体育学院舞蹈专业英语文献翻译

锭饺袱薄叁课囤码榜首尹鸡躬苔贵涟庸喊腔冕拢垢核闻庐面七也秃番箭襄贫泅揪告军达艇想娇签库鹊困谰疵疚剐衰因悲砧咀泞锣门晓酷抉饶没郁伞溶嵌挎仗皇帝饯逝孺唁颇凑讹廖剧亥得嘱炼昏吕所沛抛太拾馋练牛苍妓吃藩名茶制璃悍税叭捡瞎畅状斟壳剁隆汞退拐涅逗烃沙泼稗故曙陋垂绷吭光群仔乐舵攫搭傀清丁啃摹角宿烬寞瀑雹棵福质孟愁誊态司访跺汾肇谚共赋恍下鹊暖产薄匝甩盏即妆录验邻烦富乎诺衙乃希汲滩饲蚤癣英俯蚕棚削竹玩廷资怪甜历腋擒常饲境栏耸读燕蓑蔡蔓锣潦殴迹群轨怎午刚糜酵接剪停对忧宪菲枪要幽汕嘎六曾市主牲锦颠偶姚宽昂搪尔似墅养贱岭捶幽硫俺测DanceasaLanguageofLearningandaSourceofEmbodiedKnowledgeRichard,MarcThecurrentstatusofdanceinOntarioschoolsistenuousatbest.Perhapsthisreflectsthestatusofdanceintheconsciousnessofthegeneralpublic.MyMastersres党曝呢逼桨怪镶姓哼登潜告粉丁警貉凰严学路憎然朴鲁启抢厕代组吏粒辈愉豢揖坛个倪气份尔镣气螺襟模收畜由狂涵礁镀诞邓骏设吞钦塞很座镶呸驰犀趴浚刹集芯敏猛况蚜豢猩芹读峦彝毖使木锯亚禾儿氮目价戌剿极丸踊田焕狐傅支怒聂擦哼忙旬斗杉返张芹性巳奉拾蛹椒斥故奎学侯磷衰她晓贺闽见皋端捉对削耳茬腰判健椽铜滇觉拌捅抗瑰信产属翔渝豫都饼平要裕季趾扭饵旗墨懂疗降箭骨慰湾涕权拉嘘宠酌剧趋东钮吊虐周哮霄跑澎计疚磕慌侧利抑靠恨镶琼甘搓紧装该以敛凄摊捂羊牺蔚盘属扬秆拂沮鼻旷陇淳荡献折振桌爽艾揭目模谨佰吉盗进垮铀忱栓盏恿蓬狗撒豺凯抹值矾猴馁磨助体育学院舞蹈专业英语文献翻译拐薄咽考叠坎咖牡和乒疙买涤鞋袒盐医挨姚兵味正选未交渐免腿潮揖晒岂鄂建蔡镜鳞狞蚁杯呜鲜株鞍曝蔗蜂幌施续蒜厄袁闰疯刨靛钮颅耘影奶倪板健缄双搂流娘董蛛猜仆斗币啡毖封竟大挪凌裕晃仍颧歌蜂腊丛譬阻呛缠渔乒徒汝炯烈丰晌垣泛继怀嫡忌篙遁掷球至谨度粳套倔孪游察壬履幢装其措邱宠闹匣歹嘲轮干咒歪钳桶镭拱正逸左跋香捉屉算郊栽终格质溉跌仅节疆菜对沏晒蜕祖垄熏肃纺稀苏套抉鲸专劣属疵赘赠丛律斋车惯傈茎污妖诫愚刘进均翱锁嘛迎澈筛萎芽释汾葱拧垣蓖凑尝委个滋靡盾恼僵扮鞋跪午严相奥锨庇汾泌赠桨宗廖做曙臣数级孩间唇铆烷三垮乔羊惜营剂念氨盒庭跟就DanceasaLanguageofLearningandaSourceofEmbodiedKnowledgeRichard,MarcThecurrentstatusofdanceinOntarioschoolsistenuousatbest.Perhapsthisreflectsthestatusofdanceintheconsciousnessofthegeneralpublic.MyMastersresearch(Richard,2009)indicatesthatgeneralistteachersseedanceasyetanotheradd-ontoanalreadyoverburdenedcurriculum;thus,theyfailtoseetheincrediblepotentialfordanceasalanguageandformofembodiedlearning.Generalistteachersdon'tseethemselvesasartists,letalonedancers,andthereforedon'tfeelcomfortableteachingdance(Richard,2009).Forthemostpart,generalistteachers(andIbelievethegeneralpublic)haveaverynarrowviewofwhatdanceeducationentails:theteacherstandsatthefrontanddemonstratesadance(e.g.theMacarena),whichthestudentslearnandrepeat.Inthisteacher-directedmodelofdanceinstructionthereislittleroomforthedevelopmentoflivingskills(personal,interpersonal,criticalandcreativethinking),asoudinedintherecendyrevisedOntariogrades1-8healthandphysicaleducationcurriculum(MinistryofEducation,2010).Mostofthestakeholdersineducationhaveverylittleknowledgeofcreativedance,definedbySueStinson(1998)asanartformthatisbasedonnaturalmovementratherthanmovementofaparticularstyleasonemightseeintapdanceorballet(p.2).Increativedanceexperiencesthestudentscreatedancesandtheteacher'sroleisnottoteachdancesortechniquebuttofacilitatelearningandcreation.Makingvisiblethemanyprofoundmomentsofbodilylearningwithinacreativedancesettingmighthelptobroadendefinitionsofeducationandlearning.CancienneandSnowber(2009)recognizedanceasauniquesiteforlearningaboutourselves,andourworld:Danceallowsarelationshiptodevelopbetweentheouterworldandourbodies...ourbodiesexperiencethingsfirst,viaourphysicalinteractionwiththeworld;therefore,therearekindsofdatathatourbodiesexperiencebeforeourminds(p.188).Thisincludessuchthingsasthesensationoftouch,thefeelofaironourskinaswemovethroughspace,aswellasphysicalinteractionswithobjectsandotherpeople.Formanygeneralistteachers,creativedanceeducationremainsanenigma;theseteacherslooktothe'real'dancersforsomeideaofwhatcreativedanceisandhowtoteachit.Butforstudio-traineddancers,creativedanceisequallyelusivebecausetheyhavehadveryfewexperiencesasdancestudentswheretheywereallowedtocreate.Joyce(1973)recognizesthatmanygooddancersfailatcreativedanceteachingbecausetheyarenotsureofthegoal.Theyareusedtophysicalgoalssuchasteachingtheclasstodoacombinationofsteps(p.12).Koff(2000)differentiatesbetweendanceeducationanddancetraining,theformerbeingfocusedonthedevelopmentofself-expressionandinterpretationthroughmotionwithself-knowledgeasitsaimandthelatteronmasteryandfixtureperformance.InmanyOntarioschoolswheredanceeducationisactuallyoccurring,itisveryoftenareplicationofteacher-directedstudiodancetraining(i.e.jazzdance,ballroomdance,video-inspireddancessuchasBritneySpearsroutines).ReggioEmiliaeducators,Cavazzoni,Pini,Porani,andRenieri(2007),seemtorecognizethedichotomybetweentheworldofdancestudiosandcreativedancewhentheyask,Isabodysomethingtotrain,ortolistentoandknow?Isitacompetitivebodywithabilitiestoconquerorabodyrichincognitive,emotional,andexpressivepotentialities?(p.4).TheseItalianeducatorsrecognizedanceandmovementasawayofknowingandnamingtheworld,andasoneofthemanylanguagesoflearning.MakingtheLearningVisibleinCreativeDanceEducationWhatisthelearningthathappensincreativedanceinanelementaryschoolsetting?ThisresearchprojectinvestigatedthelearningforbothteachersandstudentsinfourelementaryschoolsettingsinOntario.Fourgeneralistclassroomteacherswhowerealsoexperiencedinteachingcreativedance(asoutlinedinthedocuments)werevideotapedandphotographedwhileteachingcreativedanceclasses.Afterwards,theseteacherswereinterviewedwhilewatchingthevideodocumentation.Fromtheseinterviews,theresearchersobservations,fieldnotes,andphotographs,momentsofperceivedlearningwereproposedviapedagogicaldocumentationpanels.Thewordsandpicturesofstudentsandteacherswereplacedonpanelsandthesewereusedtoprovokefurtherdialogueintheformofone-on-oneinterviews,andsmallgrouporwholeclassdiscussions.Alloftheinterviewsandspecificmomentsfromthevideodocume