体育学院舞蹈专业英语文献翻译.doc

Dance as a Language of Learning and a Source of Embodied KnowledgeRichard, MarcThe current status of dance in Ontario schools 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 potential 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 what 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 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 rather 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 ourselves, and our world: Dance allows a relationship to develop between the outer world and our bodies.our bodies experience things first, via our physical interaction with the world; therefore, there are kinds of data that our bodies experience before our minds (p. 188). This includes such things as the sensation of touch, the feel of air on our skin as we move through space, as well as physical interactions with objects and other people. For many generalist teachers, creative dance education remains an enigma; these teachers look to the real dancers for some idea of what creative dance is and how to teach it. But for studio-trained dancers, creative dance is equally elusive because they have had very few experiences as dance students where they were allowed to create. Joyce (1973) recognizes that many good dancers fail at creative dance teaching because they are not sure of the goal. They are used to physical goals such as teaching the class to do a combination of steps (p. 12). Koff (2000) differentiates between dance education and dance training, the former being focused on the development of self-expression and interpretation through motion with self-knowledge as its aim and the latter on mastery and fixture performance.In many Ontario schools where dance education is actually occurring, it is very often a replication of teacher-directed studio dance training (i.e. jazz dance, ballroom dance, video-inspired dances such as Britney Spears routines). Reggio Emilia educators, Cavazzoni, Pini, Porani, and Renieri (2007), seem to recognize the dichotomy between the world of dance studios and creative dance when they ask, Is a body something to train, or to listen to and know? Is it a competitive body with abilities to conquer or a body rich in cognitive, emotional, and expressive potentialities? (p. 4). These Italian educators recognize dance and movement as a way of knowing and naming the world, and as one of the many languages of learning. Making the Learning Visible in Creative Dance Education What is the learning that happens in creative dance in an elementary school setting? This research project investigated the learning for both teachers and students in four elementary school settings in Ontario. Four generalist classroom teachers who were also experienced in teaching creative dance (as outlined in the documents) were videotaped and photographed while teaching creative dance classes. Afterwards, these teachers were interviewed while watching the video documentation. From these interviews, the researchers observations, field notes, and photographs, moments of perceived learning were proposed via pedagogical documentation panels. The words and pictures of students and teachers were placed on panels and these were used to provoke further dialogue in the form of one-on-one interviews, and small group or whole class discussions. All of the interviews and specific moments from the video documentation were transcribed, and along with the photographs and students work samples, comprised a data collection. The overall findings suggest that in creative dance classes students are learning to develop an awareness of their dancing self, an intersubjectivity as they engage in collaborative creative processes and discover the interconnectedness of dance as a language of learning. Teachers are learning about their unique role as a facilitator in creative dance classes and developing an ability to witness thinking bodies. The Students are Learning to Think with their Bodies Creative dance provokes students to use their bodies for thinking and for solving problems. As grade five teacher Brooke explained, The depth of their thinking after having the movement experiences is way more than any other subject Ive seen.I think there is something about embodying it first that gives them deeper thinking. As another teacher, Alorani, began