1、2050汉字 ， 1400单词， 7500英文字符 出处： Marc Richard O C T. Dance as a Language of Learning and a Source of Embodied KnowledgeJ. Physical & Health Education Journal, 2013, 79(1): 6-10. Dance as a Language of Learning and a Source of Embodied Knowledge OCT Marc Richard The current status of dance in Ontario sc
2、hools is tenuous at best. Perhaps this reflects the status of dance in the consciousness of the general public. My Masters research (Richard, 2009) indicates that generalist teachers see dance as yet another add-on to an already overburdened curriculum; thus, they fail to see the incredible potentia
3、l for dance as a language and form of embodied learning. Generalist teachers dont see themselves as artists, let alone dancers, and therefore dont feel comfortable teaching dance (Richard, 2009). For the most part, generalist teachers (and I believe the general public) have a very narrow view of wha
4、t dance education entails: the teacher stands at the front and demonstrates a dance (e.g. the Macarena), which the students learn and repeat. In this teacher-directed model of dance instruction there is little room for the development of living skills (personal, interpersonal, critical and creative
5、thinking), as oudined in the recendy revised Ontario grades 1-8 health and physical education curriculum (Ministry of Education, 2010). Most of the stakeholders in education have very little knowledge of creative dance, defined by Sue Stinson (1998) as an art form that is based on natural movement r
6、ather than movement of a particular style as one might see in tap dance or ballet (p. 2). In creative dance experiences the students create dances and the teachers role is not to teach dances or technique but to facilitate learning and creation. Making visible the many profound moments of bodily learning within a creative dance setting might help to broaden definitions of education and learning. Cancienne and Snowber (2009) recognize dance as a unique site for learning about ourselv
