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1
Choa, Gillian Ann, and 蔡敏志. "The performing arts' concern: the alternativeleader." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.
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Merrill, Jean Collins. "Eureka: A gold rush play integrating the performing arts into elementary social studies curriculum." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2566.
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The purpose of this project is two-fold. The first purpose is to explore the benefits of incorporating the arts in the education of all students. Incorporating the arts into other curricular areas enhances learning and makes it more meaningful to the student. The second purpose is to develop a performance program that brings the California Gold Rush era and the cultural diversity of that period of history alive.
3
Lister-Sink, Barbara Ann. "A study of students' perceptions of the effectiveness of an interdisciplinary method for teaching injury-preventive piano technique." Thesis, Teachers College, Columbia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3707098.
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<p> The rate of playing-related neuromusculoskeletal disorders (PRNDs) in advanced pianists remains consistently high worldwide, often limiting or ending study and playing careers. Injured pianists—desperate for solutions—seek out allegedly scientifically-informed approaches to developing injury-preventive technique but none of these approaches have been seriously investigated. This mixed-methods study investigated one interdisciplinary, non-traditional approach (the “Method”) that had received considerable anecdotal support but had not been studied systematically to ascertain its efficacy in recovering from and preventing recurrence of PRNDs, as well as its effects on technique, musicality, and extra-musical factors. Participants included undergraduate and graduate students, independent piano teachers, college teachers, and professional pianists and organists who had studied the Method for at least two academic semesters between 1990 and 2015. An anonymous survey was administered to 103 pianists and organists aged 22 to 82, with 74 (<i>N</i>=74) pianists responding (71.8%), and 26 pianists and organists were interviewed in-depth. Survey and interview results established that participants perceived the Method as significantly helpful in facilitating recovery from PRNDs. Significance of relationships among codes included correlations of .70 between the code “it works” and “playing without injury,” and .66 between “it works” and “playing again.” Interviewees also perceived the Method as helpful in preventing recurrence of PRNDs, as shown by the high correlation between the codes “will help prevent injuries” and “learned a lot from studying the Method” (.67). A one-sample t-test performed on the survey data also showed a positive perception (p < .001) of the Method in helping recovery from and prevention of recurrence of PRNDs. Additionally, both the survey and interview participants reported improvement of technique and musicality with many also reporting enhancement of their extra-musical lives. A one-sample t-test on the survey data showed these improvements to be significant at a 5% level or better. Research also yielded data on psychological, emotional, and professional challenges to learning the Method, as well as reactions to specific aspects of the Method. It is hoped that the data might serve as a baseline and become a useful model for the investigation of other approaches for teaching injury-preventive piano technique.</p>
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Prigge-Pienaar, Samantha. "Contact improvisation as a foundational learning tool for contemporary performers : singular complexity." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97017.
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Thesis (PhD)--Stellenbosch University, 2015.<br>ENGLISH ABSTRACT: This artistic research dissertation employs the principles and practices of contact
improvisation in a literary performative to describe and demonstrate this somatic form’s
potential as a complex system of embodied knowing. For strategic and thematic purposes,
chapters in this dissertation are referred to as Streams.
The First Stream motivates the methodological approaches and emergent strategies
employed in the researcher’s simultaneous practices of teaching, researching and writing
about contact improvisation.
The Second Stream is offered as an oral testimony of the researcher’s attempt to find
practical solutions for the increasing complexity apparent in her work environment during the
last two decades. It is written primarily as a first-person narrative with references by other
somatic and contact improvisation practitioners embedded in the body of the narrative and
presented as personal subconscious/collective unconscious interjections.
The Third Stream uses a locally-emergent artistic research strategy termed Secondary
Primacy to critically and creatively engage with existing literature. The observations of
theorists and practitioners from the researcher’s own context (theatre and drama), as well as
from a diversity of interrelated disciplines (including psychology, sociology, evolutionary
biology, quantum physics, pedagogy and visual art) are presented in an autonomous authorial
voice employing the performative strategy of what if. This strategy serves to demonstrate the
researcher’s experience of the link between personal subconscious and collective
unconscious motivations for action and exposes the transdisciplinary ground upon which
many of the ideas and observations voiced in other Streams, in particular about contact
improvisation as a complex system of embodied knowing, are implicitly dependent.
The Fourth Stream discusses contact improvisation as a complex system foregrounding
the particular characteristics of nonlinearity, paradox, emergence and additional capacity
introduced in the Second and Third Streams.