her work with her grade three class, she advised them they would be thinking in new ways - they would be showing rather than telling. She initiated an activity with the grade three students in which they were working with a partner to suspend two thin bamboo poles between their two index fingers. Learning to Use Dance as a Language to Understand Other Disciplines of Learning This theme represents all the learning that is taking place in creative dance classes that is not specifically just about learning in dance but also learning in other subject areas such as drama, science, math, language, geography, and health. This represents the learning through the dance portion of the curriculum, i.e. what students are learning about other subjects through creative dance. The first time I witnessed this was with Charlie, a four year-old kindergarten student experimenting with his scarf. Charlie was focused on throwing his scarf in the air and watching it descend. Initially, he was scrunching the scarf into a ball, throwing it up, and watching it fall. Next, his experimentation was different - he had a new theory, perhaps inspired by the concept of soft, which they were exploring in that days lesson. He laid out the scarf very carefully and specifically on the ground and threw it up from two corners. This time the scarf seemed to suspend in the air and then gently float down. He watched this action very intently. His teacher, Emily, recognized, He did the same thing yesterday, but today it was more sophisticated, it had to be spread out in a certain way. I showed Charlie a picture of himself as I interviewed him. Dance as a Language of Learning Dance is a language of learning with a vocabulary based on the elements of dance, and students can become literate in dance as a language. Because the language of dance is embodied knowledge, it allows the students to express their knowledge about many subjects through their bodies. As a language of learning, dance does seem to connect, as Stinson (1998) suggests, to the mind, body, and spirit. The grade six students certainly recognized it as a unique way of learning, that didnt really feel like learning because it was also fun. Body movement and thinking with the body allows students to develop and connect knowledge in many subject areas, but also to their lives, because the first site of learning was their body. For the very young students, these interconnections (e.g. Charlie and his scarf) are discovered, naturally, through play-based experiences. For older students, creative dance allows them to re-connect their original playbased movement learning with other subjects in even more complex ways, e.g. the grade six students interpretations of poems. The results of this study suggest that it is possible for students to know dance as another important language of learning in our schools. Students used their thinking body in dance to make connections to many other curriculum areas. In order for this type of interconnection to take place however, dance needs time on the curricular timetable, and this requires teachers (and all the stakeholders in education) to value dance and the body as a site of learning. We must reposition dance not as an add-on to the day but as an essential embodied form of learning about self, other, and the world. 舞蹈可以作为学习和获得知识的一种来源方式理查德；马克安大略省舞蹈学校的现状是不容乐观的。也许这也反映出了公众潜意识里对舞蹈的看法及状态。我于2009年的一个研究表明，一些具备各种才能的（即所谓的通才）老师，他们认为，在学生课程已经负担过重的情况下，舞蹈的地位很尴尬。因此，他们看不到舞蹈可以作为一个促进学习和获得知识的渠道之一，让人们可以在轻松愉快的氛围中，取得进步。那些通才老师不认为自己是艺术家，更不用说是一个舞者，因此他们对舞蹈课程是有偏见的(理查德，2009)。在大多数情况下，这些所谓的通才老师并不知道舞蹈真正意味着什么，他们简单认为，老师站在前面，演示下舞蹈动作，然后学生学习和反复练习。在这个舞蹈指导里，老师几乎没有体现出生活技能方面的知识 (比如：人际、批判性和创造性思维等)。大多数人都不是很了解创造性舞蹈，苏史汀森(1998)将创造性舞蹈定义为一种艺术形式，它是基于自然的运动，而不是一个特定的运动风格，比如：踢踏舞或者芭蕾舞”。在创造性舞蹈教学与体验中，主要是学生创造舞蹈，教师的角色不是教舞蹈，而是促进学生的学习和创造。通过舞蹈，我们可以获得很多更深刻的体验，有助于拓宽教育和学习的视野。Cancienne和Snowber(2009)认为舞蹈的一个独特的功能就是了解我们自己和我们周围的世界:“舞蹈将外部世界与我们身体联系在一起。首先，我们的身体通过舞蹈体验，可以与世界互动,这包括诸如触摸的感觉，跳舞时，空气轻抚我们皮肤的感觉，我们穿过空间的约束，与他人交互沟通。对于那些所谓的通才老师来说，创造性的舞蹈教育仍然是一个迷，他们把握不到舞蹈的真谛，认为舞蹈就是简单的教，以及如何教。但对于那些只知道在舞蹈室练习的舞者来说，创意舞蹈是难以捉摸的，因为他们对于舞蹈也不是有真切的体会。乔伊斯（1973）认为“很多好的舞者，在创造性舞蹈教学方面，失败的原因就是因为他们不确定教的目的。考夫对舞蹈教育和舞蹈培训做了一个区分，前者注重”通过运动来自我表达，以自我认知为目的，后者则以掌握技能为目标。安大略的许多学校在舞蹈教育方面，其模式经营经常是对老师所教授的复制和不断练习，例如爵士舞，舞厅跳舞等。而来自与意大利的学者，Cavazzoni，Porano和Renieri则认为，舞蹈似乎是认知世界的一个渠道，“是一个身体训练的的东西，或听或感受，知道吗？是身体与世界的沟通，是认知、情感、和富有表