Leaping into Dance Literacy through the Language of Dance®

Teresa Heiland

Description

The main aim of this book is to present the theory and purpose underpinning the approaches to dance literacy as explored by the Language of Dance® community in the USA and UK. Through their teacher training programs, they are changing the face of dance-based dance literacy using motif notation.

Through their teacher training programs, they are changing the face of dance-based dance literacy using motif notation. This book reveals how dance notation literacy has changed due to practices being focused on constructivist and constructionist pedagogy. Based on work by dance educator Ann Hutchinson Guest and expanded upon by her protégés, this is the first book of its kind to bring together theory, praxis, original research outcomes, taxonomies, model lesson plans, learning domain taxonomies of dance, and voices of dance teachers who have explored using dance notation literacy. We are in a new era for educating with dance notation, focusing on learners’ engagement by making connections between the learning domains using constructivist and constructionist learning approaches.



Arts-literate dancers can deepen their dance craft and transfer their arts knowledge, capacities, and skills to lifelong learning. Dance-based dance literacy practices using notation enhance learners’ flexibility, adaptability, self-direction, initiative, productivity, responsibility, leadership, and cross-cultural skills. 

The book will appeal to dance educators focusing on cognitive and metacognitive learning in dance using communication, problem-solving, and critical thinking.

Useful for preschool and primary teachers aiming to integrate dance into classroom experiences and for secondary teachers teaching dance and looking to upgrade their approach to dance literacy so students are able to achieve higher level cognitive learning, problem solving, and social skills in dance classrooms.

Choreographers and dance teachers will find new approaches to dance making and to expressing their craft using a system that is well codified and now augmented with examples to guide them with making their own projects and processes.

Anyone with an interest in the idea of dance literacy will find concrete examples of how to put their knowledge into practice to advance their teaching and dance making.

Acknowledgments

Foreword

Introduction



PART 1: BACKGROUND AND DEVELOPMENT OF LANGUAGE OF DANCE® PEDAGOGY

1. The Development of the Movement Alphabet® and Language of Dance®

2. Changes in Literacy, Dance Literacy, and Dance-Based Dance Literacy

3. Development of the LOD Approach, Theory, and Pedagogy: Inquiry Spiral of Sequential Growth, Basic Language Skills, Literacy Processes, and Language Domain



PART 2: METHODS FOR RESEARCHING AND BUILDING PERSONAL TEACHING APPROACHES

4. Analysis of an LOD Lesson Plan Using Two Methods: Language Skills and Literacy Processes Analysis Method and Dance Notation Learning Outcomes Matrix Analysis Method – Teresa Heiland and Kaitlyn Whitaker

5. Teaching and Learning Activities Used in the LOD Approach

6. Creating Lesson Plans Using the LOD Approach to Motif Notation

7. The LOD Tool Kit

PART 3: COLLECTION OF LESSON PLANS FROM LOD PRACTITIONERS

8. Lesson Plans for Grades K to 5

9. Lesson Plans for Grades 6 to 8

10. Lesson Plans for Grades 9 to 12

11. Lesson Plans for College-Level Dancers

12. Lesson Plans for Community



Appendix A:

– I. Reading and Interpreting Scores,

– II. Notating Dance, and

– III. Documenting your Choreography



Appendix B:

– Motif Notation Practice for Writing Using

– LOD and LBMA



References

Index

Sujets

• Subjects
• Teaching
• Performing Arts
• EDUCATION
• Subject
• Dance

Informations

• Publié par: Intellect Books
• Date de parution: 25 janvier 2023
• Nombre de lectures: 0
• EAN13: 9781789386127
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Leaping into Dance Literacy through the Language of Dance
Leaping into Dance Literacy through the Language of Dance
Teresa Heiland
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced,stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, orotherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
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Print ISBN 978-1-78938-610-3
ePDF ISBN 978-1-78938-611-0
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This is a peer-reviewed publication.
Contents
Acknowledgments
Foreword
Introduction
PART 1: BACKGROUND AND DEVELOPMENT OF LANGUAGE OF DANCE PEDAGOGY
1. The Development of the Movement Alphabet and Language of Dance
2. Changes in Literacy, Dance Literacy, and Dance-Based Dance Literacy
3. Development of the LOD Approach, Theory, and Pedagogy: Inquiry Spiral of Sequential Growth, Basic Language Skills, Literacy Processes, and Language Domain
PART 2: METHODS FOR RESEARCHING AND BUILDING PERSONAL TEACHING APPROACHES
4. Analysis of an LOD Lesson Plan Using Two Methods: Language Skills and Literacy Processes Analysis Method and Dance Notation Learning Outcomes Matrix Analysis Method
Teresa Heiland and Kaitlyn Whitaker
5. Teaching and Learning Activities Used in the LOD Approach
6. Creating Lesson Plans Using the LOD Approach to Motif Notation
7. The LOD Tool Kit
PART 3: COLLECTION OF LESSON PLANS FROM LOD PRACTITIONERS
8. Lesson Plans for Grades K to 5
9. Lesson Plans for Grades 6 to 8
10. Lesson Plans for Grades 9 to 12
11. Lesson Plans for College-Level Dancers
12. Lesson Plans for Community

Appendix A: I. Reading and Interpreting Scores,
II. Notating Dance, and
III. Documenting your Choreography
Appendix: B. Motif Notation Practice for Writing Using LOD and LBMA
References
Index
To Ann Hutchinson Guest, Tina Curran, Language of Dance colleagues, my dance community, and my past and present students. I continue to learn from each of you.
Acknowledgments
To the many people who have supported the process of creating this book. I thank my teachers Ann Hutchinson Guest and Tina Curran, who inspired me and encouraged me to deepen my investigation and understanding of dance using the Language of Dance® (LOD) Approach. Ann and Tina introduced me to LOD, and Tina guided me to use LOD with creativity and flexibility with a diversity of applications through experiential learning to support the needs of participants.
I appreciate my LOD colleagues and students for volunteering their lesson plans and anecdotes for inclusion in this book—Brazie Adamez, Tina Curran, Natalie Diggins, Gillian Ebersole, Ana Nery Fragoso, Susan H. Gingrasso, Shana Habel, Dana M. Luebke, Amber McCall, Beth Megill, Marissa Nesbit, Michael Richter, Cassie Roberts Rossi, Maria Royals, Natalia Schradle, Alyssa Starr, Corazon Tierra, Amy Vallaincourt, Kodee Van Nort, Kaitlyn Whitaker, and Rachel Wurman.
I thank my LBMA teachers and colleagues from whom I have received a wealth of knowledge related to recording sensate movement experiences and analyzing toward meaning making—Ed Groff, Peggy Hackney, Janice Meaden, and Carol-Lynne Moore. The kinesthetic wisdom you instilled in me has changed the way I think about movement. I appreciate my colleagues who use Motif Notation creatively, as they inspire me daily to allow my curiosity and divergent thinking to be exploratory and generative—Susan Gingrasso, Rachael Riggs Leyva, Beth Megill, and Michael Richter.
Thank you to Emily Pavelka, who assisted with creating the learning outcomes matrix and Madeline Ortiz for helping with the early stages of gathering and shaping lesson plans.
A generous thank you to Mandi Taylor for shaping the lesson plans and appendices and bringing focus and unity to the content across chapters.
I am particularly grateful to Kaitlyn Whitaker for co-developing the Tool Kit and Analysis chapters and Susan Gingrasso, Michael Richter, and Gillian Ebersole for proofreading and focusing content. Thank you also to Brooklyn Reeves and Marissa Finkelstein for notating with me using Sketch, developed for writing Motif Notation by Beth Megill and Megill & Co. And especially to my partner, John Swain, whose tireless support and belief in me made this book possible.
Foreword
In my development of the Language of Dance and the Movement Alphabet, I investigated the many movement possibilities presented in the book, Your Move: The Language of Dance Approach to the Study of Movement and Dance. In Your Move , I presented the development of each movement concept. Once this material was established, teachers began using the materials in my training programs, and the work was shared via workshops, courses, or person-to-person. I did not take the next step of creating a guide and compilation of pedagogical approaches and lesson plans. A book exploring pedagogical possibilities with LOD has long been needed to support the dance community by exploring how this work that I created can be implemented and used by educators, choreographers, and community members in different situations and at different levels.
I am delighted to see that this book, by Teresa Heiland, addresses this need splendidly, and will be an important aid in spreading the values and approaches of Language of Dance worldwide. The book presents an organized, informative, and enjoyable way to approach lesson planning, supported by research verified strategies offering suggestions for the developing activities and learning goals ranging from simple to complex. These activities have been gleaned from experiences of years of teaching in Language of Dance teacher training courses in various educational settings, in professional dance company environments, and in community activities. The result of these LOD educator s experiences is presented here using a wide array of approaches to provide readers with examples for how to use Language of Dance and Motif Notation as part of their dance education program, composition practice, or activity in the community. I am indebted to Teresa and her colleagues for providing a guide that is so much needed. These LOD educators have taken the creativity that I launched through the creation of Language of Dance and the Movement Alphabet and have transported it beyond what I could have ever dreamed of. I hope readers will try out these creative lesson ideas. They are so imaginative and will provide rich learning experiences.
Ann Hutchinson Guest MBE
Introduction

