Dance Education Essay, Research Paper
Dance Education
Outline
Why is dance a necessary and basic part of a students’ education? Is there evidence that dance education results
in significant educational outcomes (e.g., self-esteem, critical thinking, cross-cultural thinking, body/kinesthetic
intelligence, interdisciplinary perspectives)?
1. Introduction
2. Thesis statement
3. History
4. Status
5. Physiology
a. Intervention
b. Statistics
c. Positive aspects
6. Sociology
a. Socialization
b. Etiquette
c. Connection
d. Religion
7. Psychology
a. Motivation
b. Self-esteem
c. Affective education
8. Summary
9. Works Cited
Introduction
Dancing is a natural impulse– an instinctual mode of self expression and communication. For many people dance
is limited to what they see on television or at the local preforming art’s theater. Nevertheless, they don’t need to
be professionally trained to move to music.
A growing body of research shows that dance is the Retin-A of physical and emotional health. It can help us age
gracefully. It stretches and strengthens the muscles, lubricates the joints, and gets rid of tension. It’s also a great
social and supportive activity (Brody 54)
According to Peter Pover, a former competitive dancer and past president of the U.S. Dance sport council:
In Germany doctors did tests in which they wired up the country’s 800-meter running champion
and its amateur dance champions. They found no significant athletic difference between running 800 meters and
doing the quickstep for one and one half minutes. That’s just one dance. In competition couples have to do
five ninety second dances in a row, with only 20 seconds between dances. Moreover, the women have
to do it going backwards! All a runner has to do is jog around the track (Swift 72).
People dance because it’s totally absorbing and makes them forget everything else. They dance for exercise, to
control weight or to overcome a physical disability. Through dancing, your body image becomes clearer.
Physical fitness and social relationships can be illusive, monotonous, time consuming, difficult to keep up with,
and expensive. In my search for the ultimate exercise experience I have done weight lifting, stair stepping,
bicycling, running, swimming, step aerobics, high and low impact aerobics, water aerobics, yoga and team
sports. To meet people and make friends I’ve tried night clubs, gyms and self-help books.
Then I found dance. The experience of dancing with a woman at the end of my arm is like nothing else I have
experienced in any other activity. The words would you like to dance?’ have a universal appeal that few people
can resist.
Dancing for enjoyment is a pleasant exercise using the body and mind in unison, directing physical energy into
rhythmic patterns. I believe that dance is for everyone and everyone can participate in and learn through dance
because we live our lives through movement-gathering, assimilating and expressing knowledge. Dance plays an
important role in the growth of students as it develops kinesthetic intelligence with creative and critical thinking
skills. It is a good way for students to learn and develop their understanding of life experiences (Paulson 30).
Why is dance a necessary and basic part of a students’ education? Is there evidence that dance education results
in significant educational outcomes (e.g., self-esteem, critical thinking, cross-cultural thinking, body/kinesthetic
intelligence, interdisciplinary perspectives)?
History
Dance first appeared in the American public schools at the turn of the century. Elizabeth Burchenal, America’s
famous folk-dance authority, aided in introducing dance to public education as a form of recreation. Folk-dancing
is a viable part of most physical education programs throughout the country.
Perhaps the most prevailing form of dance in the field of education is modern dance. Terry explains what this
form of dance has to offer high school and college students:
Physically it can strengthen the body, correct (in most cases) faults, develop coordination, enhance
accuracy of movement . . . Emotionally, dance aids students in adjusting themselves to group activity, to
leadership, to discipline, and it helps them in matters of personal poise, in articulation in the expression
of ideas. For dance is both a discipline and a release (236).
Many surveys have been conducted to investigating the extent and nature of dance education in the United
States. In 1938 the Bennington School of Dance conducted a national survey to decide the status of modern
dancing in education. They discovered that they were promoting modern dance as physical education program in
especially large high schools. Although the program favored the women, efforts were under way to cultivate the
natural interest of boys as well.
The study also revealed that while most of colleges and universities offered instruction in some form of dancing,
approximately two-thirds of these offered modern dance. Although some institutions transferred dance to the
department of fine arts, most programs were in the department of physical education (Welch 163).