The Fifth Stream demonstrates convergences and overlaps between contemporary
theories about agency, embodiment and transformation as they may apply to educators in
tertiary educational performing arts contexts. This discussion is interspersed with accounts of
the researcher’s own attempts – through her performing arts educational practice - to
understand agency and transformation as workable elements.
The Sixth Stream is offered as a personal philosophy of action. The implicit values and
strategies of the researcher that were exposed in previous Streams are here distilled and
presented as affirmations and Actions motivating the sustained use, by the researcher within
her localized educational context, of contact improvisation as a foundational somatic
approach for performers.
In keeping with the positioning of this dissertation as artistic research, the literary framing
devices of a Foreword and Afterword are used to draw a reader’s attention to the practicebased
nature of the subject under discussion.<br>AFRIKAANSE OPSOMMING: Hierdie artistieke navorsingsverhandeling gebruik die beginsels en praktyke van
kontakimprovisasie in ‘n literêre performatief om hierdie somatiese vorm se potensiaal as ‘n
komplekse sisteem van verpersoonlikte kundigheid te beskryf en te demonstreer. Vir
strategiese en tematiese doeleindes word daar in hierdie verhandeling na hoofstukke as
Strome verwys.
Die Eerste Stroom motiveer die metodologiese benaderinge en voortspruitende strategieë
wat aangewend word in die navorser se gelyktydige onderrig van, en navorsing en skrywe
oor, kontakimprovisasie.
Die Tweede Stroom word aangebied as ‘n mondelinge betuiging van die navorser se
poging om praktiese oplossings te vind vir die toenemende kompleksiteit in haar omgewing
oor die laaste twee dekades. Hierdie Stroom word primêr as ‘n eerste persoon narratief
aangebied met behulp van verwysings deur ander somatiese en kontakimprovisasie
praktisyns wat in die narratief geanker en aangebied word as persoonlike
onbewustelike/kollektiewe onbewuste tussenwerpsels.
In die Derde Stroom word ‘n plaaslik ontwikkelde artistieke navorsingstrategie, naamlik
Sekondêre Voorrang, gebruik om die konvensionele literatuurstudie op kreatiewe wyse te
herinterpreteer. Die waarnemings van teoretici en praktisyns uit die navorsers se eie
studieveld (teater en drama), sowel as uit ‘n verskeidenheid van interafhanklike studievelde
(onder andere psigologie, sosiologie, evolusionêre biologie, kwantum fisika, pedagogie en
visuele kuns) word aangebied as ‘n outonome outeursbedoelde stem en maak gebruik van ‘n
performatiewe what if. Díe strategie dien as ‘n metode om die navorsers se ervaring van die
implisiete afhanklikhied tussen persoonlike onderbewussyn en kollektiewe onbewustheid
motiverings vir aksie te demonstreer, en die transdisiplinêre grond van idees en waarnemings,
in die besonder oor kontakimprovisasie as ‘n komplekse sisteem van verpersoonlikte kennis,
te ontgin en bloot te lê.
In die Vierde Stroom word kontakimprovisasie as ‘n komplekse sisteem bespreek en die
eienskappe van nie-liniariteit, paradoks, ontluiking en addisionele kapasiteit wat in die
Tweede en Derde Strome bespreek is, is verder op die voorgrond geplaas.
Die Vyfde Stroom toon die sameloop en ooreenkomste aan tussen teorieë oor
tussenkoms, verpersoonliking en transformasie soos van toepassing mag wees op opvoeders
in ‘n tersiêre opvoedkundige performance konteks. Hierdie bespreking is afgewissel met
vertellings van die navorser se eie pogings - deur haar uitvoerende kunste opvoedkundige
praktyk – om agentskap en transformasie as werkbare elemente te verstaan.
Die Sesde Stroom word aangebied as ‘n persoonlike filosofie van handeling. Die
implisiete waardes en strategieë van die navorser, soos bloot gelê in die vorige Strome,
word hier gesuiwer en aangebied as bekragtiging en Aksies vir die volgehoue gebruik, deur
die navorser in haar eie gelokaliseerde opvoedkundige konteks, van kontakimprovisasie as
‘n grondleggende somatieke benadering vir performers.
As deel van hierdie verhandeling se posisionering as artistieke navorsing word ‘n
Voorwoord en Slotwoord gebruik om die leser se aandag te vestig op die verpersoonlikte
aard van die onderwerp onder bespreking.
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Scholtz, Brink. "'The Most Amazing Show': performative interactions with postelection South African society and culture." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/57527.
