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Teaching What You Want to Learn: A Guidebook for Dance and Movement Teachers [Kietas viršelis]

4.75/5 (4 ratings by Goodreads)
  • Formatas: Hardback, 214 pages, aukštis x plotis: 216x138 mm, weight: 399 g, 22 Line drawings, black and white; 15 Halftones, black and white; 37 Illustrations, black and white
  • Išleidimo metai: 08-Jul-2022
  • Leidėjas: Routledge
  • ISBN-10: 1032268492
  • ISBN-13: 9781032268491
Kitos knygos pagal šią temą:
Teaching What You Want to Learn: A Guidebook for Dance and Movement TeachersDidesnis paveikslėlis
  • Formatas: Hardback, 214 pages, aukštis x plotis: 216x138 mm, weight: 399 g, 22 Line drawings, black and white; 15 Halftones, black and white; 37 Illustrations, black and white
  • Išleidimo metai: 08-Jul-2022
  • Leidėjas: Routledge
  • ISBN-10: 1032268492
  • ISBN-13: 9781032268491
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781032268491.html
Raktažodžiai:
"Teaching What You Want to Learn distils the five decades that Bill Evans has spent immersed in teaching dance into an indispensable guide for today's dance instructor. From devising specific pedagogical strategies and translating theory into action, to working with diverse bodies and embracing evolving value systems, Evans has considered every element of the teacher's role and provided 94 essential essays about becoming a more effective and satisfied educator. As well as setting out his own particular training methods and somatic practice as one of the world's leading dance teachers, he explores the huge range of challenges and rewards that a teacher will encounter across their career. These explorations equip the reader not only to enable and empower their students, but also to get the most out of their own work so they are learning as they teach. This is an essential book for anyone who wants to teach dance and movement, from professional and academic settings to amateur artists and trainee instructors"--

Teaching What You Want to Learn distils the five decades that Bill Evans has spent immersed in teaching dance into an indispensable guide for today’s dance instructor. This is an essential book for anyone who wants to teach dance and movement, from professional and academic settings to amateur artists and trainee instructors.

Recenzijos

"BRAVO, BILL! You have given all of us educators a valuable gift by delineating your open humanitarian approach to teaching! You have passed on vital information that needs to be available for all new teachers of dance, as well as for long-time professionals who might not have re-looked at their own teaching lately!"Peggy Hackney, author of Making Connections: Total Body Integration Through Bartenieff Fundamentals

"An abundance of insight, gathered over a lifetime of teaching, choreographing, and performing. Evans provides a treasure trove of examples of incorporating effective practices and language, including that of images, prompts, anatomical clarity, all given to support deepening our students experience of themselves dancing. Evans personal journal through a long career of teaching dance while maintaining and generating enthusiasm and openness is an inspiration to fellow teachers to continue to grow and learn. His insights are specific, life affirming and useful. A rich resource for both new and experienced dance teachers. An inspiration. Wise and generous."Claire Porter, renowned choreographer, writer and performance artist

"Teaching What You Want To Learn, is a series of short, accessible and enlightening essays that celebrate the transformational power of critical thinking. Evans advocates for teaching the whole dancer by nurturing their intellect, emotions and physicality. A personal favorite are the For Your Consideration questions at the end of each essay that invite the reader to reflect on their own learning experience and how to enact change. A must read for anyone who values the learning process and is interested in teaching dance!" Edisa Weeks, Queens College, New York, USA