Margaret H’ Doubler and Martha Hill pioneered the preparation of dance teachers. H’ Doubler developed the first
dance major in the United States in 1926 at the University of Wisconsin at Madison. In 1934 a school of dance was
opened at Bennington College in Vermont. Hill was director of dance for years at Bennington College and New
York University, and later head of the dance department at the Julliard School in New York City. With the
development of dance as a major course of study at their respective institutions, these early pioneers prepared
the first teachers who went out to other schools and colleges.
By the late 1970’s dance education had expanded so much in Higher Education that both the American Alliance
for Health, Physical Education, Recreation and Dance, and Dance Magazine publishes directories to college and
university dance programs. The prospective student of dance can select institutions throughout the country which
offer intensive courses for degree candidacy or as a minor field of study. Additionally, they may take dance as
part of an interdisciplinary major, or as a concentration within other degree programs. They may also earn
elective liberal arts’ credit. Some universities have professional companies in residence.
The advantage public schools and college campuses can offer that no professional studio can match are:
1. Free and adequate space for practicing.
2. The facilities of a well-equipped theater and recording studio.
3. Willing and patient young bodies for experimentation in choreography.
4. A resident, enthusiastic, and intelligent audiences.
5. Collaborating designers and musicians.
6. Freedom from union restrictions.
7. Freedom from commercial pressures.
8. Freedom from vulgarity and habit.
9. The general atmosphere of taste and aspiration that any college engenders. They must not
underestimate this, for it does not exist in the competitive theater.
10. Access to related arts.
With these advantages, they could organize the dance department to develop teachers, critics, and
choreographers as nowhere else.
When they teach dance as an art, artists and experts will enter the colleges as teachers. They will demand stricter
standards, standards on a college level, what an eighteen-year-old would learn in a professional atelier, not what
a child would attempt in kindergarten. They will demand sufficient time for daily practice and weekly studies.
They will demand prerequisites for matriculation (De Mille 74).
At the public schools many teachers realize the need to include dance education. Unfortunately they do not
usually have the preparation they need to feel confident or competent to do so. In fact most institutions do not
consider it a subject. Dance has no status as an art form in most schools. It is most often part of the physical
education curriculum as a strand of physical activity. Schools offer dance residencies, in which they treat dance
as an art form, but these are short-term opportunities.
Consequently, dance has very little presence as an art form in the curriculum (Paulson 30). Dance instructors
cannot get a licence to teach dance in schools. To teach dance in public school they must have a license in
another field or be a guest artist independent contractor. Few, if any in-service opportunities exist for teachers
who want to study dance. No formal accepted dance curriculum exists in most cases and this leaves teachers on
their own to create the curriculum (Paulson 30).
Successful programs are in desperate need of funds to buy things like tapes, books, illustrations and auxiliary
equipment that could be used to expand the growth of dance. Even space to teach and practice is almost
impossible to get. They teach dance classes on borrowed turf which reverts to its other uses when class ends.
This creates an out of sight out of mind scenarios where students cannot practice, experiment or create (Paulson
30).
Gender bias is another issue. Most teachers, professional dancers and students are female. Physical education
departments often promote these images (Paulson 30). It is an almost exclusively American prejudice that boys
who dance are sissies (De Mille 5).
Dance educators are scarce and there are no forums established in which they can come together regularly for
support, information, or inspiration. They fight the lone battle against students’ fellow teachers, administrators and
often with parents and community members (Paulson 30).
To address these issues we need to begin to gather a body of data to show that a change is necessary. Some
questions that they need to be addressed are:
1. In what ways can dance education contribute to current and future efforts in shaping education
reform.
2. What models are in current use to teach dance?
3. What are the empirical implications of research in cognitive, affective, and psychomotor
development at different stages of development of the student?
4. What influences control some teacher’s decisions to use dance in the class room?
5. What tools and media are available to the educator?
6. What training influences teachers at various stages in their careers?
7. How are dance classes assessed?
8. What are the important assessment factors?
9. What is the perception inhibiting the use of dance as a valid educational activity?
Current dance research is usually focused on psychology, history, kinesiology, philosophy, aesthetic, therapy,
sociology, and other academic areas, dance education has been the subject least examined (Beal 38).
Physiology
Dr. Lulu E. Swergald, who was a student of movement, developed a technique for improving posture and range of
movement based on mental imagery. Empirical studies showed a marked increase in coordination and efficient
muscular actions (Jacob 26).
