1. NDEO K-12 SPECIAL INTEREST GROUP TASK FORCE PANEL 2009 Diana Domoracki-Kisto, Chair K-12 SIG What Drives Dance Curriculum Direction and Goals? Take A Bite of the Apple-Exploring Resources to Promote Best Practices NDEO NYC 2009 Conference

2. Purpose of NDEO K-12 Special Interest Group (from NDEO Strategic Plan 2008) Goal #ll Goal #ll 1. Strengthen the national voice and vision for Dance Education in the Arts Objective #3 Objective #3 1. Strengthen the communication and dissemination of information among the teaching arts workforce in Dance Education in the Arts

3. NDEO Strategic Plan 2008 Strategies: Enhance communication K-12 Enhance communication K-12 Convene focus group and make email lists to communicate monthly to E Communicator on Dance Education Convene focus group and make email lists to communicate monthly to E Communicator on Dance Education Enhance best practices Enhance best practices Develop Internet Forum for K-12 Develop Internet Forum for K-12 Develop a database of curricular materials Develop a database of curricular materials Abstract/agenda for the 2009 meeting: developed from the post-it notes of audience attending Task Force panel. Abstract/agenda for the 2009 meeting: developed from the post-it notes of audience attending Task Force panel.

4. NDEO K-12 Task Force Goals: 1. To present an expert summarization of topics brought up at 2008 conference 2. To advocate best practices within the topic 3. To present current research and resources on the topic 4. To develop research question or next steps directions with this topic for NDEO K-12 SIG Forum posting

5. Philosophy Our experienced knowledge as dance educators in the arts K-12 enables us to share expertise, research, anecdotal experiences and successes in a climate of nurturing, support, and successfully proven teaching practices. Our experienced knowledge as dance educators in the arts K-12 enables us to share expertise, research, anecdotal experiences and successes in a climate of nurturing, support, and successfully proven teaching practices.

6. PHILOSOPHY The experienced K-12 Dance Educator is an embodied resource promoting best practices by: 1. Examining and analyzing collective practices with colleagues by sharing curriculum, using standards, assessment tools, and modeled programs 2. Refining dance field experience, choreographic, and pedagogic skills with colleagues in professional development settings and with master artists and educators 3. Applying research methods in the classroom

7. K-12 Task Force Topics: Interdisciplinary dance Interdisciplinary dance Sequential training/proficiency Sequential training/proficiency Empowering through standards K-5 Empowering through standards K-5 Dance assessment Dance assessment Dance for special populations Dance for special populations Empowering through standards 6-8 Empowering through standards 6-8 Empowering through standards 9-12 Empowering through standards 9-12 Best health practices/National Dance Honor Society Best health practices/National Dance Honor Society Dance adjudication Dance adjudication Dance and the school’s core vision Dance and the school’s core vision K-12 Dance Educator as resource to promote best practices K-12 Dance Educator as resource to promote best practices

8. Interdisciplinary Dance Diana Domoracki-Kisto Magnet Arts Resource Specialist William A. Morris I.S. 61 Magnet School of Arts and Letters through Museum Studies Staten Island, New York dkdance1@yahoo.com

9. Guidelines for Interdisciplinary Arts Planning: Allow enough planning/communication time to build thematic units and lessons, including per session after school time and emails Allow enough planning/communication time to build thematic units and lessons, including per session after school time and emails Find genuine connections between dance and subject Find genuine connections between dance and subject Align dance processes and content with academic themes Align dance processes and content with academic themes Make an explicit connection between dance and key unit ideas: Fall into Learning with Native American Dance, Story, Culture. Make an explicit connection between dance and key unit ideas: Fall into Learning with Native American Dance, Story, Culture.

10. NYC Blueprint in Dance Strand: Making Connections: Connect Dance to Other Arts and Disciplines: Music, Visual Arts, Theatre, Language Arts, Math, Science NYC Blueprint in Dance Strand: Making Connections: Connect Dance to Other Arts and Disciplines: Music, Visual Arts, Theatre, Language Arts, Math, Science Shake, Rattle and Roll Thematic Unit grade 6 (Understanding the Forces of Nature); Dancing Weather Movement Studies 2009. Shake, Rattle and Roll Thematic Unit grade 6 (Understanding the Forces of Nature); Dancing Weather Movement Studies 2009. Native American Dance, Story, and Culture Thematic Unit grade 7; Vision Quest Dance Studies 2008. Native American Dance, Story, and Culture Thematic Unit grade 7; Vision Quest Dance Studies 2008.

