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Journal articles on the topic 'Dance education in Ghana'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Adinku, Ofotsu. "Cultural Education in Ghana: A Case Study of Dance Development in the University System." Dance Chronicle 27, no. 1 (December 26, 2004): 49–66. http://dx.doi.org/10.1081/dnc-120029926.

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2

Ntim, Stephanie B., and Katherine J. Johnson. "The art of malaria education: an arts-based malaria education model, Pepease-Kwahu, Ghana." International Journal Of Community Medicine And Public Health 6, no. 12 (November 27, 2019): 5042. http://dx.doi.org/10.18203/2394-6040.ijcmph20195443.

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Background: Malaria is a major health concern in Ghana as well as other countries in West Africa, where it is estimated that more than 300 million people are at risk of malaria infection. While prior research has highlighted promising school-based interventions often facilitated through textbook information or teacher-based lectures to promote awareness about the disease, less is known as to how well such interventions are able to actively involve and engage students in learning about malaria in their schools.Methods: This research examines the role of the performing arts as a heuristic for student-centered teaching and learning about malaria. Using a convergent parallel mixed-methods study design, an arts-based malaria education model was deployed in a junior high school in Pepease-Kwahu, Ghana.Results: The proposed product included a peer-peer education model through which students (n=77) demonstrated their learning of malaria through their own creation and participation in poetry, song, dance, and drama performances. Pre- and post- paper-based surveys, coupled with focus groups with student participants (n=10) were used to examine the impact of this program.Conclusions: Research findings currently show that the arts-based malaria education program can be beneficial to students, by requiring them to use the performing arts to engage with information about malaria transmission, prevention, and treatment. Students correctly identified that the malarial parasite is transmitted by a mosquito bite, and they correctly identified symptoms of malaria, although students were reluctant to say that they will regularly use insecticide-treated bed nets as a preventive measure for malaria.

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3

O.A., Emmanuel, and Isaac K.M. "The Nature of Ghanaian Music and Dance Syllabus and the Challenges of Teaching its Contents in Tamale International School." British Journal of Contemporary Education 1, no. 1 (May 19, 2021): 40–51. http://dx.doi.org/10.52589/bjce-iiwhzrrt.

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This paper examined the nature of the Junior High School (JHS) music and dance syllabus in the context of growing cultural education and current socio-cultural transitions in Ghana. It also sought to highlight the challenges of teaching the syllabus in the schools. The design used was a case study while archival document analysis and interview incorporated the data collection instruments to collect the appropriate data to answer the research questions. The content of the syllabus was analyzed while two main participants of the study were also interviewed. The study reveals a mismatch in the relationship between the content of the music and dance taught in the classroom and what actually exists in the syllabus to be taught. It is recommended that music teachers properly align their instructional content to the syllabus since it contains enough African music content that can prepare the pupils to appreciate their musical culture.

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4

Smith, Justen O., and Robert N. Pate. "Cultures Around the World: A Unique Approach to Youth Cultural Diversity Education." Journal of Youth Development 2, no. 2 (September 1, 2007): 174–79. http://dx.doi.org/10.5195/jyd.2007.354.

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Increasingly diverse cultural trends have significant implications for the educational needs of American youth. Learning about and valuing diverse cultures will help prepare youth to become better citizens in an ever-changing society. Cultures Around the World was developed to meet the educational needs of youth in the area of cultural diversity. The Cultures Around the World program brings to life exciting cultures and customs from countries all over the world. Countries are presented in a unique format by teaching youth (ages 10 to 18) a specific country’s history, culture, food, music, dance, language, religion, and current issues. The Cultures Around the World program can be used by any youth educator. The program comes in a ready to use CD containing presentations, handicraft instructions, language guides, and resource guides for nine different countries (Armenia, Australia, Ecuador, Egypt, England, France, Ghana, Slovakia and Mexico).

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5

Pentz, Julie L. "Global dance education connecting communities in Accra, Ghana and Kuwait City, Kuwait: tap(ing) to togetherness through a community collaborative program." Arts Education Policy Review 121, no. 3 (August 30, 2019): 115–18. http://dx.doi.org/10.1080/10632913.2019.1660747.

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6

Friedler, Sharon. "Dance Research in Ghana." Dance Research Journal 29, no. 2 (1997): 126. http://dx.doi.org/10.2307/1478747.

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7

Cone, Theresa Purcell, and Stephen L. Cone. "Dance Education." Journal of Physical Education, Recreation & Dance 78, no. 1 (January 2007): 6–13. http://dx.doi.org/10.1080/07303084.2007.10597948.

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8

Pickard, Angela, and Doug Risner. "Dance futures: Research in Dance Education." Research in Dance Education 17, no. 3 (May 23, 2016): 268–69. http://dx.doi.org/10.1080/14647893.2016.1183293.