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This research investigates contemporary South African performance within the context of prominent social and cultural change following the political transition from an apartheid state to democracy. Specifically, it looks at the relationship between a popular comic variety show The Most Amazing Show (TMAS), and aspects of contemporary South African society and culture, particularly relating to prominent efforts to affect post-election transformation of South African society and culture through the construction of a South African 'rainbow nation'. By analysing TMAS in terms of broader historical, performative and discursive contexts, it engages a relational reading of the performance. The study argues that TMAS both challenges and participates in the manner in which rainbow nation discourse constructs South African society and culture. Firstly, it considers the performance's construction of hybrid South African identities, including white Afrikaans, white English and white masculine identities. It argues that these reconstructions undermine the tendency within rainbow nation discourse to construct cultural hybridity in terms of stereotypically distinct identities. Secondly, it considers TMAS' construction of collective experience and social integration, which subvet1s the often glamorised and superficial representations of social healing and integration that are constructed within rainbow nation discourse. The analysis makes prominent reference to the notion of 'liminality' in order to describe the manner in which TMAS constructs significance within the tension that it establishes between oppositional, and often contradictory, positions. Furthermore, it attempts to establish a link between this notion of liminality and no6ons of theatrical syncretism that are prominent in contemporary South African theatre scholarship, and emphasise processes of signification that are constantly shifting and unstable.
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Moswate, Kholisani. "Exploring the impact of teaching music within the creative and performing arts subject in selected upper primary schools in Botswana." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1654.
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The introduction of Creative and Performing Arts (CAPA) in the school curriculum is one of the changes brought about by the educational reforms in Botswana’s education system. Fullan (2005:42) observed that “any educational change becomes a reality when it is implemented with the involvement of the key role players.” In the case of my research, the primary school teachers and school management teams are the key role-players. This research was, therefore, conducted to explore the impact of teaching music within the CAPA subject as one of the changes brought about by the educational reforms in Botswana upper primary schools. I have found the phenomenological design appropriate for my research. Babbie and Mouton (2009:28) explain this paradigm as emphasising that “human beings are engaged in the process of making sense of their lives and that they continually interpret, create and give meaning to, define, justify and rationalise their actions.” In collecting and analysing data, a mixed method of quantitative and qualitative approaches was used to explore trends regarding the teachers’ perceptions, views, emotions, feelings, experiences and preparedness for the introduction of the CAPA subject.
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Blades, Deborah Ann. "Celebrations: The addition of visual and performing art elements to a current literature-based curriculum at Woodcrest Christian School." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1199.
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Wilson, Clayton Shane. "A handbook for hosting a district-wide festival for literature and the arts." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1932.
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Crowe, Susan, and scrowe@ceo balrt catholic edu au. "Dance, Drama and Music - a Foundation for Education: A Study on Implementing the Performing Arts in the Early Years of Education." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080207.135338.
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ABSTRACT In the early years of education, the Performing Arts assume a particular significance as learning is both in and through the Arts. When appropriately managed, they are enjoyed in their own right, but also permeate other areas of the curriculum enabling greater relevance and meaning. The Performing Arts are an excellent means through which children, in their early years of schooling explore and express their feelings. Dance, drama and music are Arts disciplines through which children investigate ideas and exhibit opinions about their known and unknown world. The Performing Arts make an effective contribution to the personal and social development of children. The Performing Arts provide an interesting way for teaching young children the values which many adults believe are vital in today's society. Through the Arts children are able to develop social competencies. Participation in the Arts motivates and enhances young children's desire to learn. The Arts have an important role in inspiring and improving the w hole school environment. This research investigated the teaching of the Performing Arts in primary schools in Catholic Education in the Northern Zone of the Diocese of Ballarat. Literature on curriculum development, education in early schooling, and delivery of the arts and education is examined, as well as the impact of the implementation of the Performing Arts stream of the Victorian Essential Learning Standards. Education of pre-service teachers and the continued professional development of experienced teachers is discussed as is the role of education systems in providing this teacher education. Generalist (non-specialist) teachers from primary schools in the Northern Zone were surveyed and interviewed to establish the current situation regarding the Performing Arts in schools. Based on the literature and the data collected and analysed from the survey and interviews, a number of teaching for learning models were proposed. These models placed the child at the centre of the educational experience, linking the school to the community. The models were informed by current Government and Catholic Education policy. The various components included the current curriculum the Victorian Essential Learning Standards, the important roles played by the school, the teacher and parents. The importance of teacher education and further professional development to ensure the teacher has the knowledge, skills and attitudes needed to implement a quality program was also an important aspect of the models. Findings from the research established that many teachers had basic skills in teaching the different areas of Performing Arts, but lacked confidence in their ability to do so. Therefore, in a number of schools, programs in Performing Arts were either based around the annual school concert or were non-existent. Many teachers used simple Performing Arts activities as a means to teaching knowledge and skills in other curriculum areas. As a result of the research findings and the model development, a resource to enable and assist in the teaching of the Performing Arts was developed for the teachers to implement an appropriate Performing Arts program in the early years of education.
