This thesis is a study of the work of Martha Graham, pioneer of modern dance in America, and Zab Maboungou, pioneer of contemporary African dance in Canada. The objective of this study is to identify in 'world dances' their unifying principle, to suggest implications of this for an at-one-ness in dance education. Drawing from early critical theory, specifically, I argue that a cross-cultural definition of dance is essential for inclusion of African dance, and other non-Western dances, in contemporary education. / To do so, this thesis first raises the question what is dance , and examines four commonly accepted definitions of dance. From the framework of critical multiculturalism, the politics of nonrecognition and misrepresentation are discussed. The 'primitive' trope attached to contemporary non-Western art, the regard of cultures as 'objects', and the 'tokenism' practices in multicultural education are examined in direct relation to art museums, educational institutions, and media images in particular. / From the notion of self, the thesis uses philosophical foundations, primarily Eastern, to challenge the Eurocentrism present in contemporary dance education in Canada. This addresses the question of who is the dancer. / Throughout the thesis, the shifting dialogue between theory and philosophy, past and present, movement and voice, is employed to argue for change in dance education in Canada. In response to the questions raised, the final conclusion of this thesis is developed in a six minute video presentation which accompanies this thesis, entitled: I am the two in One.

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x, 78 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My research identifies critical thinking as an essential component of dance training for students of all ages and abilities, particularly students K-12. This project strategizes ways in which the studio dance teacher can create opportunities for critical thinking in the classroom and reveals ways in which learning dance can enhance critical thinking. Special consideration is placed on how critical thinking, as a skill, relates to the unique curiosities and objectives of the discipline. Within the qualitative and experiential research design, theoretical questions are proposed and practical pedagogical applications are developed. Insights from interviews with experts in the field of dance education are interwoven with practical applications from teaching two summer dance programs for distinct youth populations, a college-preparatory program for "talented and gifted" students and an open class for homeless youth living in ShelterCare housing communities. / Committee in Charge: Dr. Jenifer Craig, Chair; Rita Honka; Walter Kennedy

"It is the purpose of this paper to suggest effective methods for teaching modern dance to deaf elementary school children"--Introduction. / Typescript. / "August, 1954." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Christine Foster, Professor Directing Paper. / Includes bibliographical references (leaves 40-42).

The purpose of this study was to investigate the effects of integrating the practice of imaging into dance training. Three skill components were identified which comprise the objective of imaging practices for dancers: a highly developed physical capacity for skilled movement; a well developed psychological makeup; an ability to become transformed. The design of a methodology integrating the elements of the skill components in dynamic relationships through imaging practices is investigated in various class and workshop situations. Definitions of the elements within this design are derived from the principal theories currently practiced in the fields of dance and body techniques, wholistic and psychosomatic health practices, and sports psychology. Creation and retention of plasticity in the developmental dynamic of the skill components emerges as an essential integrating factor within imaging practices. Increases in students' movement skills, concentration spans, and liveliness during performance are significant subjective results of integrating imaging practices in dance training.

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Focused awareness in action was designed by the author as a system of movement experiences intended to enhance individual health and self-developmental processes. Drawing on principles of yoga, pranayama, modern dance, movement improvisation, and meditation, with group discussion as a means of integrating the above principles, form components were organized into a methodology for a course of study. The course of study was implemented in a project class and other workshop settings. As a result of these experiences, the thesis describes the structure and implementation of focused awareness in action. Speculations are made regarding its potential contribution to health and self-development. Most significant among the conclusions reached is the role of group interaction and interconnectedness in realizing the potential of the model.

The discussion over whether arts education has an impact on social responsibility has been an interesting field of investigation in the educational realm. Although there still remains a dearth of information surrounding this issue, past research in the field has shed light on the importance of art and aesthetic education. Building upon prior research, this study offers a critical investigation into issues linking social responsibility and arts and aesthetic education. At the core of this study, through the use of a phenomenological framework, insight was offered into whether students' perceptions of a dance program in one British Columbia school assisted them in constructing a more advanced notion of their role in social responsibility. The overall results suggest that the participants believe that the dance program has assisted them in understanding and fulfilling their role in being socially responsible.

The aesthetic awareness of dance can be experienced by most people. Dancing is both interesting and stimulating to those who can share its common interest. Dance provides them with a chance to tone muscles and acquire better body control while keeping physically fit. It allows those individuals to release tensions, frustrations, and anxieties and yet to experience creativity and enjoyment. Elizabeth Haynes and Margery Turner, among others, have discussed dance as a self-expressional art form. Now students’ attitudes are affected by the opportunity to perform is related in part to the manner in which teachers are able to motivate students during daily class activities. It is suggested that factors such as coordination, kinesthetic awareness, aesthetic response, teacher-student relationships and dance performances are elements which cause different students to react in different ways in the classroom. In the interviews cited in the Introduction, the following questions were posed relative to gaining the best results from teaching dane: (1) What are students’ attitudes toward dance?; (2) What areas of dance will the students enjoy most in class?; (3) Are students interested in performing publicly?; (4) Does a student’s classroom performances increase when given a chance to perform before an audience outside of class?; (5) Does a student’s dance background have any bearing on her classroom performance?