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9

ADINKU, W. OFOTSU. "The Early Years of the Ghana Dance Ensemble." Matatu 21-22, no. 1 (April 26, 2000): 131–34. http://dx.doi.org/10.1163/18757421-90000312.

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10

Hanna, Judith Lynne. "Dance Education Workshop." Research in Dance Education 3, no. 1 (April 2002): 47–55. http://dx.doi.org/10.1080/14647890220129113.

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11

Dubbels, Brock. "Dance Dance Education and Rites of Passage." International Journal of Gaming and Computer-Mediated Simulations 1, no. 4 (October 2009): 63–89. http://dx.doi.org/10.4018/jgcms.2009091504.

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The experience of a successful adolescent learner will be described from the student’s perspective about learning the video game Dance Dance Revolution (DDR) through selected passages from a phenomenological interview. The question driving this investigation is, “Why did she sustain engagement in learning?” The importance of this question came out of the need for background on how to create an afterschool program that was to use DDR as an after school activity that might engage adolescents and tweens to become more physically active and reduce the risk of adult obesity, and to increase bone density for these developing young people through playing the game over time. The difficulty of creating this program was the risk that the students would not sustain engagement in the activity, and thus we would not have a viable sample for the bone density adolescent obesity study. Implications of this study include understanding the potential construction of learning environments that motivate and sustain engagement in learning and the importance of identity construction for teachers to motivate and engage their students. In addition to the analysis of sustained engagement through the four socio- and cultural-cognitive theories, four major principals were extracted from the operationalized themes into a framework for instructional design techniques and theory for engaging learners for game design, training, and in classroom learning.

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12

Nieminen, Pipsa. "Dance Education and Dance Research in Finland." Dance Research Journal 31, no. 2 (1999): 127. http://dx.doi.org/10.2307/1478344.

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13

Carwile, Christey. "“The Clave Comes Home”: Salsa Dance and Pan-African Identity in Ghana." African Studies Review 60, no. 2 (May 22, 2017): 183–207. http://dx.doi.org/10.1017/asr.2017.6.

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Abstract:While salsa dance is popularly, and now globally, understood to be a symbol and expression of Latin identity, its adoption in non-Latin contexts has produced new meanings and cultural configurations. This is particularly the case in West Africa, where salsa is not only catching on among urban youth, but is becoming understood and approached from an African perspective. This article explores the ways in which salsa dance in Ghana serves as an innovative, embodied expression of a contemporary, pan-African identity. This is seen in Ghanaian dancers’ ideological reinvigoration of salsa’s African history and in the physical incorporation of local styles and presentations. Salsa in Ghana is recast through global networks, which in turn contributes to its global character while refashioning it to better suit local motives and desires. Thus, rather than emphasizing salsa’s African roots alone, dancers in Ghana equally engage with the complexroutesof the dance.

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14

Banevičiūtė, Birutė. "Aspects of Dance Teacher Education: Analysis of Students’ Dance Education Research." Pedagogika 117, no. 1 (March 5, 2015): 110–17. http://dx.doi.org/10.15823/p.2015.071.

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Learning paradigm orients teacher to be a consultant, assistant, researcher ready to apply evidence based teaching. To prove research competence future dance teachers have to perform a dance education research. This study revealed pedagogical problems which interest future dance teachers: attitudes and motivation, dance in schools, dance teacher education, dance for people with special needs. Choise of research methods shift from quantitative towards qualitative.

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15

Park Soo-young and Cho Yun-La. "Application of Positive Psychology in Dance Education - Focusing on the difference between professional dance education and public dance education -." Korean Journal of Dance Studies 63, no. 1 (March 2017): 53–66. http://dx.doi.org/10.16877/kjds.63.1.201703.53.

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16

Camp, Julie Van, and Peter Brinson. "Dance as Education: Towards a National Dance Culture." Journal of Aesthetic Education 27, no. 2 (1993): 115. http://dx.doi.org/10.2307/3333418.

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17

Royo, Alessandra Lopezy. "Archaeology for dance: An approach to dance education." Research in Dance Education 3, no. 2 (December 2002): 143–53. http://dx.doi.org/10.1080/1464789022000034703.

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18

Kahlich, Luke C. "Gender and Dance Education." Journal of Dance Education 1, no. 2 (April 2001): 45–47. http://dx.doi.org/10.1080/15290824.2001.10387176.

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19

Challis, Chris, and Betty Redfern. "Dance, Art and Education." British Journal of Educational Studies 33, no. 1 (February 1985): 106. http://dx.doi.org/10.2307/3121188.

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20

LaPointe-Crump, Janice. "Competition and Dance Education." Journal of Physical Education, Recreation & Dance 78, no. 7 (September 2007): 4–9. http://dx.doi.org/10.1080/07303084.2007.10598046.

