杨贵妃传媒視頻

By Shannon Dooling-Cain, NDEO Special Projects ~~ In this post, we will focus on how dance educators can better connect with high school age dance students. We are defining high school age dance students as those approximately age 14-18, in grades 9-12. High school students are navigating the transition to adulthood. As the non-profit EL Education describes, 鈥淎s students transition into and through high school, they are able to make more connections between their actions and the impact of those...

By Shannon Dooling-Cain, NDEO Special Projects ~~ In this post, we will focus on how dance educators can better connect with middle school age dance students. We are defining middle school age dance students as those approximately age 11-13, in grades 6-8. Middle school students face unique challenges, and dance educators in turn have a special opportunity to reach and impact these students through dance - although it isn鈥檛 always easy. According to the Association for Middle Level Education (...

By Shannon Dooling-Cain, NDEO Special Projects ~~ In this post, we will focus on how dance educators can better connect with elementary school age dance students. We are defining elementary age dance students as those approximately age 5-10, in kindergarten through 5th grade. Many elementary age dance students come to class excited to learn and explore movement, and they tend to be enthusiastic learners. However, their eagerness can at times lead to unruly behaviors or quickly turn to boredom wh...

by Shannon Dooling-Cain, NDEO Special Projects ~~ In this blog series, we are exploring ways to help dance educators foster better connections with their students, so that they can teach more effectively and meaningfully. This blog series features insight from NDEO members who responded to a call for submissions, as well as ideas gleaned from resources used in our OPDI courses for dance educators...

by Nisha Pradeep, Bharathanatyam Dancer, Teacher, and Choreographer ~~ The sound of a chollu (sound/syllable) or a sound uttered has a life. It may live for a few seconds to even as small as a millisecond. The skill of a dancer is in embodying that sound fully and wholly within their movement. Every movement sequence (adavu) in Bharathanatyam is associated with a specific sequence of syllables set to rhythmic pattern. The dancer executes each movement sequence in accordance to this rhythmic syll...

by Judith Lynne Hanna PhD, Affiliate Research Professor, University of Maryland ~~ At times during their careers, dancers may want to explain what dance is to family, friends, students, schools, spectators, and the media. After all, knowledge about dance is new and limited compared to the other arts. My journey toward understanding dance began as a child in 1946, and the odyssey hasn鈥檛 stopped. A pediatrician told my parents that ballet would make my feet strong. So I studied ballet. Dancing di...

by Anne Dunkin, DELRdi Coordinator 2004-2024 ~~ For two decades NDEO has provided members with open access to its Dance Education Research and Literature Descriptive Index (DELRdi). However, usage statistics indicate that very few members take advantage of this unique and significant dance education information resource. WHY? To dismiss any misconceptions, and to reinforce DELRdi's usefulness, this blog describes eight scenarios that bridge all dance education constituencies and might easily...

Over the summer, many teachers find themselves reflecting on the past year: what worked, what could have gone better, and how to improve the learning experience for your students next time. If you are looking for a way to enrich your classes and deepen your students鈥� dance learning, consider incorporating somatic movement into your dance classes. Somatic movement is a term for a range of movement practices that 鈥渆nhance human functioning and body-mind integration through movement awareness,鈥� ...

By Shelby Bensinger, NDEO Program Coordinator ~~ Welcome to Part 3 of NDEO鈥檚 blog series highlighting Performing Arts Organizations who are institutional members of NDEO, and celebrating their contributions to the field of dance education. In dance performing arts organizations, creativity and passion come together to uplift communities and celebrate cultural diversity. These institutions serve as beacons of artistic expression, providing accessible avenues for individuals of all backgrounds t...

By Shannon Dooling-Cain, NDEO Special Projects ~~ As a dance educator, you might be familiar with the term somatic movement. You may have seen social media posts extolling the benefits of trendy somatic workouts, you may even have some experience with somatic movement practices, like Alexander Technique. However, you may be curious about what the term 鈥渟omatic movement鈥� actually means, or how to incorporate somatic movement practices into your dance lesson plans or personal practice...

by Gina D'Antonio-Spears, Dance Educator, Portage Park Elementary, Chicago Public Schools ~~ When I first began teaching in Chicago Public Schools, dance positions were few and far between. One day, I was at a conference and I met this amazing elementary dance teacher. I latched onto her like a lost puppy, asked if we could have lunch together, and *boom* I had a mentor. Suddenly I was not alone in my work, no longer teaching dance in a bubble. Over the years she advised me and inspired me, ...

by Betsy Maloney Leaf, PhD, MFA, Assistant Professor, University of Minnesota ~~ The following blog was written by NDEO member Betsy Maloney-Leaf. She is proposing a new Special Interest Group for Teacher Trainers in Dance Education, the educators who prepare the next generation of dance teachers. We at NDEO recognize and support the need to bring this group of dance educators together to cultivate support and leadership within our community. This blog sets forth why our community needs this spe...

By Krista Brown, Freelance Teaching Artist ~~ Many veteran teachers know the voice that springs up when there is a lull in learning choreography. As I am scrolling through notes, if ever there is a quiet moment I often hear 鈥渨e could鈥︹�� or 鈥渨hat about this鈥︹�� In my early years of teaching, I鈥檇 shoo it away and say, 鈥渢hat鈥檚 a nice idea鈥� and proceed with my choreography notes. Whether this is how I feel the classroom is best managed, I think rests on something beyond just expectation setti...

By Nancy Romita and Allegra Romita ~~ In many forms of dance the breath support for movement is not an integral part of training. It is not perceived to be important in the same manner that stretching, strengthening, and balance warrant focus. Little coaching and training time addresses breath support in most Western dance forms. We propose breath support is at the heart of expressivity and artistry in movement phrasing.Teachers may verbally coach students to hold the abdomen in so tightly the a...

By Pascal Rekoert, Assistant Professor and Dance Education Program Director at Central Connecticut State University ~~ As teachers, we spend endless time lesson planning, pondering the needs and joys of our students, and looking into our proverbial crystal ball. This process prioritizes our direct future, but what about the life learnings we implicitly share with our students? What about the distant future, the professional legacy we leave behind? My summer was a period laden with loss and鈥攊...