During the period under colonial rule Ghanaian traditional life styles were largely destroyed and foreign value systems imposed. Following independence in 1957 the concept of National Consciousness, which seeks to encourage models of traditional forms in all new developments, was proposed. This thesis addresses the need to introduce traditional dance into the Ghanaian University system in response to the concept of National Consciousness. The thesis is divided into two parts. Part One is a survey of traditional dance models and their significance for new developments, while Part Two examines these models as applied activities in dance eduction and theatre work. In Part One traditional dances and related arts are treated in Chapters 1 and 2 while the developments of concepts for national integration through the dances are treated in Chapters 3 and 4. In Part Two concepts of dance in education are examined in Chapter 5; the roles of dance in education as well as models in subject programming in Chapter 6 and curriculum development for first degree courses in Chapter 7. Chapter 8 looks at the contributions of the various Chapters to the development of an African orientated dance programme for education and theatre practice in emergent African societies. The study is limited to the Country of Ghana though the findings may have implication for other African countries.

Within the social, cultural and political contexts for arts education in Singapore today, this thesis describes a framework for the development of a dance curriculum for 13 to 16 years old secondary school students. This study considers the question: What kind of Dance Elective Programme will address the needs of the diverse communities in Singapore? The framework for the Dance Elective Programme that emerges from the research describes rationale, content, and approaches as identified by the research participants. Research data collected includes dance syllabi; dance journals; questionnaires and interviews with various individuals in Singapore. The significance of dance in the school curriculum is accentuated by several Singapore government reports where the issue of the promotion of arts education is raised. Currently in the secondary school curriculum in Singapore, the arts subjects offered are visual art and music; dance has yet to be offered as an academic subject. A comprehensive arts education should encompass other disciplines, so as to provide a holistic learning environment in schools. It is hoped that this suggested framework will provide an impetus for further development and implementation of dance curriculum in Singapore schools in the near future.

In the study, the curricula of three selected dance departments in the United States, whose stated missions embrace cultural diversity, are examined. The primary research question is: Do the curricula of selected dance departments in the United States reflect the values of cultural diversity or pluralism as explicitly expressed in their mission statement? Through random online sample of thirty-nine mission statements from non-conservatory-based dance departments that grant degrees in the field of dance was collected. Although the use of the term diversity expanded greatly throughout the late 20th century, a delimitation of this study was to focus on cultural diversity as it relates to race and ethnicity. Mission statements are part of most dance departments' rationale and communication of values. Since dance departments are a part of larger institutions, it can be assumed that their missions are consistent with the focus of those organizations. As a primary outcome of organizational and of strategic planning, these statements are designed to differentiate one college or university from others. They are an articulation of the specific vision and long-term goals of a college or university, or more specifically in the case of this study, a dance department. Because one cannot assume a college or university's interest or commitment to cultural diversity, this study identified departments with a stated interest in cultural diversity from which to assess how such interest and commitment translates to curriculum; no direct conclusions about the home institution's implicit approach to cultural diversity was made. Future dance educators, dance artists, community artists, and arts administrators, as well as dance historians and scholars, are educated in the dance departments of colleges and universities throughout the United States. Thus, these departments have a large impact on the way dance is experienced throughout our society. Through an analysis of primary data, I examined the ways in which selected dance departments fulfill, or do not fulfill, their stated missions of cultural diversity. The methodology included a document analysis of the following primary source documents: mission statements, audition requirements, sequential department curriculum, required course readings, and demographics of faculty and students. Additionally, all teaching faculty and senior undergraduates from the selected dance departments were given a questionnaire to complete. The educational and performance background of faculty members, along with their areas of expertise, was the focus of the faculty questionnaire. In an effort to understand if student goals are aligned with the mission of the department, the student questionnaire included questions that asked seniors what type of positions they were interested in pursuing after graduation, and whether or not they felt they were prepared to enter the workforce given their course of study. The questions of how student goals are connected to working in culturally diverse communities of the 21st century, and if so, how the curriculum was designed to met the goals of students, were also explored. Finally, a field observation was included to provide context for each of theses institutions. This examination of three selected dance departments in terms of culturally diverse curricular offerings provides dance educators in higher education with examples of how selected dance departments carry out their stated missions. In this study dance departments that have developed strategies and mechanisms to implement their stated missions of cultural diversity throughout their curriculum are highlighted. Additionally, I encourage departments that have not been able to transmit their commitment to cultural diversity to department curriculum to do so, offering them tangible strategies which they can implement. / Dance

Thesis (Ed.D.)--Boston University / The purpose of this study is to construct an instrument to measure objectively locomotor response to rhythmic auditory stimuli. This purpose will be considered accomplished if the instrument distinguishes between members of the study groups; if, as evidence of its validity the results obtained from measuring groups of untrained, trained amateurs, and professional dancers reflect the obvious difference in the rhythmic skill of these groups.

Šokio veiklos ypatumai. Kūrybinė veikla šokio ugdymo procese. Viduriniosios vaikystės šokio veiklos ypatumai. / Qualitative data analysis of the research shown that in education process using creativity of dance activity in the groups are educated childrens psychophysiological (communication of „myself“ discovering) skills.