11. Resources for Interdisciplinary Dance Partnering Dance and Education: Intelligent Moves for Changing Times. Judith Lynne Hanna. Human Kinetics 1999 Partnering Dance and Education: Intelligent Moves for Changing Times. Judith Lynne Hanna. Human Kinetics 1999 Teaching the Three R’s: Through Movement Experiences. Ann Gilbert. Macmillan. 1977 Teaching the Three R’s: Through Movement Experiences. Ann Gilbert. Macmillan. 1977 Using Movement to Teach Academics. S. Minton Rowman and Littlefield, 2008 Using Movement to Teach Academics. S. Minton Rowman and Littlefield, 2008 Dance About Anything. S. McGreevy-Nichols, H. Scheff, M. Sprague. Human Kinetics. Dance About Anything. S. McGreevy-Nichols, H. Scheff, M. Sprague. Human Kinetics. Creating Meaning Through Literature and the Arts: an Integration Resource for Classroom Teachers. Claudia E. Cornett. Pearson Education Inc. 2007 Creating Meaning Through Literature and the Arts: an Integration Resource for Classroom Teachers. Claudia E. Cornett. Pearson Education Inc. 2007

12. Research Question/Next Steps for Interdisciplinary Dance: How do we engage the classroom teachers we work with to promote this process? How do we engage the classroom teachers we work with to promote this process? When should the dance arts specialist focus on interdisciplinary dance in their setting? When should the dance arts specialist focus on interdisciplinary dance in their setting?

13. Sequential Training and Proficiency in Dance Ms. Marty Sprague PO Box 11 Slocum, RI 02877-0011 martysprague1@cox.net 401-294-3179 (landline) 401-524-9516 (cell)

14. Sequential Training and Proficiency in Dance: A History of Rhode Island Education Requirements Good education meant arts were included without question Good education meant arts were included without question 12 years later, current status 12 years later, current status Basic Education Plan included required ½ credit arts course for college bound High School students Basic Education Plan included required ½ credit arts course for college bound High School students First set of National Dance Standards/Opportunity to Learn Standards developed, vetted, and published First set of National Dance Standards/Opportunity to Learn Standards developed, vetted, and published Leverage to develop RI’s Proficiencies for High School Graduation Requirements: Arts a core subject Leverage to develop RI’s Proficiencies for High School Graduation Requirements: Arts a core subject Written sequential standards: hope for districts to program sequential dance Written sequential standards: hope for districts to program sequential dance Regents remove mandated arts: Basic Education Plan changed Regents remove mandated arts: Basic Education Plan changed

15. Sequential Training Guidelines, Goals, and Rhode Island History Integrated into the school day Integrated into the school day Peripherally incorporated into other clubs: theatre, music, visual arts Peripherally incorporated into other clubs: theatre, music, visual arts Providence Arts Magnet programs and Artists in Education Residencies provide an almost sequential program Providence Arts Magnet programs and Artists in Education Residencies provide an almost sequential program Ripple of compliance through some RI communities: future hopes for sequential programming Ripple of compliance through some RI communities: future hopes for sequential programming Not many public school dance programs left: 3 high schools, 1 after school: private sector dance can fulfill requirements Not many public school dance programs left: 3 high schools, 1 after school: private sector dance can fulfill requirements Will arts programs survive unscathed in these economic times? Will arts programs survive unscathed in these economic times?

16. Research Question for Sequential Training and Proficiency in Dance How can we best use the pressure of standards, proficiencies, and arts as core subjects to develop necessary sequential dance education programming? How can we best use the pressure of standards, proficiencies, and arts as core subjects to develop necessary sequential dance education programming?

