Titlebook: Embodied Curriculum Theory and Research in Arts Education; A Dance Scholar‘s Se Susan W. Stinson Book 2016 Springer International Publishin

大火

正面

Dance in Schools: Valuing the Questions (2006)challenges many of her own core values. Rejecting the mantle of “expert,” she expresses the hope that exposing and probing her own questioning process will give others courage to engage in this process as well.

ACME

Emmenagogue

Voices of Young Women Dance Students: An Interpretive Study of Meaning in Dance (1990)n escape from the everyday world. At the same time, the students saw themselves as outsiders in terms of the professional dance world, perceiving it as consisting of fixed values with little chance for change. The researchers discuss their findings in the context of socio-cultural structures and draw implications for teaching young women dancers.

木質(zhì)

Book 2016education in general and dance education in particular, through narrative and critical reflections by this unique scholar and a few co-authors. It also includes contextual insights not available elsewhere. The author‘s pioneering embodied research work in arts and dance education continues to be rel

小官

My Body/Myself: Lessons from Dance Education (2004) larger questions like, “In whose interest?” and “What’s worth knowing?” She concludes that education of the lived body should be central in the curriculum for not only dance education, but arts education generally.

BAN

RAG

Microscopy of Semiconducting Materialsready to get on with creating the next chapter of my life. Saying that I was considering an edited collection of my work meant I didn’t have to have anything else figured out for the time being. In addition, it drew enthusiastic response from some, which provided encouragement to formally begin “considering.”

ironic

盡忠

Microskin Grafting for Vitiligoions and practices from the past, including methodology, content, standards, and assessment, and re-evaluates them in light of twenty-first century changes and challenges. In revealing how one individual has navigated some critical issues in dance education over a long career, this piece demonstrates how change can occur on the micro-level.