Rosemary Flores did a study to decide if Dance for Health, an intervention program designed to provide an
enjoyable aerobic program for African American and Hispanic adolescents, has a significant effect on improving
aerobic capacity. The scope of the study focused on whether dance could help students maintain or decrease
weight, and improve attitudes toward physical fitness.
Students in the intervention had a greater lowering in a body mass index and resting heart rate than students in
regular physical activity (189).
Despite the potential for physical activity to help reduce or maintain weight, physical education programs are
giving students at best minimal activity and they are becoming less common in schools. Our own Palm Beach
Community College has dropped the Physical education requirements required for a degree, and the Recreation
department is almost nonexistent. Children engage in approximately 20-40 percent of their physical activity at
school, with physical education classes as the primary source. However, according to many surveys, children
spend less than 10 percent of their physical education time in moderate to vigorous aerobic activity. This amounts
too less than ten minutes per week (Flores 190).
Almost any kind of dance can be considered aerobic exercise. An example of the kind of aerobic dance that is
popular is line dancing. Most of the three thousand plus line dances currently being done are choreographed for
Country and Western music, but they readily adapt them to any type of music (Yoxall 16).
Besides building up their heart and lung fitness, dance makes gives them more flexible and coordinated. One of
the best things about line dancing is they don’t have to be in the gym to practice. They can do it at home by
themselves or with a friend, once they learn the steps (Yoxall 17).
Sociology
Our education and socialization as good Americans are geared almost exclusively toward making good business
and professional people or good workers. Where are we taught-or socialized to listen with empathy,
communicate consciously, to look at ourselves honestly, to feel and express emotions appropriately? An
occasional eight-grade family-life class? One hour of Sunday school a week? An eight-or ten -hour parenting
class?
In a competitive, work-oriented society, love and emotional connection have difficulty growing between people.
Susan Page calls it the great emotional depression because much like the Great Depression of the 1930’s and its
shortage of money and jobs, we have a shortage of emotional maturity and an apathy about human relationships
(3).
Older generations used to learned manners by osmosis from their families and the surrounding culture. Many took
dance lessons in their communities, while others learned to dance by teaching each other and practicing at home
with parents or siblings. In Texas they have clubs that children can go to on a Friday night and learn the local
dances like the two-step and the push whip, a variation of west-coast swing. They are adept at social dancing and
manners by the time they reach adolescence.
In the 1950’s dancing was an omnipresent part of the culture, and basic social skills were a given. Then in 1960’s
Americas culture was turned on its head while they searched for new paradigms of living. In the 1970’s
disillusionment made use break away from our dependence on one another. The 1980’s was the time for space in
our relationships (Page 3). If we are to rebuild our culture we must begin with the basics (Walsh 5).
Dance floor etiquette can easily be incorporated into a ballroom dance class. Paul Lanoureaux, a dance
instructor by night and a middle school principal by day has been teaching dancing and etiquette to 11 and
12-year-old children in the Boston area for five years. He gives instruction three nights a week but because of high
demand he could fill these classes every night of the week.
The curriculum for the six-week session includes ballroom dances like the foxtrot and polkas. They teach students
to use phrases like “may I have this dance?” and respond with “I’d be delighted.” The boys seem to appreciate
the rules of the class. The young women quietly worry about having to dance with ” a geek.” They are all
expected to dress in their best attire for most of the classes in the session.
According to Catherine Walsh:
This is what our society needs: to teach children manners and social skills and to require them to
dress appropriately. In a culture in which both parents work and one-parent families are more common than
ever, where there are few cultural norms and expectations, someone has to teach the children how to
make conversation. Pundits too often lament the lack of civility and manners in our society, without noting
that they often neglect the teaching of these traits in our culture. Children are more self-assured when they know
that dancing is a fun and no pressure way for them to meet and interact with the opposite sex (5).
Dance may help people by decreasing isolation, loneliness and boredom. Asking a woman to dance is the perfect
icebreaker in many social events. Dancing may also increase tactile support, cooperation and enjoyment while
giving participants something to do with their hands, feet and bodies when communication on a purely verbal
level is awkward (Crenan 50).
Katrina Hazzard-Gordon, chairperson of the Sociology department at Rutgers University has written extensively
about the connection between developing values and dances’ cultural significance. She teaches a combination of
sociology and dance where one day a week she lectures and the other is spent in the studio. She explains that