This study explores the potential contribution of the Theory of Planned Behaviour (TPB) to our understanding of student teachers' strength of intention to teach dance prior to and following an intensive eight-hour module before beginning their school-based practice. Students attending a primary Postgraduate Certificate in Education Course (PGCE)…

PALATINE, the Higher Education Academy Subject Centre for Dance, Drama and Music, received dedicated HEFCE funding (2003-2004) to address issues surrounding graduate employability, particularly focusing on the distinctive features of the labour market in the performing arts and creative industries. In the world of the Arts, the job market is very…

This curriculum framework for the arts defines expectations for student learning in the arts in New Hampshire. The framework standards do not comprise a curriculum with designated course offerings, teaching methods, or materials; instead, they provide a vision for the future, outlining expectations for student learning at the end of grades 4, 8,…

Describes an alternative elementary school where teachers work together to offer dance as a complement to writing and the study of literature in a whole language approach. Encourages teachers to add new ideas to their curriculum, to use individual talents, and to collaborate with other teachers. (MS)

The most familiar form of evaluation in Western theatrical dance is aesthetic judgement, which considers dance performances as objects of art. This is how dance critics usually approach dance. However, there is more to evaluation than this. It also plays an integral part in learning: it can help a student develop skills in choreography as well as…

This paper is a reflection on the process of dance choreography, an assignment for pedagogical evaluation at postgraduate level in an Indian university. It is also a recapitulation and reconstruction of my experiences while undergoing a Master's course in Bharatanatyam (a style of classical dance) in the Centre for Performing Arts (CPA),…

Performance-making and peace-building are processes predicated on the production of safe space. But what is "safe space"? In performance-making, what is it that makes space safe without losing the creative potential of tension? What role is there for risk? And, once achieved, how does safe space become meaningful beyond its immediate…

State and national accountability initiatives are forcing educational administrators to seek curricular interventions that will yield the greatest improvement in students' academic performance in the least amount of time. Though volumes of documentation regarding the value of the arts in education line the shelves of professional libraries and…

In past years, teachers without professional training in the arts have often been able to avail themselves of summer institutes that introduced them to specific works of art and followed up with artists in the classroom, performance, or trips to an art museum. But what happens when such support is no longer available and teachers have to function…

From an administrative perspective, this article investigates equity issues in dance education, and current challenges and opportunities for leadership in postsecondary dance programs involved in teacher education and certification. Although dance education is varied in content and environment, much is shared in terms of common goals for gender…

In collaboration with the Kwakwaka'wakw First Nations' U'mista Cultural Centre and the Nez Perce Tribe's Cultural Resources Program, this study addresses aspects of the recent history and contemporary roles of dance in their societies from the dancers' perspectives. The social science literature commonly documents the cultural history of dances…

This paper represents the final layer of analysis carried out in a study investigating the conceptions of and approaches to creativity of three expert specialist dance teachers within late primary age dance education in the UK. This research journeyed through a number of phases culminating in an analysis of the pedagogical dilemmas encountered by…

Western aesthetics tends to maintain its long-standing preoccupation with the visual arts, music and literature. The dance, along with the arts of radio and television drama, has not yet received the attention that would seem commensurate with the cultural importance of these forms and the widespread influence they undoubtedly exert. To come upon…

The Bureau of Indian Affairs (BIA) developed 30 American Indian content standards for arts education, based on the 1994 U.S. national content standards. Like the national standards, they are intended to apply across all grade levels (K-12) and are divided into the four arts disciplines of dance, music, theater, and visual arts. The purpose of…

A part of the New York City Board of Education Early Stages educational program, this activity packet was developed to assist teachers in preparing students for viewing the American Ballet Theatre's production of "The Nutcracker." The guide begins with a section on preparing for the performance, and includes information on the Early…