Since the mid-1970s, researchers in student development theory, research, and practice have examined the experiences of first-year university students with the aim of improving quality of educational life and student motivation to stay in school (Greenfield et al., 2013). First-year students are viewed as vulnerable to attrition as most leavers depart during or immediately following year one (van der Zanden et al., 2018). This is the first doctoral study to explore first-year experience with university Dance majors.The purpose of this study is to illuminate first-year experience in a postsecondary Dance setting through students’ first-person accounts. Research methodology was guided by the applied phenomenology of education scholar and philosopher Max van Manen (1990/2014) and involved my direct participation and observation in two Dance classrooms along with in-depth interviewing of six self-selected students over the entire academic year. Data gathered through these procedures were analyzed for collective and individual meanings. Students’ first-person perspectives are presented in four chapters representing four macro-categories of student experience found in the data: curriculum, faculty, peers, and individual practice. Findings are then discussed in relation to extant literature in student development in higher education, combining sociological, behavioral, and epistemological perspectives from the foundational theories of Vincent Tinto (1975/1993), Alexander Astin (1984/1999), and William G. Perry, Jr. (1968/1999). Students’ first-person experiential accounts extend concepts from these theories, as well as offering insights unique to dance education. From their lived experiences in university Dance, first-year students shared the educational experiences that were significant and meaningful to their learning and growth. These include the affective, cognitive, somatic, and social meanings they made from their experiences of curriculum, faculty, peers, and self. Within a web of academic and social supports, personal self-reflection, and individual meaning-making, first-year students deepened their understandings of their dance practices and of themselves as dance artists and learners. / Dance

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The first part of this study sought to validate the System for Observing Dance Activities in the Classroom Environment (SODANCE) based off the System for Observing Fitness Instructional Time (SOFIT). Female students age 11-17 years (N=42) participated in an activity protocol of SOFIT activities and common dance activities to validate appropriate coding categories. Each student wore a heart rate monitor and accelerometer while participating in the activities lying, sitting, standing, walking, running, single leg balances, leg swings, pirouettes, and leaps. Heart rate, maximum heart rate percentage, heart rate reserve percentage, vertical axis accelerometer counts, and vector magnitude accelerometer counts for each activity were classified as light, moderate, or vigorous. Ultimately heart rate reserve data was determined to be the best indicator of physical activity. The chi squared test was used to determine if there were significant differences in the proportion of subjects whose heart rate reserve data classified the activity as light vs. moderate vs. vigorous. Based upon the heart rate reserve data, each activity was assigned a SODANCE activity code of 1-5. The dance activities were coded as single leg balances 4, leg swings 4, pirouettes 5, and leaps 5. The second part of this study aimed to use the SODANCE instrument to collect data about the physical activity levels, time spent in MVPA, time spent in different lesson contexts, and frequency of teacher promotion of activity. Four different secondary (grades 6-12) dance technique classes (ballet or contemporary) at a public performing arts school were each observed four times using the SODANCE instrument. Students engaged in MVPA 40.62% of the time. Percentages of time spent in SODANCE lesson contents are as follows: management 9.53% (n=280), knowledge 22.29% (n=655), fitness 6.94% (n=204), technique 44.04% (n=1294), choreography 17.19% (n=505), and other 0.0% (n=0). Percentages of teacher interaction are as follows: promotes in-class activity 27.67% (n=813), promotes out-of-class activity 0.27% (n=8), and no promotion 72.06% (n=2117). These data suggests that dance technique classes offer equitable or more MVPA than physical education classes, but still short of the national recommendations.

Made available in DSpace on 2016-07-27T13:52:31Z (GMT). No. of bitstreams: 1 CRISTIANE GOMES DOS SANTOS.pdf: 852680 bytes, checksum: 0200a009c4fdef68151ec99052542fd6 (MD5) Previous issue date: 2008-09-22 / Taking as base, the works of Walter Benjamin (1994) on art of Adorno and Horkheimer (1985) on Cultural Industry, and having as theoretical-metodology referencial the Analysis of French Line Speech (Pêcheux, 1989; Orlandi, 1999), the present study understood in the research line of Education, Society and Culture , tried to apprehend some of the dominant discourse on the education of dance in Brazil. Although in the last ten years the theoretical productions on this thematic have increased considerably, it is necessary to analyze how the conception on art, dance, education, and the teaching of dance has been considered inside such discourses; once their authors integrate different areas of formation. In this direction, this research aims to analyze three theoreticalmetodology matrices about the education of dance in Brazil: Isabel A. Marquez (1999; 2003), Márcia Maria Strazzacappa Hernández (2001; 2006) and Maria do Carmo Saraiva Kunz (2003). This work of bibliographic pointed that the education of dance considered by the three speeches here, however divergent in some points, get to an agreement of the restitution of human sensitivity through the dance education. / Tomando como base os trabalhos de Walter Benjamin (1994) sobre arte e os de Adorno e Horkheimer (1985) sobre Indústria Cultural, e tendo como referencial teóricometodológico a Análise de Discurso de linha francesa (Pêcheux, 1989; Orlandi, 1999), o presente estudo compreendido na linha de pesquisa Educação, Sociedade e Cultura , procurou apreender algumas das discursividades dominantes sobre o ensino de dança no Brasil. Embora nos últimos dez anos as produções teóricas sobre esta temática tenham aumentado consideravelmente, faz-se necessário analisar como as concepções de arte, de dança, de educação e de ensino de dança têm sido consideradas no interior de tais discursividades, uma vez que seus autores integram áreas de formação diferenciadas. Neste sentido, esta pesquisa procura analisar três linhas teórico-metodológicas sobre o ensino de dança no Brasil: Isabel A. Marques (1999; 2003), Márcia Maria Strazzacappa Hernández (2001; 2006) e Maria do Carmo Saraiva Kunz (2003). Este trabalho, de cunho bibliográfico, apontou que o ensino de dança proposto pelos três discursos aqui estudados, embora divergente em alguns pontos, se aproximam de um entendimento da restituição da sensibilidade humana através do ensino de dança.