17. Empowering through the Standards K-5 Kathleen Isaac, M.A., Dance Educator, PS 165 The Edith K. Bergtraum School Director of EKB Dance Company and Student-to-Student Dance Mentoring Program kisaac30@nyc.rr.com

18. Empowering through Standards K-5 Use of standards: Provides performance indicators or goals that encourage teachers with different backgrounds, strengths and approaches to plan, implement and assess curricula, using appropriate scope and sequence Provides performance indicators or goals that encourage teachers with different backgrounds, strengths and approaches to plan, implement and assess curricula, using appropriate scope and sequence Encourages age and interest appropriate practice Encourages age and interest appropriate practice Strengthens “dance validity,” helping to put dance curricula and programming on par with other subjects Strengthens “dance validity,” helping to put dance curricula and programming on par with other subjects Serves as a tool for communication with the administration, school and parent community about best practices in dance education Serves as a tool for communication with the administration, school and parent community about best practices in dance education

19. Research Question/Next Steps for Empowering through the Standards K-5 How can dance educators be empowered to utilize the standards in the creation of units of study and be encouraged to share these units as best practices with other dance educators? How can dance educators be empowered to utilize the standards in the creation of units of study and be encouraged to share these units as best practices with other dance educators? How are children empowered through high quality, standards-based dance instruction? How are children empowered through high quality, standards-based dance instruction?

20. Dance Assessment Here’s a tool, but what does it tell us? How can we record information to make it clear to others?

21. DANCE EDUCATION ASSESSMENT IN THE NEW YORK CITY SCHOOLS NYCDOE institutes ArtsCount in 2007/08 to enhance arts instruction in K-12 NYC public schools NYCDOE institutes ArtsCount in 2007/08 to enhance arts instruction in K-12 NYC public schools ArtsCount builds upon the Blueprint for Teaching and Learning in the Arts (Dance K-12) which provides common benchmarks and curriculum goals ArtsCount builds upon the Blueprint for Teaching and Learning in the Arts (Dance K-12) which provides common benchmarks and curriculum goals ArtsCount provides a Guide for Principals to support them as they build and sustain high quality dance programs ArtsCount provides a Guide for Principals to support them as they build and sustain high quality dance programs Schools are invited to designate an Arts Liaison to serve as a conduit for arts learning and help students meet New York State instructional mandates Schools are invited to designate an Arts Liaison to serve as a conduit for arts learning and help students meet New York State instructional mandates Accountability is evaluated on a series of arts education metrics, the results of which will impact schools’ Annual Arts in Schools Report, Progress Reports, Annual Compliance Review and Principals’ Performance Evaluations Accountability is evaluated on a series of arts education metrics, the results of which will impact schools’ Annual Arts in Schools Report, Progress Reports, Annual Compliance Review and Principals’ Performance Evaluations

22. Evaluations for NYC schools are based on: Evaluations for NYC schools are based on: Annual Arts Education Survey – tracks compliance with student participation in arts education according to NYS Instructional Requirements in the arts; space; arts teachers; cultural partners; sequences in the arts, etc. Annual Arts Education Survey – tracks compliance with student participation in arts education according to NYS Instructional Requirements in the arts; space; arts teachers; cultural partners; sequences in the arts, etc. Parent, Student and Teacher Learning Environment Survey – measures student, teacher and parent satisfaction with arts education in NYC schools Parent, Student and Teacher Learning Environment Survey – measures student, teacher and parent satisfaction with arts education in NYC schools Quality Reviews – measures the extent that the school exhibits broad or engaging curriculum, including the arts, to enhance learning both within and outside the school day Quality Reviews – measures the extent that the school exhibits broad or engaging curriculum, including the arts, to enhance learning both within and outside the school day Regents Diplomas with Advanced Designation through the Arts – tracks the number of students who earn Advanced Regents Diplomas through the Arts by participating in an arts sequence and passing a NYC standards-based arts exam (begins in 2009) Regents Diplomas with Advanced Designation through the Arts – tracks the number of students who earn Advanced Regents Diplomas through the Arts by participating in an arts sequence and passing a NYC standards-based arts exam (begins in 2009)

23. Research Question/Next Steps Dance Assessment From the single assessment tool, used to evaluate one student’s achievement of a benchmark, to the larger task of assessing entire school dance programs, how can assessment be used to enhance dance instruction, while continuing to promote best dance teaching practices and artistry?