Con-fusion is fusion between word and image in the process of dialogue, which happens all the time during search for expression.
- Akhter Ahsen ( 1986 : 63)
Akhter Ahsen's work since the 1950s proposed that the function of the science of imagery is to re-enact experience for therapeutic, education, and spiritual betterment. He expressed that the image-such as the Language of Dance (LOD) Motif Notation symbol-is central to personal growth, new learning, and transcendence. In its symbolic form, the image is a multisensory, multileveled, and experiential stimulus that appears simultaneously in consciousness as a visual image, a somatic response, and a meaning. This multisensory experience with Motif Notation is a phenomenological process that can be analytical, experimental, holistic, literary, or social with its personal and cultural history. Hence, Motif Notation opens a complex gateway of inquiry into self, other, and the world.
I believe a search for clarity of expression is at the root of what brought me to the Language of Dance, but what drew me to explore and deepen my expression was the fusion with the depth of the LOD community and the willingness of members to play, share, and grow together with meaning making and understanding. While the LOD Approach presents a plethora of words and images to explore for meaning making, expression, and curriculum building, the community interaction clarifies the inherent value of the Approach. The practice of using the LOD Approach transcends expectations uniting imagery and artmaking using concepts to focus psychological, cultural, social, and political issues.
The book's purpose is to connect our community beyond the classroom to invite learning, play, inquiry, and research by sharing our collective knowledge and creative practices with each other. Of course, there will be times when we can be on the ground or in a virtual space dancing together. Still, when we are alone and need quiet time to reflect on each other from a distance, this book provides contemplation about theory and practice so we can leap into dance literacy through the Language of Dance wherever we are.
Organization of this book
The book is divided into three main parts: (1) background and development of LOD pedagogy, (2) methods building teaching approaches and lesson plans and researching teaching methods, and (3) a collection of lesson plans from LOD practitioners followed by Appendices that support score reading, writing, and bridging LOD and Laban Bartenieff Movement Analysis (LBMA) Motif Notation.
In Part 1, Chapters 1-3, I explain the background and development of the Movement Alphabet and LOD. Then, I examine changes in Literacy, Dance Literacy, and Dance-based Dance Literacy over time. Finally, I reveal the development of the LOD Approach, Theory, and Pedagogy u