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MacIntyre, Christine Campbell. "Criterion-referenced assessment for modern dance education." Thesis, University of Stirling, 1985. http://hdl.handle.net/1893/2182.
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This study monitored the conceptualisation, implementation and evaluation of criterion-referenced assessment for Modern Dance by two teachers specifically chosen because they represented the two most usual stances in current teaching i.e. one valuing dance as part of a wider, more general education, the other as a performance art. The Review of Literature investigated the derivation of these differences and identified the kinds of assessment criteria which would be relevant in each context. It then questioned both the timing of the application of the criteria and the benefits and limitations inherent in using a pre-active or re-active model. Lastly it examined the philosophy of criterion-referenced assessment and thereafter formulated the main hypothesis, i. e. "That criterion-referenced assessment is an appropriate and realistic method for Modern Dance in schools". Both the main and sub-hypotheses were tested by the use of Case Study/Collaborative Action research. In this chosen method of investigation the teachers' actions were the primary focus of study while the researcher played a supportive but ancillary role. The study has three sections. The first describes the process experienced by the teachers as they identified their criteria for assessment and put their new strategy into action. It shows the problems which arose and the steps which were taken to resolve them. It gives exemplars of the assessment instruments which were designed and evaluates their use. It highlights the differences in the two approaches to dance and the different competencies required by the teachers if their criterion-referenced strategy was adequately and validly to reflect the important features of their course. In the second section the focus moves from the teachers to the pupils. Given that the pupils have participated in different programmes of dance, the study investigates what criteria the pupils spontaneously use and what criteria they can be taught to use. It does this through the introduction of self-assessment in each course. In this way the pupils' observations and movement analyses were made explicit and through discussion, completing specially prepared leaflets and using video, they were recorded and compared. And finally, the research findings were circulated to a larger number of teachers to find to what extent their concerns and problems had been anticipated by the first two and to discover if they, without extensive support, could also mount a criterion-referenced assessment strategy with an acceptable amount of effort and within a realistic period of time. And given that they could, the final question concerned the evaluations of all those participants i.e. teachers, parents and pupils. Would this extended group similarly endorse the strategy and strengthen the claim that criterion-referenced assessment was a valid and beneficial way of assessing Modern Dance in Schools?
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Malan, Sandra Ruth. "Celebrating cultural diversity : implementing an integrated approach to arts and culture in the intermediate phase of curriculum 2005." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16384.
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Thesis (M.Mus)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled
to implement the new curriculum. Initial problems with terminology and
availability of learning materials have been addressed, but still the resistance
to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues.
Some of the reasons for the resistance point to feelings of disempowerment
experienced by generalist and specialist educators who now have to teach the
new Learning Area Arts and Culture. This has been attributed to, amongst
others, a lack of training, resulting in feelings of inadequacy, inappropriate
training for large multicultural classes and the lack of teaching resources.
Another reason for the resistance has been described as a resistance to
change. Many educators have found it difficult to make the paradigm shift
from the previous educational system to OBE and C2005.
The aim of the study is to research and explore ways of empowering
educators to teach Arts and Culture. The new educational system is geared to
redressing the imbalances of the past and giving more expression to the
diversity of cultures represented in South African schools. Whereas the
previous system was founded on exclusively Eurocentric ideology, principles
and values, the new system aims at a more inclusive Afrocentric approach.
However, criticisms leveled at C2005 have suggested that it is still basically
Western in terms of values, terminology and methodology. This study is
therefore aimed at investigating a culturally diverse music/arts curriculum,
which draws on the wealth of resources, methods and modes readily
accessible in South Africa. A comprehensive literature review guides the study
towards a greater understanding of how cultural identities are formed out of a
need to belong and how important recognition is to individuals and groups,
particularly in terms of their diverse cultural expressions. Music and the arts
are understood as being vitally important channels for expression of this
diversity. Yet, true to the Afrocentric principle of holism, unity is found in
diversity. As much common ground exists between an integrated approach and an
Afrocentric approach to music/arts education, these principles are explored to
determine whether they can be adapted for use in contemporary South
African classrooms. An integrated project mode, which provides a balance
between the specific knowledge contexts of the various Learning Areas and
collaborative learning aimed at developing the natural links between learning
areas to create a vibrant whole, is suggested. The researcher conducted an
integrated project at her school with the common theme of "District Six" linking
four Learning Areas and their components. Participatory action research using
qualitative methods such as questionnaires were used to determine the
feasibility of an integrated project mode of learning as a means of empowering
educators to teach Arts and Culture. Subsequently recommendations were
made regarding implementation.<br>AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders
gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie
en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het
nie verminder nie. Van die redes hiervoor verwys na gevoelens van
ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe
leergebied van Kuns en Kultuur moes aanbied. Die weerstand word
toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste
opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan
onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie
opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die
vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005
(K2005).
Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na
maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te
bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die
onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele
diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige
stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is
die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen
Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes,
terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en
die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne,
metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die
begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en
deel te wees, hoe belangrik erkenning van individue en groepe is, veral om
hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel
van holisme kan eenheid binne diversiteit gevind word.
Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n
Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse
Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word
voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in
verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die
natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n
groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde
projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul
komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is
gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te
bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole
aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die
implementering van die nuwe Kurrikulum.
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Greco, Mitchell J. "THE EMIC AND ETIC TEACHING PERSPECTIVES OF TRADITIONAL GHANAIAN DANCE-DRUMMING: A COMPARATIVE STUDY OF GHANAIAN AND AMERICAN MUSIC COGNITION AND THE TRANSMISSION PROCESS." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073851.
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Fossum, Louis Eric. "Danny Daniels: A life of dance and choreography." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2357.
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The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny's dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.
14
Gross, Mara J. "Bodies At School: Educating Teachers to Move." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313549493.
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Damicone, Tiffany N. "“The Singing Style of the Bohemians” – A Study of the Bohemian Contributions to Horn Pedagogy, Western Perspectives on Czech Horn Playing and Analysis of the Teachings of Zdenek Divoky' at the Academy of Performing Arts." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366311585.
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Buttolph, K., Cynthia R. Chambers, J. Gaines, and T. Wynn. "Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.
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Chambers, Cynthia R. "The Power of Performing Arts—inclusion in the Arts." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.
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Chambers, Cynthia R. "Performing Together through Inclusive Arts Programming." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3869.
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Chambers, Cynthia R., and K. Buttolf. "Building Skills, Strengths, and Interests through Performing Arts." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3889.
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Alison, Brooke Turner. "Teaching and Performing Theatre for Youth Using Physical Storytelling." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3138.
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For children to enjoy theatre they must see a story played out physically. The same is true when children act. Young performers must be taught to act using a simplified version of the Stanislavski System that puts emphasis on playable action. This thesis evaluates current acting texts for youth based on whether or not the author is able to outline a method that is accessible for children, and highlights the importance of playable action in scene work. It also provides a guide to teaching theatre for youth based on a class of the author’s design where students developed curriculum, managed classes of students, and executed lessons that emphasized the importance of physicality in acting. It includes the process and script of a devised play based on Lewis Carroll’s poem Jabberwocky where the story was told through movement. The final section is results of these experiments and feedback from children.
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Irubetagoyena, Keti. "Peut-on enseigner la présence scénique? Delphine Eliet, une pédagogue à la croisée des théories de l'art du jeu qui ont marqué le XXème siècle théâtral." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2013. http://tel.archives-ouvertes.fr/tel-00942714.
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La présence scénique est une notion complexe du jeu de l'acteur. Pomme de discorde, elle fait s'affronter, schématiquement, les partisans du don et ceux de la technique, les défenseurs de l'énergie contre les stratèges de la réception spectatrice. Il est pourtant une évidence : il ne peut y avoir de présence scénique en soi. Constantin Stanislavski parle d'un " charme scénique " à l'origine d'un " enchantement ", d'une " emprise sur l'auditoire "1 . La présence de l'acteur est décrite comme un pouvoir que ce dernier a sur les sens des spectateurs - pouvoir voilé du mystère dont les mots " charme " et " enchantement " sont empreints. L'acteur n'est présent que dans la réception qu'a le spectateur de sa performance, un truisme, certes, mais qui n'est pas sans conséquences. Sans nier l'évidence d'un don chez les acteurs que l'on dit nés, peut-on considérer la possibilité d'une présence scénique qui, en tant que coprésence, puisse faire l'objet d'une construction ? Partant de l'analyse spectatrice et pratique de la pédagogie de Delphine Eliet à l'École du Jeu, hypothèse est faite qu'une présence scénique pourrait être construite par l'acteur au moyen d'un usage conscient et maîtrisé de cet ici et maintenant qui fait du théâtre un art vivant dont il est l'agent fondamental, usage touchant tous les niveaux du jeu, du muet être-là au projet artistique le plus complet. 1-Cf. STANISLAVSKI, Constantin, La Construction du personnage, traduit de l'anglais par Charles ANTONETTI, Éditions Pygmalion - Gérard Watelet, 1988, pp. 275-176.
