Реферат: Dance Education Essay Research Paper Dance EducationOutline

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