In Knowing Dance, Marion Gough provides a general framework for understanding the many different aims, demands and constraints of teaching dance, with suggestions for practical and creative ways of dealing with them. After considering the interaction between teaching and learning, the author looks at the ways that a dance course may be planned, and how styles, strategies and methods of assessment can be applied to achieve different teaching objectives.
The Divine Dance has become a classic for fans of Richard Rohr and an important book on Christian mysticism, it provides a fresh perspective for anyone studying or teaching the trinity. The Trinity is the central doctrine of Christianity, but it is still widely considered a mystery we won't ever fully understand. Should we still try to understand it, even so? If we could, how would it transform our relationship with God? In this stimulating and thought-provoking book, internationally recognised teacher Richard Rohr explores the nature of God and the paradoxical idea of the Holy Trinity as both three and one. With clear, surefooted wisdom, he encourages us to build on the early Christian understanding of the relationship between Father, Son and Spirit as a flow and dance - a Divine Dance - that we are invited to join in. An engaging, accessible look at the nature of God, The Divine Dance will challenge the way you think about the Trinity and give you a much fuller understanding of the triune relationship that is at the heart of Christian doctrine. It will leave you with a faith that is renewed and strengthened, and show you how you can engage more deeply in your relationship with God and the world through the Trinity.
Dancing to Learn: Cognition, Emotion, and Movement explores the rationale for dance as a medium of learning to help engage educators and scientists to explore the underpinnings of dance, and dancers as well as members of the general public who are curious about new ways of comprehending dance. Among policy-makers, teachers, and parents, there is a heightened concern for successful pedagogical strategies. They want to know what can work with learners. This book approaches the subject of learning in, about, and through dance by triangulating knowledge from the arts and humanities, social and behavioral sciences, and cognitive and neurological sciences to challenge dismissive views of the cognitive importance of the physical dance. Insights come from theories and research findings in aesthetics, anthropology, cognitive science, dance, education, feminist theory, linguistics, neuroscience, phenomenology, psychology, and sociology. Using a single theory puts blinders on to other ways of description and analysis. Of course, all knowledge is tentative. Experiments necessarily must focus on a narrow topic and often use a special demographic—university students, and we don’t know the representativeness of case studies.
AN INSTANT #1 NEW YORK TIMES BESTSELLER "A charming, wholehearted love story that's sure to make readers swoon."—Entertainment Weekly "Nicola Yoon writes from the heart in this beautiful love story."—Good Morning America “It’s like an emotional gut punch—so beautiful and also heart-wrenching."—US Weekly In this romantic page-turner from the author of Everything, Everything and The Sun is Also a Star, Evie has the power to see other people’s romantic fates—what will happen when she finally sees her own? Evie Thomas doesn't believe in love anymore. Especially after the strangest thing occurs one otherwise ordinary afternoon: She witnesses a couple kiss and is overcome with a vision of how their romance began . . . and how it will end. After all, even the greatest love stories end with a broken heart, eventually. As Evie tries to understand why this is happening, she finds herself at La Brea Dance Studio, learning to waltz, fox-trot, and tango with a boy named X. X is everything that Evie is not: adventurous, passionate, daring. His philosophy is to say yes to everything--including entering a ballroom dance competition with a girl he's only just met. Falling for X is definitely not what Evie had in mind. If her visions of heartbreak have taught her anything, it's that no one escapes love unscathed. But as she and X dance around and toward each other, Evie is forced to question all she thought she knew about life and love. In the end, is love worth the risk?
This book aims to define new theoretical, practical, and methodological directions in educational research centered on the role of the body in teaching and learning. Based on our phenomenological experience of the world, it draws on perspectives from arts-education and aesthetics, as well as curriculum theory, cultural anthropology and ethnomusicology. These are arenas with a rich untapped cache of experience and inquiry that can be applied to the notions of schooling, teaching and learning. The book provides examples of state-of-the-art, empirical research on the body in a variety of educational settings. Diverse art forms, curricular settings, educational levels, and cultural traditions are selected to demonstrate the complexity and richness of embodied knowledge as they are manifested through institutional structures, disciplines, and specific practices.
This volume examines some crucial issues in the conduct of fieldwork and ethnography and provides new insights into the problems of constructing anthropological knowledge. How is anthropological knowledge created from fieldwork, whose knowledge is this, who determines what is of significance in any ethnographic context, and how is the fieldsite extended in both time and place? Nine anthropologists examine these problems, drawing on diverse case studies. These range from the dilemmas of the religious refashioning of the ethnographer in contemporary Indonesia to the embodied knowledge of ballet performers, and from ignorance about post-colonial ritual innovations by the anthropologist in highland Papua to the skilled visions of slow food producers in Italy. It is a key text for new fieldworkers as much as for established researchers. The anthropological insights developed here are of interdisciplinary relevance: cultural studies scholars, sociologists and historians will be as interested as anthropologists in this re-evaluation of fieldwork and the project of ethnography.
Jennifer Donohue Zakkai illuminates why and how dance is a powerful tool for learning and creativity in K-6 classrooms. In this "workshop on paper" you'll discover how to build on what you already know about movement, and implement techniques to tap into children's natural appetite for moving. Zakkai addresses the challenges of engaging students in full-bodied motion in the classroom. She focuses first on helping students become responsible movers in the space, then offers structured learning experiences that demand a high level of concentration and creativity. Through verbal prompts--not demonstrations--that involve students in creative problem-solving, students learn through discovery instead of imitation. You don't have to be a dancer to use the detailed model lessons that guide you through warm-ups, movement explorations, rich curricular integrations, culminating activities, observation and reflection. To help your students understand curriculum content, express themselves in creative ways, and learn about dance as an art form, Dance as a Way of Knowing offers a progression of strategies that will make this vibrant discipline come alive in your classroom.
Brenda McCutchen provides an integrated approach to dance education, using four cornerstones: dancing and performing, creating and composing, historical and cultural inquiry and analysing and critiquing. She also illustrates the main developmental aspects of dance.
After years of working in a factory, Ginger decides to go back to school and join the 9-to-5 white-collar world. The higher she climbs, however, the more her jealous, controlling husband tries to pull her back down. Desperate to hold onto the things she loves, yet driven to achieve more, Ginger must make choices that are both extraordinary difficult--and ultimately freeing.