24. Dance for Special Populations Sandra Stratton-Gonzalez Dance Educator PS 372 sandibklyn@msn.com

25. Best Practices: Universal Supports Strategies that organize and structure the dance classroom and dance lesson for the benefit of all learners. RULES: safety, responsibility and respect ROUTINES for transitions, warm up, materials, sharing etc. INCENTIVES including formal and informal performances, favorite activities, and trips

26. Targeted Supports Targeted supports are instructional strategies designed to address specific challenges in the classroom. For example: Give advance notice of changes in routine for children with emotional challenges Give advance notice of changes in routine for children with emotional challenges Teach and reinforce social skills for children with ADD/ADHD Teach and reinforce social skills for children with ADD/ADHD Break tasks into small steps, giving directions orally, visually and in writing for children with cognitive challenges Break tasks into small steps, giving directions orally, visually and in writing for children with cognitive challenges

27. IEP Goal Domain Dance Activity Strengthen interpersonal skills; become aware of personal space. Social/ Emotional Dance with a partner, share weight with a partner. Improve ability to remain on task; stay focused on activity Cognitive Rehearse and perform with focus. Appropriately express feelings of anger or upset. Social/ Emotional Recognize, understand and express feelings through movement. Reading comprehension and sequencing Cognitive Create a dance with clear beginning, middle and end. Aligning Dance Activities with Individualized Education Plan (IEP) Goals

28. Creating IEP goals in dance Dance Goal Objective Teaching Strategy Recall dance sequences and perform with detail. Student will learn and perform dances in sequence with stylistic detail. Teach a dance of four 8- count phrases, with attention to the use of weight, body position, rhythm and the relationship to others in space. Understand and use personal space. Student will maintain personal space during warm up and when moving in space 80% of the time. Design activities that require students to move through general space without touching anyone else. Make smooth transitions b/w individual and ensemble work. Student will consistently move from individual to ensemble work with minimal teacher support. Build time for individual improvisation into ensemble dances. Provide cues to support transitions.

29. Resources Diane Duggan, Sandra Stratton-Gonzalez, Catherine Gallant. Dance Education for Diverse Learners: A Special Education Supplement to the Blueprint for Teaching and Learning in Dance. NYC Department of Education, 2009. Research Questions How can a dance educator address the Individualized Education Plan goals of her students in cognitive, social and emotional domains within the K-5 dance curriculum? What impact do dance goals, written into a child’s Individualized Education Plan, have on the child’s learning?

30. Empowering through the Standards 6-8 Traci Hinton Peterson Dance Educator The Albert Shanker School for Visual and Performing Arts I.S. 126Q Long Island City, NY

31. The middle school dance educator needs to examine his/her: Core values/philosophy (based upon Dunham Principals) Core values/philosophy (based upon Dunham Principals) 1.Self knowledge- Who are you? 2. Detachment-Viewing situations and circumstances objectively 2. Detachment-Viewing situations and circumstances objectively 3. Discrimination – making choices 3. Discrimination – making choices Personal/professional growth via self journaling, professional development Personal/professional growth via self journaling, professional development Relationship with students, teachers, staff, administrators, community Relationship with students, teachers, staff, administrators, community His/her part in the emotional responses of the students His/her part in the emotional responses of the students His/her place in the culture of the school building, and communities the students come from His/her place in the culture of the school building, and communities the students come from

32. New York City Blueprint for Learning in the Arts/Dance New York City Blueprint for Learning in the Arts/Dance Dance Making Strand Dance Making Strand 1. Collaborate with peers to set formations and spatial patterns for a group work using learned movement material 1. Collaborate with peers to set formations and spatial patterns for a group work using learned movement material Assessment Assessment 1. Journaling process and performance results 1. Journaling process and performance results Necessary Connections – Finding the links between Blueprint Standards and personal core values Necessary Connections – Finding the links between Blueprint Standards and personal core values

33. Research Question/Next steps for Dance Standards through 6-8: and Resources What is the impact of a dance educator’s core values on standards based instruction? What is the impact of a dance educator’s core values on standards based instruction? Resources 1. Bloom’s Taxomony - http://www.odu.edu/educ/roverbau/Bloom/blooms_taxonomy.htm http://www.odu.edu/educ/roverbau/Bloom/blooms_taxonomy.htm 2. Learning and Leading with Habits of Mind: 16 Essential Characteristics for Success/Edited by Arthur L. Costa, Bena Kallick/ASCD/2008 3. A Framework for Understanding Poverty/Ruby K. Payne/RFT Publishing Co./1998 4. Effective Classroom Management/Carl J.Walker, LaDonna L. Wellen/Allyn and Bacon Inc./1978 5. Dunham Technique: A Way of Life/Kendall-Hunt Publishing Co./1990 6.The Intimate Act of Choreography/Lynne A. Blom and L. Tarin Chaplin/Dance Books, Ltd., 1989

34. Empowering through the Standards 9-12 The Standards: A Web of Intersecting Artistic Threads Dr. Joy Friedlander, Dr. Joy Friedlander, Dance Artist Educator The Philadelphia High School for Girls Contact: joyfriedlander@comcast.net

