Dance, as one of the forms of performing arts, is embedded in almost every culture. It is hard to find a person who has never danced before and it is believed that people’s body movements are connected with their inner feelings. This kind of expression is more natural than any other art form (Lutz & Kuhlman, 2000). And through dancing, people's physical, mental and emotional needs are satisfied (Wright, 2012). Children start to move since they were born. Moving is one of the most important ways for infants and toddlers to explore the world around them (Dow, 2010).
There are many reasons of teaching children about dance. Dance in early childhood education is encouraged by many educational philosophers such as Dewy and Montessori (Skoning, 2008). Gardner (1983) proposed bodily-kinaesthetic intelligence as one of the multiple intelligences. It refers to the ability to use the body to expresses purposes as well as the ability to handle objects skilfully (Berk, 2013). Therefore, providing children with dance learning experiences is beneficial for bodily-kinaesthetic learners. Using dance to motivate infants and toddlers' body movements will help them to learn what their body can do (Wright, 2012).
There are many reasons of teaching children about dance. Dance in early childhood education is encouraged by many educational philosophers such as Dewy and Montessori (Skoning, 2008). Gardner (1983) proposed bodily-kinaesthetic intelligence as one of the multiple intelligences. It refers to the ability to use the body to expresses purposes as well as the ability to handle objects skilfully (Berk, 2013). Therefore, providing children with dance learning experiences is beneficial for bodily-kinaesthetic learners. Using dance to motivate infants and toddlers' body movements will help them to learn what their body can do (Wright, 2012).
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During the dance workshop, I learnt the elements of dance, which are body, time, space and energy. Some questions in relation to each element were asked. For example, the question " can you use your hands to touch your toes" was used for developing body awareness. This kind of guided creative movements is helpful for children to learn how to control their body (Dow, 2010).
We deliberately thought about these elements as we were creating our own movements. The photos below present some of the moves and postures we did in the dance workshop. We explored different levels of body position such as low level and medium level and we tried to use different eye levels in our posture to deliver different messages. We travelled through different spaces (locomotor skill) and we also stretched and bent in the same place (non-locomotor skill). Sometimes we moved fast and sometimes we moved slow.
We were also asked to create our own movements and posture by using our imaginations. For example, one of the tasks was to use our body to show something bumpy. And we all did it differently. Now I understand that there are no right or wrong movements because people have their own ways of using dance to express ideas, emotions, and feelings (Lutz & Kuhlman, 2000). This kind of creative movement activity helps children learn that there can be more than one solution to a question or a task (Dow, 2010). Therefore, children's problem solving skills can be facilitated (Outcome 4) (DEERW, 2009).
Beside these movements, we used scarves during dancing. I think this is a good idea for my upcoming field experience. Young children as immature dancers often feel insured when asked to focus on their movement (Graham, 1978). However, using props such as scarves, hoops, balls, and flags can redirect young children's attention to the props and reduce their tensions. As the result, children will learn to move the props by moving their bodies. It is an easy way to get young children start moving. This strategy raises children's confidence in dancing and motivates their willingness of engaging in the dancing activity (Outcome 4) (DEEWR, 2009). Non-locomotive body movement can be introduced to children who have not yet mastered walking and running (Pica, 2000). For instance, I could put the child on my lap and hold the child's arms to lead the movement.
We deliberately thought about these elements as we were creating our own movements. The photos below present some of the moves and postures we did in the dance workshop. We explored different levels of body position such as low level and medium level and we tried to use different eye levels in our posture to deliver different messages. We travelled through different spaces (locomotor skill) and we also stretched and bent in the same place (non-locomotor skill). Sometimes we moved fast and sometimes we moved slow.
We were also asked to create our own movements and posture by using our imaginations. For example, one of the tasks was to use our body to show something bumpy. And we all did it differently. Now I understand that there are no right or wrong movements because people have their own ways of using dance to express ideas, emotions, and feelings (Lutz & Kuhlman, 2000). This kind of creative movement activity helps children learn that there can be more than one solution to a question or a task (Dow, 2010). Therefore, children's problem solving skills can be facilitated (Outcome 4) (DEERW, 2009).
Beside these movements, we used scarves during dancing. I think this is a good idea for my upcoming field experience. Young children as immature dancers often feel insured when asked to focus on their movement (Graham, 1978). However, using props such as scarves, hoops, balls, and flags can redirect young children's attention to the props and reduce their tensions. As the result, children will learn to move the props by moving their bodies. It is an easy way to get young children start moving. This strategy raises children's confidence in dancing and motivates their willingness of engaging in the dancing activity (Outcome 4) (DEEWR, 2009). Non-locomotive body movement can be introduced to children who have not yet mastered walking and running (Pica, 2000). For instance, I could put the child on my lap and hold the child's arms to lead the movement.
As an important part of education, cultural diversity can be practised and celebrated through dancing (Wright, 2012). In the dance workshop, students who could speak language other than English were invited to count in their languages. Inviting children from different cultural background to share their dance with their peers is practical. It provides children a sense of pride, empowerment (Wright, 2012), and a sense of belonging (Outcome 2) (DEEWR, 2009).
References
Berk, L. E. (2013). Child development (9th ed.). Boston, MA: Pearson.
Department of Education, Employment and Workplace Relations (DEEWR) (2009). Belonging, being & becoming – the early years learning framework for Australia. Canberra, ACT: Dept. of Education, Employment and Workplace Relations of the Council of Australian Governments.
Dow, C. (2010). Young children and movement: The power of creative dance. Young Children, 65(2), 30-35.
Gardner, H. (1983). Frames of mind: The theory of multiple intelligences. New York: Basic Books.
Graham, G. (1978). Turning children on to creative dance. Journal of Physical Education and Recreation, 49(5), 45-46.
Lutz, T. & Kuhlman, W. D. (2000). Learning about culture through dance in kindergarten classrooms. Arts and Young Children, 28(1), 35-40.
Skoning, S. N. (2008). Movement and dance in the inclusive classroom. Teaching Exceptional Children Plus, 4(6), 2-11.
Pica, R. (2000). Experiences in movement with music, activities, and theory (2nd ed.). Africa, UK: Delmar Publishers.
Wright, S. (2012). Children, meaning-making and the arts (2nd ed.). Frenchs Forest, NSW: Pearson Education.