consultation体育学院舞蹈专业英语文献翻译

2021年1月21日发(作者：油炸)
Dance as a Language of Learning and a Source of Embodied Knowledge
Richard, Marc
The
current
status
of
dance
in
Ontario
schools
is
tenuous
at
best.
Perhaps
this
reflects
the
status
of
dance
in
the
consciousness
of
the
general
public.
My
Masters
research
(Richard,
2009)
indicates
that
generalist
teachers
see
dance
as
yet
another
add-on
to
an
already
overburdened
curriculum;
thus,
they
fail
to
see
the
incredible
potential for dance as a language and form of embodied learning. Generalist teachers
don't see themselves as artists, let alone dancers, and therefore don't feel comfortable
teaching dance (Richard, 2009). For the most part, generalist teachers (and I believe
the
general
public)
have
a
very
narrow
view
of
what
dance
education
entails:
the
teacher stands at the front and demonstrates a dance (e.g. the Macarena), which the
students learn and repeat. In this teacher-directed model of dance instruction there is
little
room
for
the
development
of
living
skills
(personal,
interpersonal,
critical
and
creative
thinking),
as
oudined
in
the
recendy
revised
Ontario
grades
1-8
health
and
physical
education
curriculum
(Ministry
of
Education,
2010).
Most
of
the
stakeholders in education have very little knowledge of creative dance, defined by Sue
Stinson
(1998)
as

art
form
that
is
based
on
natural
movement
rather
than
movement
of
a
particular
style
as
one
might
see
in
tap
dance
or
ballet
(p.
2).
In
creative dance experiences the students create dances and the teacher's role is not to
teach dances or technique but to facilitate learning and creation.
Making visible the many profound moments of bodily learning within a creative
dance setting might help to broaden definitions of education and learning. Cancienne
and
Snowber
(2009)
recognize
dance
as
a
unique
site
for
learning
about
ourselves,
and our world:
our
bodies...our
bodies
experience
things
first,
via
our
physical
interaction
with
the
world; therefore, there are kinds of data that our bodies experience before our minds
(p. 188). This includes such things as the sensation of touch, the feel of air on our skin
as
we
move
through
space,
as
well
as
physical
interactions
with
objects
and
other
people.

For many generalist teachers, creative dance education remains an enigma; these
teachers look to the 'real' dancers for some idea of what creative dance is and how to
teach it. But for studio-trained dancers, creative dance is equally elusive because they
have had very few experiences as dance students where they were allowed to create.
Joyce
(1973)
recognizes
that

good
dancers
fail
at
creative
dance
teaching
because they are not sure of the goal. They are used to physical goals such as teaching
the
class
to
do
a
combination
of
steps
(p.
12).
Koff
(2000)
differentiates
between
dance education and dance training, the former being focused on
self-expression and interpretation through motion with self-knowledge as its aim
the latter on
In many Ontario schools where dance education is actually occurring, it is very
often a replication of teacher-directed studio dance training (i.e. jazz dance, ballroom
dance,
video-inspired
dances
such
as
Britney
Spears
routines).
Reggio
Emilia
educators,
Cavazzoni,
Pini,
Porani,
and
Renieri
(2007),
seem
to
recognize
the
dichotomy between the world of dance studios and creative dance when they ask,
a
body
something
to
train,
or
to
listen
to
and
know?
Is
it
a
competitive
body
with
abilities
to
conquer
or
a
body
rich
in
cognitive,
emotional,
and
expressive
potentialities?
(p.
4).
These
Italian
educators
recognize
dance
and
movement
as
a
way of knowing and naming the world, and as one of the many languages of learning.

Making the Learning Visible in Creative Dance Education

What
is
the
learning
that
happens
in
creative
dance
in
an
elementary
school
setting? This research project investigated the learning for both teachers and students
in four elementary school settings in Ontario. Four generalist classroom teachers who
were also experienced in teaching creative dance (as outlined in the documents) were
videotaped and photographed while teaching creative dance classes. Afterwards, these
teachers
were
interviewed
while
watching
the
video
documentation.
From
these
interviews,
the
researchers
observations,
field
notes,
and
photographs,
moments
of
perceived learning were proposed via pedagogical documentation panels. The words
and pictures of students
and teachers were placed on panels and these were used to
provoke
further
dialogue
in
the
form
of
one-on-one
interviews,
and
small
group
or
whole class discussions. All of the interviews and specific moments from the video
documentation were transcribed, and along with the photographs and students' work
samples,
comprised
a
data
collection.
The
overall
findings
suggest
that
in
creative
dance classes students are learning to develop an awareness of their dancing self, an
intersubjectivity as they
engage in
collaborative
creative processes and discover the
interconnectedness
of
dance
as
a
language
of
learning.
Teachers
are
learning
about
their unique role as a facilitator in creative dance classes and developing an ability to
witness thinking bodies.

The Students are Learning to Think with their Bodies

Creative dance provokes students to use their bodies for thinking and for solving
problems. As grade five teacher Brooke explained,
having
the
movement
experiences
is
way
more
than
any
other
subject
I've
seen...I
think there is something about embodying it first that gives them deeper thinking.
another teacher, Alorani, began her work with her grade three class, she advised them
they would be thinking in new ways - they would be showing rather than telling. She
initiated an activity with the grade three students in which they were working with a
partner to suspend two thin bamboo poles between their two index fingers.

Learning
to
Use
Dance
as
a
Language
to
Understand
Other
Disciplines
of
Learning

This
theme
represents
all
the
learning
that
is
taking
place
in
creative
dance
classes that is not specifically just about learning in dance but also learning in other
subject
areas
such
as
drama,
science,
math,
language,
geography,
and
health.
This
represents the learning through the dance portion of the curriculum, i.e. what students
are
learning
about
other
subjects
through
creative
dance.
The
first
time
I
witnessed
this
was
with
Charlie,
a
four
year-old
kindergarten
student
experimenting
with
his
scarf. Charlie was focused on throwing his scarf in the air and watching it descend.
Initially, he was scrunching the scarf into a ball, throwing it up, and watching it fall.
Next, his experimentation was different - he had a new theory, perhaps inspired by the
concept of soft, which they were exploring in that days lesson. He laid out the scarf