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21

Byeon, Jae-Kyung. "Dance Education in Korea." Journal of Physical Education, Recreation & Dance 83, no. 1 (January 2012): 27–31. http://dx.doi.org/10.1080/07303084.2012.10598708.

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22

Beal, Rayma K. "Issues in Dance Education." Arts Education Policy Review 94, no. 4 (April 1993): 35–39. http://dx.doi.org/10.1080/10632913.1993.9936923.

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23

Munsell, Sonya E., and Kimberly E. Bryant Davis. "Dance and Special Education." Preventing School Failure: Alternative Education for Children and Youth 59, no. 3 (December 31, 2014): 129–33. http://dx.doi.org/10.1080/1045988x.2013.859562.

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24

Koff, Susan R., and Gianna Limone Mistry. "Professionalism in dance education." Research in Dance Education 13, no. 1 (February 17, 2012): 83–97. http://dx.doi.org/10.1080/14647893.2011.651114.

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25

Mabingo, Alfdaniels, Gerald Ssemaganda, Edward Sembatya, and Ronald Kibirige. "Decolonizing Dance Teacher Education." Journal of Dance Education 20, no. 3 (July 2, 2020): 148–56. http://dx.doi.org/10.1080/15290824.2020.1781866.

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26

Kahlich, Luke C. "Dance Education and Democracy." Journal of Dance Education 1, no. 3 (July 2001): 93–95. http://dx.doi.org/10.1080/15290824.2001.10387185.

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27

Cohen, Patricia G., and Elsa Posey. "Partners in Dance Education." Journal of Dance Education 2, no. 2 (April 2002): 41–42. http://dx.doi.org/10.1080/15290824.2002.10387206.

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28

Stuffelbeam, Katharine. "Performing advocacy: women's music and dance in Dagbon, northern Ghana." African Music: Journal of the International Library of African Music 9, no. 2 (2012): 154–69. http://dx.doi.org/10.21504/amj.v9i2.1808.

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29

López-Serrano, Sebastian, Alberto Ruiz-Ariza, Sara Suarez-Manzano, and Manuel Jesús de la Torre Cruz. "“DANCE DANCE” EDUCATION. A REAL “REVOLUTION” FOR THE CLASSROOM?" MLS Educational Research 1, no. 1 (October 24, 2017): 7–18. http://dx.doi.org/10.29314/mlser.v1i1.22.

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30

Levenberg, Melanie G., Tess Armstrong, and Ingrid L. Johnson. "Teaching Dance for Understanding: Reconceptualizing Dance in Physical Education." Journal of Physical Education, Recreation & Dance 91, no. 6 (July 23, 2020): 3–7. http://dx.doi.org/10.1080/07303084.2020.1770519.

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31

Risner, Doug S. "Dance, Sexuality, and Education Today: Observations for Dance Educators." Journal of Dance Education 4, no. 1 (January 2004): 5–9. http://dx.doi.org/10.1080/15290824.2004.10387250.

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32

McGreevy-Nichols, Susan, Kelly Ferris Lester, and Missy Pfohl Smith. "DANCE 2050: The Future of Dance in Higher Education." Journal of Dance Education 14, no. 1 (January 2, 2014): 41–42. http://dx.doi.org/10.1080/15290824.2014.881189.

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33

Song, Misook. "Role and Value of Creative Dance as Dance Education." Journal of Humanities and Social sciences 21 12, no. 4 (August 31, 2021): 1933–44. http://dx.doi.org/10.22143/hss21.12.4.137.

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34

Schauert, Paul. "Staging the Nation: Authenticity, Authentication, and Authority in the Ghana Dance Ensemble." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 173–78. http://dx.doi.org/10.1017/s2049125500000297.

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This paper will explore the migration of local and global markers of authority as members of the Ghana Dance Ensemble (GDE) negotiate the ideologies of nationalism, attempting to re/create cultural forms that will be judged “authentic” by both indigenous and international communities. This will include examining how Western and local practices have merged to re/establish power relationships between choreographers and performers as they work to devise strategies that give an aura of authenticity to various dance forms.

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35

Hernandez, Barbara L. Michiels, and George Strickland. "School Health and Safety: Standards for Dance Education and Dance in Physical Education." Journal of Physical Education, Recreation & Dance 76, no. 4 (April 2005): 20–25. http://dx.doi.org/10.1080/07303084.2005.10608232.

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36

Bonbright, Jane, and Susan McGreevy-Nichols. "National Dance Education Organization: Building a Future for Dance Education in the Arts." Arts Education Policy Review 113, no. 4 (October 2012): 147–51. http://dx.doi.org/10.1080/10632913.2012.719430.