35. National, State, and Citywide Dance Standards Articulate and deconstruct what the art form of dance comprises Articulate and deconstruct what the art form of dance comprises Are holistic- all parts of standards are important Are holistic- all parts of standards are important Allow students to digest smaller amounts of new knowledge Allow students to digest smaller amounts of new knowledge Keep the educator on track to not forgo “less comfortable” places of teaching Keep the educator on track to not forgo “less comfortable” places of teaching

36. How National Content Standards are used Understanding choreographic principles, processes, structures Understanding choreographic principles, processes, structures Understanding dance as a way to create and communicate meaning Understanding dance as a way to create and communicate meaning Apply and demonstrate critical and creative thinking skills in dance Apply and demonstrate critical and creative thinking skills in dance

37. Research Question/Next Steps for Standards 9-12 Have our viability and visibility improved in education since the writing of the National Standards for Arts Education? Have our viability and visibility improved in education since the writing of the National Standards for Arts Education? Have the scope and depth of dance improved in the schools? How? Have the scope and depth of dance improved in the schools? How?

38. Best Health Practices/National Dance Honor Society Abigail Agresta-Stratton, MA, RDE Dance Educator West Islip High School President-Elect New York State Dance Education Association Abigail0103@optonline.net

39. Dance Educators Setting the Example of Best Health Practices Eat healthy foods Eat healthy foods Drink water, but not too much as it dilutes the blood sodium Drink water, but not too much as it dilutes the blood sodium Four Basic Kinesiology Principles Regularly Overlooked by Dancers: 1. Specificity Clarity of movement Clarity of movement Clarity of technique Clarity of technique 2. Overload Be sensitive Be sensitive Sense when it is enough Sense when it is enough 3. Over Training Dancers need to grow and develop We can not “shape” the body of the dancer, but we can “shape” the dancer 4. Periodization Muscle Recovery

40. Notes from Principles of Dance Medicine Conference NYC July 24, 2008 Training Young Dancers - Young Bodies are Pliable Training Young Dancers - Young Bodies are Pliable Classical Ballet Training should not begin until age 8 or age 9 Classical Ballet Training should not begin until age 8 or age 9 Some Adolescents age 11 – 15 are more susceptible to Injury Some Adolescents age 11 – 15 are more susceptible to Injury Adolescents age 12 – 14 should not train more than 14 – 16 hours per week Adolescents age 12 – 14 should not train more than 14 – 16 hours per week Pointe work should begin after the growth spurt Pointe work should begin after the growth spurt Injuries in Dance Common Causes Common Causes Fatigue Fatigue Poor Technique Poor Technique Dealing with Injuries Dealing with Injuries Use Caution Use Caution Encourage use of Proper Technique Encourage use of Proper Technique Teach to the Individual Student Teach to the Individual Student

41. Enforcing Best Health Practices in the Classroom Set the Healthy Tone Set the Healthy Tone Utilize the National Standards Learning and Teaching Dance in the Arts: Ages 5 – 18 Utilize the National Standards Learning and Teaching Dance in the Arts: Ages 5 – 18 Utilize the Professional Teaching Standards in the Arts Utilize the Professional Teaching Standards in the Arts Utilize Standards of a K – 12 Model Program; Opportunities to Learn in Dance Arts Education Utilize Standards of a K – 12 Model Program; Opportunities to Learn in Dance Arts Education Utilize National Programs such as the National Honor Society for Dance Arts Utilize National Programs such as the National Honor Society for Dance Arts Explore possibly offering College Level Dance Courses at your High School Explore possibly offering College Level Dance Courses at your High School Explore programs such as the International Baccalaureate Organization Diploma Program in Dance Explore programs such as the International Baccalaureate Organization Diploma Program in Dance Explore the possibility of future Advanced Placement Dance Courses Explore the possibility of future Advanced Placement Dance Courses

42. Goals of the National Honor Society for Dance Arts To promote and honor outstanding artistic achievement in dance students 11-18 years of age To promote and honor outstanding artistic achievement in dance students 11-18 years of age To encourage young dance artists to be leaders in their communities To encourage young dance artists to be leaders in their communities To identify honor students of junior and senior high school age for nomination to the NDEO Artistic Merit, Leadership and Academic Achievement Award, one of the highest honors programs for dance in the United States To identify honor students of junior and senior high school age for nomination to the NDEO Artistic Merit, Leadership and Academic Achievement Award, one of the highest honors programs for dance in the United States

43. Research/Next Step Questions for Best Health Practices How do we support and further promote safe and healthy choices in our dance programs, for our dancers, and for ourselves? How do we support and further promote safe and healthy choices in our dance programs, for our dancers, and for ourselves? How do we share this information within our communities without alienating those that do not follow these health expert guidelines? How do we share this information within our communities without alienating those that do not follow these health expert guidelines?