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Worley, Bess B. "Talent development in the performing arts: Teacher characteristics, behaviors, and classroom practices." W&M ScholarWorks, 2006. https://scholarworks.wm.edu/etd/1550154195.
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Chambers, Cynthia R. "POP Arts: Inclusive Performance Arts Programming." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3868.
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Olsson, Anna. "Dansundervisning för elever med autism och ADHD : En kvalitativ studie av gymnasielärares erfarenheter ur ett sociokulturellt perspektiv." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-748.
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The aim of the study is to contribute knowledge and increase the understanding of teaching dance to students aged 16-18 with autism and ADHD in upper secondary school in Sweden by investigating teachers understanding of adaptation and the reason for students experiencing difficulties related to their diagnosis. The study also investigates the different strategies used by the teachers to adapt their teaching. The study uses a qualitative method and empirical data was collected through semi-structured interviews with four dance teachers. The data was analysed within the framework of a sociocultural perspective using concepts such as mediation, affordance and intellectual tools defined as given models for thinking. The results of the study show firstly that teachers’ understanding of different ways to adapt teaching and ways of understanding the reason for students experiencing difficulties, affects how they adapt and design their teaching. Secondly the study shows that the strategies used by the teachers mainly strives for making the teaching clear and predictable, to improve students’ self-esteem and to build good relationships to the students, and among the students. The study concludes that more knowledge about the subject is needed to further support the teachers in their work.
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Clemons, Kawachi Ahmon. "A case study of the performing arts production program as a means of inclusive community building within the performing arts management domain." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/2387.
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The problem examined in this study involved the lack of inclusiveness within upper level positions in the performing arts production arena. Traditionally, the production domain has centered on a Eurocentric Model where homogeneity is favored.
The study was conducted with three major phases in mind. The first was to bring the reader to an awareness of what it means to build an inclusive community. The second included historical data to confirm the industry's bias practices of exclusion of minorities and women. The third and final phase shows the development and implementation of programming which lends itself to diversifying the performing arts production domain.
Findings concluded an effectiveness of both the content and process of the Performing Arts Production program as a means of providing opportunities for minorities and women toward attaining a successful management careers in performing arts management. Furthermore, this study illustrated a number of programs and opportunities available for minorities and women who wish to embark upon upper level positions within performing arts production.
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Chambers, Cynthia R., and T. Takenaka. "POP Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3875.
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Chambers, Cynthia R., and K. Buttolph. "POP Arts: An Inclusive Performance Arts Experience." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3877.
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Le, Thi Kieu Huong. "Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia." School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.
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Doctor of Philosophy(PhD)<br>This thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.
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Realista, Katy. "Community college performing arts students perceptions of persistence| A phenomenological study." Thesis, California State University, Fullerton, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3575410.
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<p>An issue faced by community colleges is the time to completion for student success as defined by obtaining a degree, certificate or transfer to a four-year institution. Issues not addressed in the research are the effects on persistence of the time needed to acquire the performing arts skills, the probable occurrence of student over engagement, and the student's definition of success and their perception of a delayed time to degree. There exists a population of community college performing arts students who continue to persist into their fourth year and beyond after accumulating the units needed to complete an associate arts degree or certificate. </p><p> Using a phenomenological approach, this qualitative study explored the perceptions and experiences of community college performing arts students on their reasons for continued persistence in community college. Semi-structured interviews were used to elucidate themes and to discern the motives of why these students continue to persist. It was discovered that the participants created their own individual definitions of student success and designed personalized academic pathways to obtain that success. It appeared that the acquisition of skills, the building of resumes, and networking were major reasons for the student's continued persistence. And, although the completion of a degree was asserted as important, it was not critical in a majority of their definitions of success. In addition, participants admitted to spending a great deal of time in pursuit of the arts. </p><p> Recommendations were made to implement counselors with specialized training in the needs of performing arts students to mitigate unnecessary persistence, to realign curriculum and programs within the arts as needed (a) to address repeatability issues and to (b) build relationships with local professional arts organizations, and to strengthen the profile of the performing arts as an accepted academic discipline to better align the arts with college missions. Further research is needed in the performing arts as well as in the community colleges to continue to build the body of literature in these areas. A final recommendation was for the policy makers to strengthen institutions by broadening their definition of student success to include the voices of the students. </p>
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Botieff, Jane D. "Flute extended techniques| A practice guide and analytical study of "Hatching Aliens" by Ian Clarke." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1592498.
