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Teaching Dance as Art in Education
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Table of Contents

PrefaceAcknowledgmentsIntroduction: Thinking About Dance EducationPart I. Why-Understanding Dance as Arts EducationChapter 1. Viewing Educational Dance From an Arts Education PerspectiveWhat Is an Arts Education Perspective?What Are the Defining Characteristics of Educational Dance?What Drives an Arts Education Perspective?Chapter 2. Examining How National Arts Initiatives Affect DanceNational Dance Content and Achievement StandardsThe "Nation's Report Card" in DanceOther Initiatives That Affect Dance EducationNeed for Arts AlliancesAdvocacyChapter 3. Adopting Your Roles and Responsibilities for TeachingWhy Become a Dance Specialist?Examining K-12 Teaching Roles and ResponsibilitiesPreparing to Teach Dance as Art in K-12Chapter 4. Emphasizing Aspects of Student-Centered LearningTaking a Child-Centered PerspectiveKinesthetic-Motor Development (Moving and Learning)Aesthetic-Artistic DevelopmentCognitive-Intellectual Development (Thinking, Perceiving, and Processing)Psychological-Social Development (Feeling and Interacting)Teaching the Whole ChildChapter 5. Identifying the Cornerstones of Dance as Art in EducationFour CornerstonesPivotal Role of InquiryOverview of the Dance Cornerstone Curriculum FrameworkHow the Cornerstones Lay the Foundation for AccountabilityPart II. What-Clarifying the Content of K-12 Educational Dance (The Cornerstones)Chapter 6. Dancing and Performing: Cornerstone 1Relation to National Standards and BeyondOverview of This CornerstoneArtful Use of the Dance ElementsVocabulary Systems Used in DanceDance Technique and Skill DevelopmentDance Cornerstone Curriculum (DCC) FrameworkChapter 7. Creating and Composing: Cornerstone 2Relation to National Standards and BeyondOverview of This CornerstoneCreative Process and ProductsCreative Dance for ChildrenChoreographyDance Cornerstone Curriculum (DCC) FrameworkChapter 8. Knowing History, Culture, and Context: Cornerstone 3Relation to National Standards and BeyondOverview of This CornerstoneDance Across Cultures: Cultural DiversityDance Through Time: Dance HistoryPreservation and DocumentationDance Cornerstone Curriculum (DCC) FrameworkChapter 9. Analyzing and Critiquing: Cornerstone 4Relation to National Standards and BeyondOverview of This CornerstoneAesthetic ValuingCritical Thinking and ProcessingDance CriticismDance Cornerstone Curriculum (DCC) FrameworkPart III. How-Presenting Dance as Art in EducationChapter 10. Constructing Artistic Bridges to Other DisciplinesRelation to National Standards and BeyondDance's Role Across the CurriculumDifferent Models for Integrating the Arts in EducationTeaching Other Academics Through DanceCollaborating Across the ArtsChapter 11. Creating and Maintaining an Effective Arts Learning EnvironmentCreating a Positive Arts EnvironmentManaging Arts Instruction: The Precursor to Artistic ExpressionSchedulingAbout FacilitiesSurvive and ThriveChapter 12. Investigating the Arts Savvy Curriculum, Instruction, and Assessment TriadCurriculum ContentInstructionAssessmentIntegrating the TriadChapter 13. Integrating the Cornerstones to Create Units of Study in DanceRelating the CornerstonesTeaching by Integrating the CornerstonesUsing the Eight-Step Plan to Maximize Artistic ResultsVarying an Eight-Step LessonChapter 14. Creating a Unit of Study Using an Arts Education PerspectiveCreating an Integrated Unit of StudySample Unit: Examining a Work by David ParsonsBuilding Your Own Unit of Study Around a Choreographic WorkBuilding Your Own Unit of Study Around a StyleChapter 15. Reflecting on TeachingEthical Dimension of TeachingRelational TeachingSchool RenewalReflective PractitionerChapter 16. Developing an Arts-Oriented Teaching PortfolioPreparing a Perspectives NotebookPreparing Your Professional Teaching PortfolioClosing StatementAppendix A: Reference Lists of ConceptsAppendix B: Forms, Checklists, Sample Items, and ArticlesAppendix C: Professional Organizations and National InitiativesGlossaryReferencesIndexAbout the Author

About the Author

Brenda McCutchen has over 40 years experience in teaching dance at various levels. She is currently a consultant for Dance Curriculum Designs.

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