The diversity and proliferation of dance on college campuses makes any forecasts of the next fifty years hazardous. Here certain trends and speculation about how dance and universities will continue their relatively new alliance are examined. (Author/RK)

Examines the ways a teaching artist, a dancer, uses movement as the point from which he and students gain a new perspective. The critical thinking that results from student responses to dance often gives voice to stereotypes that block students' broader vision and acceptance of diversity. (SLD)

Examines pedagogical content knowledge obstacles that teachers sometimes face when teaching educational dance, discussing several pedagogical strategies related to teaching educational dance (eliminating challenges and determining skill levels, the role of the teacher, categories of educational dance, and contextual situations). These strategies…

Examined how the Feldenkrais Method of somatic education informed a series of contemporary technique classes in a professional setting in Montreal, Quebec, Canada. Collaborative research findings highlighted three themes: transfer of learning, movement awareness facilitation, and construction of the dancing bodies. This study works toward a shift…

In this interview, Eliot Feld, a ballet dancer who has choreographed more than 100 ballets for every major company in the United States and around the world, discusses his passion for dance, dance training, mentors, balancing academics and performance at the High School of Performing Arts, and establishing Ballet Tech. (CR)

Describes dance therapy with multidisabled children. Presents case study involving girl with cerebral palsy, mental retardation, and emotional problems with goal of helping her adjust to everyday life and function as nearly as possible as a normal individual. Recommends common movements be combined extemporaneously or in cooperation with a…

Relates environmental activism to dance which is seen as relationship to the living world. Describes the coming together of people who are moved to personal activism. (LZ)

This annotated discography lists 45 recordings for children from birth to 14 years, including recordings of stories, songs, ballet, and foreign language songs. Distributors' addresses and phone numbers are provided. (EA)

Among 20 Ontario elementary school teachers (average teaching experience 13 years), none had ever taught creative dance but all felt it should be included in the elementary curriculum. Barriers to implementation included lack of training and confidence, little support from administrators and policymakers, and lack of resources and facilities. (SV)

Argues that poetry therapy is similar to the other creative arts therapies in its use of creative processes and products, and in its intrinsic positiveness, gentle indirectness, and breadth of appeal and application. Suggests that collaborative research efforts among creative arts therapists can lead to new understandings of the processes and…

Describes the acquisition of the archives of the late dancer/choreographer Martha Graham. Discusses the Library's financial support of Graham's classic ballet, "Appalachian Spring"; Graham's influence on dance; negotiations for the archives; materials in the archives; a commemorative performance; and the Martha Graham Legacy Project…

This qualitative, phenomenological study explores the experiences of dance therapy for 5 women who had been sexually abused as children. Using in-depth, largely unstructured interviews, the women reflect on their dance therapy experiences: and on their perceptions of the role of these experiences in their psychological healing. (Contains 46…

Using improvisation in movement and dance classes is an ideal way to help students relate to how their bodies move. Students can learn confidence from the way they move by experimenting with unconventional and different methods. Improvisation, as such, is responding spontaneously to stimuli (music) in order to create a composition that allows for…

A four-component aiming movement was used to examine the relative effectiveness of part and whole practice. Following a pretest, participants were assigned to one of three practice groups. Participants in a "Whole" group practiced the four components together as a unit. A "No Overlap" group practiced the first two and last two components of the…

This article looks at the indigenous music of Botswana as an African musical idiom, to illustrate common aspects between approaches to teaching and learning music in African societies and the Jaques-Dalcroze approach. The author argues that a strong foundation exists in African musical practices upon which the Dalcroze approach can build. That…