44. Non-Competitive Adjudication Arizona Dance Education Organization (AzDEO) Lynn Monson President, AzDEO lmonson@cox.net

45. Focus on Learning Development: Scoring criteria based on AZ Dance Standards Scoring criteria based on AZ Dance Standards Inclusive of all dance styles Inclusive of all dance styles Open process with input from the field Open process with input from the field Developed by committee Developed by committee Each year, feedback is solicited from teachers and adjudicators, reviewed and changes are instituted Each year, feedback is solicited from teachers and adjudicators, reviewed and changes are instituted Criteria: Three categories: Choreography, Performance Values, Technique Three categories: Choreography, Performance Values, Technique Rankings: Emerging, Good, Superior, Distinction Rankings: Emerging, Good, Superior, Distinction Each category is scored separately and then a total score Each category is scored separately and then a total score

46. Non-Competitive Feedback to Schools: Schools choose to be adjudicated or not Schools choose to be adjudicated or not Scores not announced at performance; mailed to teachers after the performance Scores not announced at performance; mailed to teachers after the performance Letter sent with scoring that explains results & process Letter sent with scoring that explains results & process Teachers can decide to use it or not with their students Teachers can decide to use it or not with their students

47. Research Questions/Next Steps Research Questions: How many teachers are using the results as a learning tool for themselves and their students? How many teachers are using the results as a learning tool for themselves and their students? If so, is it increasing learning for students and how, in what areas? If so, is it increasing learning for students and how, in what areas? Next Steps: Refining information for adjudicators and rubric Refining information for adjudicators and rubric Please share on sticky notes and/or at forum what you are doing in your non-competitive adjudication. Please share on sticky notes and/or at forum what you are doing in your non-competitive adjudication. Article in E-Communicator: (33) December 4, 2008

48. Dance and A School’s Core Vision Science Skills Center High School for Science, Technology & the Creative Arts Principal Judy A. Henry Ms. Patricia Dye-A’ Dance Educator/Advisor JIB Dance Co. Jow_ile_bailer@yahoo.com

49. PICTURE CAPTIONS: Skills Counsel of Elders & BAM DanceAfrica’s Counsel of Elders Josephine Gonzalez & Briana Hartman DIRECTOR’S CORNER “Dancing is like breathing in strength and releasing fears.” -Josephine Gonzalez AD 08 “Dance is not just movement! It is a way of life, My way of life.” -Briana Hartman AD 08 Elijah - JIB’s Dance Captain with the mask figure In the Kasumai Dance which represents PEACE

50. JIB Executive Board Members: Josephine Gonzalez - Artistic Director/Treasurer Briana Hartman – Artistic Director/Senior Dance Captain Elijah Vaughns-Asst. Artistic Director/Dance Captain Sharisse DaSilva – Asst. Artistic Director/Stage Supervisor Raphael Parra – JIB Executive Advisor JIB Board of Directors Members : Kamicha Arthur…Head of Advertising, Events and Coordinator, *PTAMCCL & Liaison Tyree Baugh... Assistant Dance Captain /Assistant Treasurer Haajar Orta...Interim Assistant Dance Captain Mariam Safo… Lead Costume Committee Member Andrew Oliver … Requisition and Computer Technician JIB Researcher/Archivist Red Hook Waterfront Arts Festival 2008 Baba Chuck Davis at the Weeksville DanceAfrica’s Opening Ceremony 2009 We Inject The Art of Dance Into A School of Science

51. Research Question/Next Steps for Dance and a School’s Core Vision How can a dance program support a school’s vision without diminishing dance program goals? How can a dance program support a school’s vision without diminishing dance program goals? What key questions/issues do administration, teachers, and dance educator need to ask and address to meet mutual success? What key questions/issues do administration, teachers, and dance educator need to ask and address to meet mutual success? How can the structure of a dance program and school structure be mutually supportive? How can the structure of a dance program and school structure be mutually supportive? Within a school’s core vision of student achievement, how do the skills of a student operated dance company be extended into life learning experiences? Within a school’s core vision of student achievement, how do the skills of a student operated dance company be extended into life learning experiences? Within a school’s core vision, how can dance emphasize the global, anthropological perspective of the humanities? Within a school’s core vision, how can dance emphasize the global, anthropological perspective of the humanities?