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<p> Extended techniques play an important role in flute repertoire today, as composers continue to explore the possibilities of the instrument in ways not previously done before the mid-twentieth century. Pioneers of flute extended techniques, including Edgard Varèse, Luciano Berio, and Robert Dick, have all played an important role in the progression of flute repertoire leading into the twenty-first century. </p><p> Ian Clarke, a British flutist and composer, uses extended techniques as a vital element in his compositions, and has gained a great deal of attention for his breadth of work, including one of his more recent compositions, <i> Hatching Aliens</i>. First published in 2010, this work utilizes a vast amount of extended techniques, all of which contribute to the eerie and mysterious qualities of this programmatic composition for flute and piano. This project report studies the notation and production of extended techniques and how Clarke incorporates them into his composition, <i>Hatching Aliens</i>. </p>
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Buttolph, K., and Cynthia R. Chambers. "Power of Performance Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3871.
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Southall, Sally. "Pedagogy and Performing Shakespeare's Text: A Comparative Study." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1832.
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ABSTRACT PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2009 Director: Dr. Noreen C. Barnes Professor, Director of Graduate Studies School of the Arts In the Master of Fine Arts program in Theatre Pedagogy at Virginia Commonwealth University, and in a second program, the Master of Letters/Master of Fine Arts in Shakespeare and Renaissance Literature in Performance at Mary Baldwin College - two specific pedagogical approaches to accessing and performing Shakespeare’s text, both in the post-graduate setting - provide significant analysis tools and performance techniques, yet they use different points of departure and areas of focus. Chapter 1 will give the background, design, and focus of the graduate programs at Virginia Commonwealth University and at Mary Baldwin College. Chapter 2 will discuss and describe Janet B. Rodgers’ teaching orientation and her particular pedagogy in “Shakespeare and Text: The War of the Roses” class at viii ix Virginia Commonwealth University. Chapter 3 will provide Dr. Ralph Alan Cohen’s professional background and the foundational structure and focus of the pedagogy in his class “Language and Performance” at Mary Baldwin College. Chapter 4 explores the parallel and overlapping methods demonstrated in these two classes as well as the contrasting specifics of their particular methodologies. Chapter 5 describes the value of the two approaches, both of which exemplify the individual strengths of the professors.
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Chambers, Cynthia R., K. Buttolph, A. L. Shortt, C. Culbertson, and K. Bevins. "Power of Performance Arts: An Inclusive Community-Based Performance Arts Program." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3878.
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Crowe, Andrea Michelle. "The Tennessee Performing Arts Center : a study in structure, practices, and problems." ScholarWorks@UNO, 2000. http://scholarworks.uno.edu/aa_rpts/94.
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In the Fall of 1999 I spent the semester with The Tennessee Performing Arts Center (TPAC). I gained a general knowledge of the organization as a whole and a more involved knowledge of the marketing department. I witnessed and assisted in all of TPAC's general practices, and 1 was also given several special projects and tasks. In general the organization is extremely successful, but I believe there are flaws in both structure and practices. Throughout this paper I discuss the Center's practices, challenges, successes, and problems. I have also made suggestions as to how I might have done things differently in several instances.
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Book, Sean E. "What's in a name? A study of the correlation between donor giving trends and donor recognition." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076452.
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<p> This project seeks to identify the impact of donor recognition practices upon acquisition and retention of individual donors within the Southern California theatre industry as a shift occurs in philanthropy trending away from corporate to individual gifts. </p><p> Drawing upon interviews with development professionals, cost and benefit analysis, and investigation of past donations, this project determines the effectiveness of current donor recognition structures that are commonly implemented without constant analysis of their performance. The objective of gathering practical data and understanding how and what motivates the average theatre donor, will determine future donor recognition approaches that can be implemented within the Theatre Arts Department. Additionally, the results of this study will inform the implementation of a donor wall for the CSULB Theatre Arts Department</p>
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Moroney, Kathleen. "Stillness in motion : an interdisciplinary study of movement in time and space through ceramics and dance." Thesis, University of Sunderland, 2017. http://sure.sunderland.ac.uk/8476/.