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37

OHNISHI, Yuji, Etsushi HASEGAWA, Hiromi MIKI, Akiyo MIYAZAKI, Riki SUKOU, and Yoshinori OKADE. "Consideration on the scope of dance education in National Standards for Dance Education." Japanese Journal of Sport Education Studies 32, no. 2 (2013): 47–58. http://dx.doi.org/10.7219/jjses.32.2_47.

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38

Akrofi, Eric A. "Ghana." International Journal of Music Education os-10, no. 1 (November 1987): 60–62. http://dx.doi.org/10.1177/025576148701000123.

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39

Aduonum, Ama Oforiwaa. "Memory Walking with Urban Bush Women's Batty Moves." TDR/The Drama Review 55, no. 1 (March 2011): 52–69. http://dx.doi.org/10.1162/dram_a_00048.

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Like the childhood songs and butt-shaking contests of Ghana, Batty Moves by the Brooklyn-based dance company Urban Bush Women celebrates the African American female form. The choreographer and the dancers share their memories of butt-tucking ballet classes, and the author shares her memory walk from Ghana to black America.

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40

Asare, Kwame Bediako, and Seth Kofi Nti. "Teacher Education in Ghana." SAGE Open 4, no. 2 (April 4, 2014): 215824401452978. http://dx.doi.org/10.1177/2158244014529781.

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41

Schmitz, Nancy Brooks. "Key Education Issues—Critical to Dance Education." Journal of Physical Education, Recreation & Dance 61, no. 5 (June 1990): 59–61. http://dx.doi.org/10.1080/07303084.1990.10604518.

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42

Gbagbo, Divine Kwasi, and D. Rose Elder. "STORYTELLING SONGS OF THE ÈWÈ-DÒMÈ OF GHANA." African Music: Journal of the International Library of African Music 11, no. 1 (December 1, 2019): 91–112. http://dx.doi.org/10.21504/amj.v11i1.2294.

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For the Central Èwè or Èwè-Dòmè people of Ghana’s Volta Region, storytelling is a vital practice used to transmit key lessons. For centuries the Èwè- Dòmè employed storytelling performances in initiation rites, war celebrations, wake-keeping, and praise singing to enrich the gathering by relaying important information, building group identity, and binding the community together with story, song, and dance. Storytellers and community participants point to the role that songs play within storytelling as cultural markers for the Èwè-Dòmè communities in the area around Ho, the Volta Region’s capital. Within the framework of extended family or town-wide storytelling performances, audience members habitually interrupt the story with song and dance that enlivens sleepy listeners and augments the story with an interpretive angle on the theme. Singing reverses the artist-audience roles. Other community events similarly provide an opportunity for artist-audience interaction and the reversal of roles. This paper documents the social role of songs in the context of storytelling as well as the performance practices, texts, melodies, rhythms, and harmonies of this important traditional musical genre in the face of numerous threats to its ongoing existence.

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43

Iddrisu, Habib. "Schauert, Paul: Staging Ghana. Artistry and Nationalism in State Dance Ensembles." Anthropos 111, no. 2 (2016): 745. http://dx.doi.org/10.5771/0257-9774-2016-2-745.

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44

Keller, Nicole. "Learning to Dance." Harvard Educational Review 83, no. 1 (March 26, 2013): 96–97. http://dx.doi.org/10.17763/haer.83.1.n2570781548626w6.

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When I was three years old, I was enrolled in my first ballet class. I loved the tights and tutus and pink, though a future in the ballet I did not have. I learned to plié and pas de bourrée, but, due to the dramatic nature of my untimely departure from the art form at the ripe age of nine, I developed a perception of myself as ungraceful. Not one for wallowing, I soon thereafter discovered my next and lasting passion: writing.

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45

Vaughan, George B. "The Last Dance." Community College Review 34, no. 4 (April 2007): 253–54. http://dx.doi.org/10.1177/0091552106298369.

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46

Torzillo, Miriam. "Everyday Pedagogy for Dance Education." International Journal of Pedagogy and Curriculum 22, no. 4 (2015): 51–66. http://dx.doi.org/10.18848/2327-7963/cgp/v22i04/48889.

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47

Sparshott, Francis, and Graham McFee. "The Concept of Dance Education." Dance Research: The Journal of the Society for Dance Research 12, no. 2 (1994): 156. http://dx.doi.org/10.2307/1290993.

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48

Koff, Susan R. "Remixing the Dance Education Classroom." Action, Criticism, and Theory for Music Education 16, no. 1 (August 2017): 66–78. http://dx.doi.org/10.22176/act16.1.66.

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49

McGreevy-Nichols, Susan. "Dance Education 2099: An Odyssey." Arts Education Policy Review 102, no. 2 (November 2000): 35–36. http://dx.doi.org/10.1080/10632910009599989.

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50

Riddle, April Sgro. "Corporate Support of Dance Education." Arts Education Policy Review 94, no. 4 (April 1993): 22–24. http://dx.doi.org/10.1080/10632913.1993.9936919.

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