUS ON DANCE XII This monograph, Dance in Higher E(/14CU(imE, was compiled during 1991. A Call for Papers was made public over a simonth period, and the deadline for subnUssions was January 31, 199 I. Papers submitted were then blind-reviewed by a panel of four highly qualified readers from the field of dance in higher education. I wish t.o thank these readers for their time, dedication, and insight. This volume would not have been possible without them. Wendy Oliver Editor ('OVER CREDIT: Mark Wheeler teaches a dance class in the Department of Health, Physical Education, Recreation iind Dance, ljniversity of Georgia, Athens. Copyright1 992, American Alliance for Ilealt h, Physical Educat ion, Recreat ion and Dance 1 900 Association Drive Reston, Virginia 22091 ISBN Contents Introduction, by Wendy Oliver Current Perspectives: Overviews of the Field Dance in Higher Education: Out of the Picture or Into the Fray, by Edrie Ferdun 7 A Prismatic Approach to Analysis of Style in Dance as a Paradigm for Dance Education, by Betsey Gibbons 1 2 Dance Education at the Selective Liberal Arts College, by Lynn Malluck Brooks 19 University Dance: Some Questions, by Jan Van Dyke 27 Teacher Education 3:3 Content Knowledge in Dance Education, by Sy trie Fortin 35 Dance Education Degree Programs in Colleges and Universities, by Karen Cleniente 41 Prospects for Planned Change in Dance Education, by Francine Lee Morin 47 Afrocentric Forms in 20th Century American Dance History. Transforming Course Content and the Curriculum, by Julie A. Kerr 5:3 Dance MATERIAL (Dance, Mu:,ic, and Art Training and Education Resulting In Aesthetic Literacy), by John R. Cranfi)rd 64 College/Adult Beginners 73 Developing Skills in Dance: Considerations for Teaching Adult BeginncnI. by Ca r91 A. Wood and Susan Gillis-Krununt 75 Student as Teacher, Teacher as Student, by Gail Lee Abrams 80 Ballet I Curricular Design in Higher Education, by Carol J. Soleau 84 Serving a Broad Dance Community in Higher Education, by Elea in» Wtisman 89 Teaching Choreography 93 The Integration of Process and Craft in the Teaching of Modern Choreography: A Historical Overview, by Carol M. Press 95 Observation and Criticism in the Choreography Class. by La rry Lla,ender 101 Faculty Issues 107 Tenure and Promotion of Dance Rwulty, by Jessica Wood 109 Management Competencies for Dance Administrators in Higher Education, by Erlyne E Whiteman 114 Benign Neglect: Issues in Mentoring, by Kellry Pierce-Byrd 118 tii Introduction Wendy Oliver Brief Historical Overview of Dance in appeared in the physical education lit erat ure. Higher Education Henry Taylor. in his article "The Dancing Foot." said: It has been a little over a century since the earli- . .the new dancing must be hygienic; it est dance programs were established in higher edu- must be gymnastic; it must be recreative; it cation in the United States. Since that. time, dance must be expressive and it !mist illust rate t he p. 218) in higher education has seen tremendous growth highest stan(lards of beauty. (in O'Brien, and change. Each era of university dance education Educator Luther Gulick was leading the reform since 1887 had a dominant issue, or issues, around of physical education for children, advocating which educators rallied. The record of these con- dance as a beneficial and necessary activity cerns has been kept in the publications of Own. (Chapman, 1974) and was the first educator to respective times. write a book about dance (O'Brien. 19.. 6). During t he years between 1905 and 1917. folk dance 1887-1900 became popular in higher education, co-existing with aesthetic dancing. This was a change toward Most dance educators associate the year 1926 social rather than personal expression, Meanwhile, ith Margaret H'Doubler's great accomplishment Isadora Duncan was performing in Europe, but. her of establishing the first dance major in higher edu- work did not appear to directly affect dance educa- cation at the University of Wisconsin, Madison. tion at that time (O'Brien). In 1915, Jacques However, fewer or us are aware that in 1887, Dalcroze's eurythmics, or music interpretation. Dudley Sargent established the . arvard Sumnwr came to the fore in dance education. The impor- School, a normal school which included dance tance of expressiveness in dance eclipsed the within its physical education program. This school notion of physical fitness or grace. and others like it were established for the sole pur- During the years 1918-1932, dance expanded pose of physical education preparationfor female significantly through the "new.' physical education, teachers; although men taught the courses, only which valued what was natural. expressive, and women took them. The rationale for including educational. The center of activity was Teachers dance (called dancing caaist hen ics or aesthetic College, Columbia University, where Gertrude dancing) in the curriculum stressed grace man- Colby created and taught "natural dance.- based on ners, and physical fitness (O'Brien, 1966). her synthesis of ideas from Duncan and Dalcroze However, grace and fitness were not tlw only (Chapman, ! )71). It was at Teachers College that qualities valued during this time. The influence of Margaret If Doubler was trained. Francois Delsarte's ideas o; expressiveness II'Doubler's dance major, established under the through movement were strongly feltat the auspices of the Physical Education Department at larvard program. and this notion was "at the lead- the I.Tniversity of Wisconsin, stressed creativity and ing edge of ideas about dance- (O'Brien, P. 216). personal growth, founded on a biological under standing of the body. Although she called her styl,. 1900-1930 "interpretive dance," it was actually a part of the emergence of what became modern dance. which 1905 wasthe first year dance was the main sub- rejected both ballet and aest het ic dance (Chapman, jectof discussion atthe conference of the 1971). American Physical Education Association.It was Also during the late twenties,dance educators also t he year when seven articles about dance attended the performances of Martha Graham. 6 Doris Humphrey, and other artists, and enrolled in 1950-1980 their courses. The teachings of these great dancers then began to permeate I he schools. In the fifties and early sixties, a nukjor focus was ('ommunication through dance became the the location of dance programs within the univer- byword. However, not all educators agreed that an sity setting. Many programs initially considered artist-based