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

強化

What We Teach Is Who We Are: The Stories of Our Lives (2002) tasks of curriculum development and teaching. These visions come through a filter of personal values, which are often illustrated in the stories educators tell themselves and others, so examining those stories can be a way to heighten awareness of values. The author suggests, however, that awarenes

昏迷狀態(tài)

My Body/Myself: Lessons from Dance Education (2004) structure, she describes three themes pervading what she has learned and taught, ones which have implications well beyond dance and teaching:.The author problematizes each theme using a lens of critical social theory to question the taken-for-granted, especially that within her own thinking, asking

不適當

The Hidden Curriculum of Gender in Dance Education (2005)rger culture. The hidden curriculum, referring to everything students are learning besides what teachers are explicitly teaching, is generated through the taken for granted structures and practices of educational institutions, including dance studios as well as schools. The author suggests that fede

figment

Dance in Schools: Valuing the Questions (2006)temporary decisions made within specific contexts, and that she finds the questions more interesting than the answers. Her questioning in this text is organized into three interrelated issues. One focuses on the query, “Whose movement are we teaching?” The second has to do with the primacy of the li

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Rethinking Standards and Assessment in Dance Education (2015)ry dance education. The author asks what’s worth assessing and how assessment might facilitate learning and empower students and teachers, rather than judging and ranking them. Suggesting a number of dance standards that support significant life skills, the author compares her proposal to that from

廚房里面

Research as Art: New Directions for Dance Educators (1985)national (daCi). While acknowledging that some of the dearth of publication in dance education might be credited to lack of a journal dedicated to dance education, the author suggests that the low interest in research among dance educators might be partially due to the incompatibility of traditional

BIDE

Body of Knowledge (1995) education, the author makes a case for how one’s somatic self (the self which lives experience) is deeply connected to thought, including that in educational research. The paper explores how choreography can be both a metaphor and model for academic research, using examples drawn from the author’s

arbiter

Obligatory