52. Dance Classroom Resources I American Dances - 1897-1948 - DVD American Dances - 1897-1948 - DVD Lester Horton Technique DVD – The Warm up Lester Horton Technique DVD – The Warm up Lester Horton Technique DVD – Intermediate level - VHS Lester Horton Technique DVD – Intermediate level - VHS Lester Horton Technique DVD – Advance Level Lester Horton Technique DVD – Advance Level Carmen and Geoffrey – Afilm fy Linda Atkinson and Nick Doob DVD Carmen and Geoffrey – Afilm fy Linda Atkinson and Nick Doob DVD You Got Served – Hip- Hop Movie Dance Segments You Got Served – Hip- Hop Movie Dance Segments Dance Black America – A Dance Horizons Video - VHS Dance Black America – A Dance Horizons Video - VHS Alvin Ailey’s Beyond the Steps - DVD Alvin Ailey’s Beyond the Steps - DVD Native American Men’s & Women’s Dance Styles Volumes 1& 2 - DVD Native American Men’s & Women’s Dance Styles Volumes 1& 2 - DVD At the Jazz Band Ball- early Hot Jazz, Song and Dance – (1925-33) - DVD At the Jazz Band Ball- early Hot Jazz, Song and Dance – (1925-33) - DVD The Best Collection 70’s 60’s 50’s and 40’s –DVD The Best Collection 70’s 60’s 50’s and 40’s –DVD The Music Man - DVD The Music Man - DVD My Fair Lady - DVD My Fair Lady - DVD Seven Brides for Seven Brothers - DVD Seven Brides for Seven Brothers - DVD Cabaret – DVD Cabaret – DVD

53. Dance Classroom Resources II Choreography by Balanchine –Tzigane/ Andante from Divertimento no. 15 – DVD Choreography by Balanchine –Tzigane/ Andante from Divertimento no. 15 – DVD Choreography by Balanchine – Chaconne / Prodigal Son – DVD Choreography by Balanchine – Chaconne / Prodigal Son – DVD The RED Shoes by Michael Powell & Emeric Pressburger’s - DVD The RED Shoes by Michael Powell & Emeric Pressburger’s - DVD Ballet Finis Jhuns – VHS Ballet Finis Jhuns – VHS Ballet Class with David Howard Inter- Advance –VHS KULTUR Ballet Class with David Howard Inter- Advance –VHS KULTUR Luigi’s Master Class -VHS Luigi’s Master Class -VHS That’s Entertainment - DVD That’s Entertainment - DVD Cats – Andrew Lloyd Webber - VHS Cats – Andrew Lloyd Webber - VHS Free to Dance – DVD Free to Dance – DVD Wild Style – HIP –HOP - DVD Wild Style – HIP –HOP - DVD Ushere – the Collections -DVD Ushere – the Collections -DVD Breakin 2 – Electric Boogalow – DVD Breakin 2 – Electric Boogalow – DVD Jazz Dance Class with Gus Giordano – VHS Jazz Dance Class with Gus Giordano – VHS Joneeba African Dance Class – DVD Joneeba African Dance Class – DVD African Healing Dance – with Wyoma and Dancers and Drummers of Damballa – DVD African Healing Dance – with Wyoma and Dancers and Drummers of Damballa – DVD Leoard Reed’s Shim Sham Shimmy – DVD Leoard Reed’s Shim Sham Shimmy – DVD Eddie Brown’s B.S. Chorus “The E.B. Choruses” - DVD Eddie Brown’s B.S. Chorus “The E.B. Choruses” - DVD Salsa – The Motion Pictures (It‘s not just a dance…it’s a passions!) Salsa – The Motion Pictures (It‘s not just a dance…it’s a passions!) Classical Dance of India – Learning – Bhanata Natyam Instructional Video for Everyone Classical Dance of India – Learning – Bhanata Natyam Instructional Video for Everyone Tap Music for the Tap Class Judy Ann Bassing & Lynn Standford – VHS 1992 Tap Music for the Tap Class Judy Ann Bassing & Lynn Standford – VHS 1992