List of contributors
xv
Foreword xvii
Selene B. Carter
Introduction 1(9)
1 The Backstory
1(5)
2 Why This Title?
6(1)
3 Citing My Sources
6(4)
Chapter I Notes to Self
10(9)
1 Remind Yourself That You Love to Teach
10(1)
2 Embrace Evolving Values
11(1)
3 Teaching's Not Easy, But If It's Your Calling, Nothing Else Will Be As Satisfying
12(2)
4 You Always Have Something to Offer
14(1)
5 It's OK to Be Unpopular
14(2)
6 It's OK to Say You're Sorry
16(1)
7 Follow Your Personal Aliveness
16(3)
Chapter II Underpinnings
19(15)
8 Planting Seeds
19(1)
9 Crystallizing or Paralyzing Activities or Experiences
20(1)
10 All Students Are Smart
21(1)
11 Preparing Students for Their Future, Not Our Past
22(1)
12 Honoring Personal Uniqueness
23(1)
13 Knowing Themselves to Adapt to Different Styles
24(1)
14 Students Don't Need to Be Fixed
25(1)
15 We Are All in This Together, But Each of Us Is Having a Different Class
26(2)
16 Learning Is Active
28(1)
17 Thought Creates Action
29(1)
18 Inefficient Movement Patterns Are Not Moral Weaknesses
30(1)
19 Replace. You Can't Just Erase
31(3)
Chapter III Cornerstones
34(21)
20 Positive Self-Talk
34(1)
21 Compete or Excel?
35(1)
22 High Challenge But Low Threat
36(1)
23 The Value of Refined Repetition
37(1)
24 There Is No Meaning Without Context
38(2)
25 Learning Can Be Serious Fun
40(1)
26 Uncover to Discover
41(1)
27 Never Work Harder Than Your Students
42(1)
28 Teaching The People in The Room
43(2)
29 Learning From The Living Body
45(1)
30 The Mind-Body Organizing Power of Intent
46(2)
31 Movement Occurs in Phrases
48(1)
32 Neutral Alignment/A Change in The Part Creates a Change in The Whole
49(1)
33 Brace, Collapse or Give and Take/Yield and Push to Reach and Pull
50(5)
Chapter IV Language
55(6)
34 Words Matter
55(1)
35 Invite
56(1)
36 Allow
57(1)
37 Reach and Other Integrative Verbs
58(1)
38 We Are Not Objects
59(2)
Chapter V Guidelines and Strategies
61(15)
39 Noticing Each Student in The Learning Circle
61(1)
40 There Is No Front in Our Classroom
62(1)
41 Wrapping Words Around Perceptions/Pair and Share
63(1)
42 Teaching Through Touch
64(1)
43 Balancing Portions of The Class
65(2)
44 Investigations Not Exercises
67(1)
45 Planning Backward
68(1)
46 Managing Time
69(1)
47 Previewing The Whole, Differentiating The Parts and Integrating the Entire Investigation
70(1)
48 Addressing The Cause, Not The Result
71(2)
49 Opening Rituals
73(1)
50 Closing Rituals
74(2)
Chapter VI Body Specificity
76(14)
51 Lung Respiration
76(1)
52 Cellular Respiration/We Are Mostly Water
77(1)
53 Breathdancing
78(1)
54 Dynamic Alignment/The Pathways Through
79(1)
55 Body-Part Phrasing
80(1)
56 Asymmetrical Body Sides
81(2)
57 Plie Is So Much More Than Bending The Knees
83(1)
58 Turn-Out Is Not All About The Feet
84(3)
59 Turn-In/Balancing Muscular Exertions
87(3)
Chapter VII Anatomical Imagery
90(37)
60 Allowing The Pelvic Outlet to Open
90(2)
61 The Pelvis Is Not Square
92(1)
62 Open-Chain Pelvic-Femoral Rhythm/Thigh Lifts and Leg Swings
93(4)
63 Pelvic Shift Happens
97(1)
64 Let's Liberate Our Elbows and Knees
98(2)
65 Walking Feet/Foundations and Levers
100(2)
66 The Feet Reorganize Continuously in Each Plie
102(1)
67 Tripods in The Feet and Near the Hip
103(3)
68 Honoring Spinal Curves
106(3)
69 Celebrating Spinal Possibilities
109(2)
70 Successive Spinal Sequencing, With A Partner
111(2)
71 Arm Circles/Scapulohumeral Rhythm
113(3)
72 More Arm Circles/Gradated Humeral Rotation
116(2)
73 Arm Circles With Shape Qualities
118(4)
74 A Few Samples of Inner Speech
122(1)
75 Axes of Rotation/Spreading The Workload
123(4)
Chapter VIII Converting Theory into Action
127(23)
76 Riding The Dynamic Pelvis Through Space
127(1)
77 Undercurves
128(1)
78 Upper-Body Strengthening
129(1)
79 Undercurve-Inversion Dance
130(4)
80 Overcurves
134(1)
81 Playing with Possibilities/Improvising to Learn Technique
135(2)
82 Exploring Polar Opposites
137(1)
83 Playing with Weight Centers
138(1)
84 Shrinking Is As Important As Growing
139(1)
85 The Interdependence of Mobility and Stability
140(2)
86 Quantitative or Qualitative Strength and Flexibility
142(1)
87 Recuperating Without Stopping
143(1)
88 Spatial Imagery---Tensions, Pulls and Intents
144(3)
89 Changing It Up Spatially
147(3)
Chapter IX Assessment and Variety
150(7)
90 Formative and Summative Feedback
150(1)
91 Assessment Dialogues
151(2)
92 Study-Buddy Choreography
153(1)
93 Assessment Improvisations Across The Floor
153(2)
94 The Spice of Life
155(2)
Chapter X Teaching Dance through The Multiple Intelligences, by guest author Don Halquist
157(12)
1 Bodily-Kinesthetic Intelligence
158(1)
2 Visual-Spatial Intelligence
159(1)
3 Musical-Rhythmic Intelligence
160(1)
4 Interpersonal Intelligence
161(1)
5 Intrapersonal Intelligence
162(1)
6 Verbal-Linguistic Intelligence
163(1)
7 Logical-Mathematical Intelligence
164(1)
8 Naturalist Intelligence
165(4)
Appendix A Resource Texts 169(3)
Appendix B Embracing Non-Eurocentric and Multicultural Perspectives 172(7)
Appendix C Applying Concepts from The Labanl Bartenieff Movement System and The Franklin Method of Dynamic Alignment through Imagery 179(6)
Appendix D My Take on Bartenieff Fundamentals 185(7)
Appendix E How The Body Changes Its Form 192(6)
Appendix F Movement Qualities 198(5)
Appendix G The Geometry of Movement 203(6)
Index 209
(James William) Bill Evans is a Professor Emeritus at the University of New Mexico and a Visiting Professor Emeritus at the State University of New York College at Brockport. He is the founder of both the Somatic Dance Conference and Performance Festival and the Evans Somatic Dance Institute, now headquartered in Port Townsend, Washington.