Thèse (M.A.)--University of Calgary (Canada), 2007. / Titre de l'écran-titre (visionné le 1 février 2007). In ProQuest dissertations and theses. Publié aussi en version papier.

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.

Thesis (Ph.D.)--The University of North Carolina at Greensboro, 2005. / (UnM)AAI3206298. Adviser: Leila E. Villaverde. Source: Dissertation Abstracts International, Volume: 67-02, Section: A, page: 0376.

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

<p> Educating our Dance School Educators examines the relevance of certification for private dance school teachers. I offer a personal history as evidence for the need of certification in dance schools. I also provide a desired outline of the certification, which encompasses the mission statement and requirements for the candidates. The question of what it means to be certified is addressed by using the National Dance Education Organization as defining support. To argue for certification I draw support from dance editors and professors as well as the National Dance Education Standards. I use an example of a certification outline from the Connecticut school district and deconstruct why the outline is insufficient for my ideal standards. I do not have a target age group desired when talking about the students because this subject is relevant for students of all levels and ages. I use support from pedagogical research to explain the human developmental process for all ages specifically concerning the effects this process has on their learning curve. I also use critical pedagogy to explain the importance of pedagogical knowledge versus content knowledge. I conclude with a summary of my findings in support of certification for dance school teachers to ensure a quality education for all students whether pursuing it as a recreational activity or as a career.</p>

<p> The practice of <i>rueda casino</i> (or <i>salsa casino </i>) has increased worldwide in the last four decades, and the physical, psychological, and psychosocial effects of this dance may improve the health and wellness of participants. There is limited literature defining rueda casino as a social dance and previous findings are from interventions with Latin dance practices. This qualitative description focused on the nature of rueda casino integrating perspectives of archival data from interviews with three experts and the researcher's observations on this partnered and group dance in Mexico City. The findings present rueda casino as a form of dance that has a beneficial impact on the participant's body, self-confidence, cross-gender identity, social integration, and social being, and it opens up possibilities for further research to consider rueda casino as part of an integrative approach to wellness. </p><p> La pr&aacute;ctica de rueda casino (o salsa casino) ha incrementado a nivel mundial en las &uacute;ltimas cuatro d&eacute;cadas, y los efectos f&iacute;sicos, psicol&oacute;gicos y psicosociales de este baile pueden mejorar la salud y bienestar de los participantes. La literatura que describe rueda casino como un baile social es limitada y resultados previos se limitan a estudios con intervenciones con pr&aacute;cticas de baile Latino. Esta descripci&oacute;n cualitativa se enfoca en la esencia de rueda casino. Integra perspectivas, sobre esta forma de baile en pareja y grupal, obtenidas de informaci&oacute;n archivada en entrevistas a tres expertos y las observaciones de la investigadora en la Ciudad de M&eacute;xico. Los resultados muestran que la forma de baile rueda casino tiene un impacto que beneficia al participante en aspectos f&iacute;sicos, de autoconfianza, de identidad de g&eacute;nero, de integraci&oacute;n social, y ser social. Adicionalmente, abre posibilidades para futuras investigaciones que consideren rueda casino como parte de un acercamiento integral al bienestar. </p>

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.