54. Dance Classroom Resources III The Kullinger Collection – Costumes of Denishawn & Ted Shawn and His Men Dancers The Kullinger Collection – Costumes of Denishawn & Ted Shawn and His Men Dancers 1999 Tricia H. Young – DVD 1999 Tricia H. Young – DVD Martha Graham’s Step in the Streets NYCBOD Tool Kit – DVD Martha Graham’s Step in the Streets NYCBOD Tool Kit – DVD Divine Horseman - The Living Gods of Haiti – VHS (Maya Deren ) Divine Horseman - The Living Gods of Haiti – VHS (Maya Deren ) Sanfoka – Amypheduh Films Inc. Presentation Sanfoka – Amypheduh Films Inc. Presentation Lets learn How to Dance Jitterbug with Kathy Blake Dance Studios - VHS Lets learn How to Dance Jitterbug with Kathy Blake Dance Studios - VHS “ Disco/ Hustle “ “ Disco/ Hustle “ “ Waltz “ “ Waltz “ “ Fox Trot “ “ Fox Trot “ Secret Egypt – A Trance Journey to the Heart and Soul of the Egyptian People VHS Secret Egypt – A Trance Journey to the Heart and Soul of the Egyptian People VHS Learn to Hip- Hop dance Taught by Kidz VHS Learn to Hip- Hop dance Taught by Kidz VHS Christy Lanes Learn the Dances of the 50’as and 60’s VHS Christy Lanes Learn the Dances of the 50’as and 60’s VHS “ Swing Dancing Today Made Easy for Teachers VHS “ Swing Dancing Today Made Easy for Teachers VHS

55. K-12 Dance Educator as a Resource to Promote Best Practice Dance Artist/Educator Michael Anthony Kerr, MA NYS PreK-12 Certified Dance Teacher New Voices School of Academic & Creative Arts, Brooklyn, New York (Dance Teacher Grades 6-8) Contributing curriculum writer and professional development facilitator for the NYCDOE Blueprint for Teaching and Learning in the Arts: Dance, Pre-K- 12 DanceKerr@aol.com

56. Overview of Principles of Best Practice Learning: Zemelman, Daniels, and Hyde, 1998, p.8: Student-Centered, Holistic, Authentic, Expressive, Reflective, Social Learning, Collaborative, Democratic, Cognitive, Developmental, Constructivist and Challenging

57. Research Questions/Next Steps for Dance Educator as Resource… What principles does the K-12 Dance educator apply to promote best practices in learning? What principles does the K-12 Dance educator apply to promote best practices in learning? 1.How does the K-12 dance educator apply these principles to foster best instructional practices in the teaching and learning of dance? How do you? 2. What does the K-12 Dance Educator need to know, understand and able to do to promote best practices in learning and how does this distinguish them instructionally as a resource from other dance teaching professionals? How do you? Dance students in new dance studio at New Voices School of Academic & Creative Arts

58. I know… the processes of teaching and learning are not separate processes. I understand… there is more to dance then just learning “steps.” I am able… to not only impart what I know and understand through language but also into action instructionally because my reflective practice has shaped my instructional vision as a dance educator. Dance students from New Voices School of Academic & Creative Arts taking dance class at NYU with Kaleisdoscope Dance Company directed by Deborah Damast Apollo dressing room area before performance of Destination Unknown 06/2009

59. Conclusion Post your questions and comments on Foam Board: look for them at Friday SIG Meeting, Saturday K-12 Social, and Internet K-12 SIG NDEO Forum; become an interactive member: Post your questions and comments on Foam Board: look for them at Friday SIG Meeting, Saturday K-12 Social, and Internet K-12 SIG NDEO Forum; become an interactive member: 1. Kathleen Isaac internet co-chair K-5 2. Michael Kerr internet co-chair 6-8 3. Martie Barylick internet co-chair 9-12 K-12 Special Interest Group Meeting Friday June 26, 2009 10:30- 11:30am Skyline Ballroom K-12 Special Interest Group Meeting Friday June 26, 2009 10:30- 11:30am Skyline Ballroom K-12 SIG Social Saturday evening June 27, Skyline Private Room off Cocktail Lounge, 8-10pm. Come join us! K-12 SIG Social Saturday evening June 27, Skyline Private Room off Cocktail Lounge, 8-10pm. Come join us!