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 Post subject: Curriculum: Affective Aspects
PostPosted: Tue Oct 24, 2000 5:44 am 
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<B>AFFECTIVE ASPECT OF DANCE CURRICULUM</B> <I>by</I> <B>rabbit & co.</B><P>Teaching students about the affective, or emotional and expressive aspect of dance is important to completing the dance education process. <P>Dance is uniquely productive of affective experiences, since the dancer can frequently reveal feelings and emotions more directly than those who deal only with the spoken or written word.<P>For students, the affective aspect of dance may at first be more cathartic or therapeutic, allowing a release of frustrations, anger, joy, fears, love, hate and so on. <P>As the student matures and gains more control over the instrument of expression, he or she reaches a point of aesthetic expression which provides a sense of accomplishment. <P>Gaining the ability to channel feelings and emotions and communicate with classmates and the teacher in a fresh and unique way gives the student a means of enhancing self-awareness and self-evaluation. <P>The body, mind, and spirit can become integrated to reveal to the student and to others what might never have been possible before.<P>Schools now must provide positive experiences, more than ever. Schools that provide constructive forms of release and expression could help to ensure a more peaceful world for the future. <P>To work toward such a goal, teachers must discuss with students how they feel about many situations. Teachers can ask them in what kinds of situations they might feel sad, frustrated, depressed, happy, amused, elated, angry, afraid, loving, or caring. <P>Out of such discussions, even with very young children, can come a whole series of dance studies and finally dances that are truly moving experiences for the performer as well as the viewer.<P>Feelings and emotions are an intrinsic part of any art, especially of dance. The following questions could be used to elicit affective responses expressible in dance.<P>-What can make you feel sad? happy? angry? frustrated? etc.<BR>-How might the colors red, blue, yellow, green etc. make you feel?<BR>-How would you move if you were very cold or very hot?<BR>-How fast can you move? how slow? etc.<BR>-How would you move if you felt very free, , how much could you move if you were tied up by hands and feet?<BR>etc.<P>It is important that students become finely attuned to their feelings about many different and contrasting situations so they may ultimately be sensitive enough to choreograph. <P>Sensitive individuals may possibly also make better citizens, because they are aware of others' feelings as well as their own.<P>Affective factors that affect movement are: experiences, perceptions and feelings, and emotions.<P><B>Some examples of affective goals in dance lessons:</B><P>-To demonstrate how quality of movement expresses ideas, emotions or feelings.<BR>-To demonstrate how gestures can communicate feelings.<BR>- To understand how axial movements can be used to communicate and express ideas, feelings, emotions.<BR>- to understand how practicing dance techniques leads to self-satisfaction and group awareness...<BR>-To demonstrate how changing of elements of movement (space, time, force-energy-dynamics) produces different meanings.<BR>-To develop studies which express moods or feelings.<BR>-To respond in movement to the movement of others.<BR>-To develop awareness of others by use of contact improvisation<BR>-to tell about one's own movement and someone else's movement.<BR>-To discuss positive and negative feelings about working with a group.<P>Attending to the affective aspect of any dance lesson will provide growth-enhancing experiences for students. <P><B>Where Creative Movement fits in</B><P>The use of creative movement helps students examine self-concept and build new coping skill. <P>It is important to give opportunities for the dance student to explore feelings about themselves and the environment, to develop new skills to deal with perceptual motor deficits, and to increase self-esteem.<BR> <BR>In a playful atmosphere, activities are structured to increase concentration, impulse control, frustration, tolerance, and so on.<P>Providing a space besides technique class, for example a creative movement section to the class or an Improvisation or choreography class could be one way of having children realize the possibilities of expression that they have through the art of dance , and not just concentrate on the mechanics of the movement styles or techniques they are studying. <P>Through improvisation and role playing in the dance or movement class, children can become aware of their own self-defeating behaviors and begin to experiment with alternative ones. <P>As there is no right or wrong in improvisation, they can be successful. <BR>Problem solving in movement can increase self-confidence, and group work can provide a positive shared social experience. Using the child's strengths is necessary to explore problem areas. <P>It provides safe surroundings in which children can express themselves in tangible ways, communicate with others, and increase the options available to them for meeting their own needs and the requirements of society.<P>A dance educator is not, and should not pretend to be a dance therapist. However, there is an inherent therapeutic effect in the creative dance experience, and the skilled educator can be aware of and support that potential. <P>Dance programs in small dance studios are very important as they reach out to all their communities. The good that can come out of small dance studios is immense if they offer abounding outlets for creativity and originality, challenges physical capacities, requires concentrated study, develops self-confidence, and so on.<P><B>Some curricular suggestions for dance studios:</B><P>-Create an educational environment that will provide the widest possible scope for developing abilities in dance, enhancing the aesthetic values.<BR>-Develop curriculums that incorporate learning experiences designed to meet students' special technical and creative needs without ignoring their social and emotional needs.<BR>-Incorporate to dance classes instructional strategies which allow for cognitive development, conceptual understanding, and self-understanding.<BR>-Present meaningful experiences in the most effective way, maximizing achievement and minimizing boredom and discouragement.<BR>etc.<P><B>Program strategies</B><P>--- Develop your own syllabi according to your students, adapt existing syllabi to accommodate to your own particular needs. <BR>Do not apply syllabi that you are not trained in. <BR>It is more advisable to continue to prepare yourself and your teachers in response to your studio's needs and goals.<BR>Provide enrichment experiences that involve in-depth explorations into areas of interest, relevant research, product development, and performance. <P>The following <B>enrichment activities</B> can grow out of independent projects and individualized instruction that involve curricular, extracurricular or community participation:<P>- Self-directed choreographic projects<BR>-Biographical research and publishing. Dance history in your community, for example.<BR>-Concert attendance.<BR>-Special classes and /or extra classes<BR>-Attend college performances, concerts, conferences or classes.<BR>-Involvement in school or community theater productions or musicals.<BR>-Mentor programs<BR>-Career education and exploration.<BR>- "If you can't beat them, join them": offer your studio's participation in school events, like football games, reunions, parties, assemblies, etc. <P>Provide entertainment as well as educational performances. Offer your creativity to collaborate with school teachers in the teaching of particular units of study: history, science, anatomy, biology, geography, etc. can be enhanced if presented through dance. Provide for these options in your studio's curriculum.<P>-Relate to other artists in your community to participate in gallery openings, or other events, relate dance with the other arts in your town to present joint events.<P>********************************************************<P><I>This forms the penultimate part of a comprehensive Syllabus Document prepared by rabbit & friends. Please see the following threads for the other sections of this document:</I><P><BR><A HREF="http://www.criticaldance.com/ubb/Forum7/HTML/000193.html" TARGET=_blank><B><U>Syllabus Outline: Concepts</U></B></A><P><A HREF="http://www.criticaldance.com/ubb/Forum7/HTML/000189.html" TARGET=_blank><B><U>RE: Creating a Syllabus, Where to Begin</U></B></A><BR> <BR><p>[This message has been edited by grace (edited October 24, 2000).]

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