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The research investigates stillness as movement in time and space explored and exploited through an interdisciplinary study of ceramics and dance. Exercises consistent with Butoh, a Japanese dance form, are employed as an exploratory tool to facilitate a broader interpretation of stillness as motion through a corporeal processing of concepts such as time and space. Laban's 'principles of movement' are observed, explored and employed as a method used in choreography to analytically study movement as still components of a flux within space to inform dance composition. This study maps a path to practice that involves the constructing of a material bridge that links two disciplines, ceramics and dance, through similarities and varying approaches to a shared area of concern: movement in time and space. The constructing of this path to practice and its effect on the composing and installing of ceramic composition is the focus of the study. The study begins with the contextualising of 'stillness' as a state of 'movement in time' through Bergson's concepts in philosophy. The experience of real time is located internally by the philosopher Heidegger, who references real time as lived time felt in and through the body. At this point in the research the path transitions to a physical and performative engagement with 'stillness in time and space' in search of its qualities and textures, which shifts studio practice for a period of time from ceramics to dance practice. Two three-part case studies are constructed from participation in a Butoh dance workshop and through the observation of a choreography workshop. Studio experimentation follows which maps a ceramic path to practice through the perspective of dance, exploring the potential to share learning across a disciplinary divide. The final part of the case studies involves the composing and constructing of ceramic installations through the shared perspective of ceramics and dance. This thesis contributes to the discourse on interdisciplinary practice, specifically relating to ceramics and dance. It provides a transferable model of research that merges two fields of practice, broadening and intensifying the experience of learning through a combined kinesthetic, visual and cognitive approach. This model has been tested as an extension of this research within the field of dance and within a therapeutic environment to effect learning.
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Descoteaux, Jillian M. "Substance Use Patterns of Performing Artists: A Preliminary Study." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408643234.
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Gentry, Christine. "Speak, Memory: Oral Storytelling in the High School Classroom." Thesis, 2014. https://doi.org/10.7916/D82J691M.
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Student stories are a potentially rich natural resource running through the veins of our schools, but this resource sometimes goes untapped. One strategy teachers can use to take advantage of this resource is to formally introduce oral storytelling into the classroom--to explicitly teach students how to choose and craft stories from their lives and then allow them to publicly perform those stories. The Story Shop Community Education Program (a pseudonym) in New York City is a non-profit devoted to bringing the art and craft of oral storytelling to populations that might not otherwise have access to it through series of free workshops.
This research project took place over sixteen weeks of one such workshop at a Title I public high school in East New York, Brooklyn. It addresses the following question: How does an oral storytelling unit affect both individual students and their classroom relationships? More specifically, (1) How do individual students engage with an oral storytelling unit? (2) What is the perceived impact of an oral storytelling unit on classroom relationships? (3) How do students perceive the impact of an oral storytelling unit both on their understanding of themselves as individuals and on their relationships with each other? and (4) How does the teacher perceive the impact of an oral storytelling unit on her individual students and her classroom relationships?
Drawing on an interpretivist/social network approach and grounded in the tenets of narrative qualitative research, this project utilizes mixed methods to investigate whether an oral storytelling unit provided students with opportunities for growth in identity development and deepening of their classroom relationships. This investigation documents how granting students the time and space to bear witness to each other's lives and `go public' with stories that could otherwise go unheard might improve classroom community and therefore student motivation.
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Lee, Eunji. "Art as Pedagogical Experience: Educational Implications of Three Participatory Socially Engaged Art Projects." Thesis, 2020. https://doi.org/10.7916/d8-kb1x-np78.
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This qualitative multiple case study examines how learning is elicited in three artist-led socially engaged artworks. Three contemporary artists created their process-based artworks by intentionally employing educational methods and formats to promote a learning experience with an audience group. This type of participatory artmaking is often associated with the educational turn in contemporary art. However, the majority of contemporary art literature has focused on the artist, often overlooking the audience’s experience. Hence, from the position of an art educator, I investigate not only the artists’ intentions and pedagogical frameworks in creating the artworks, but also the learning outcomes from the perspectives of the audience members.
The three artworks in my study all shared a two-tier structure: first, a private working phase in which the artists collaborated with participating audience members whom I identified as “core group members”; and second, a public presentation phase in which the work was presented to “public audience members.” In order to examine the perceived learning from the three perspectives, I carried out on-site observations, and interviewed the artists, core group members, and public audience members, respectively.
The findings revealed how artists created their artworks as a process and platform to promote collective knowledge-making, particularly using current affairs as themes to instill political consciousness among the core group members. The core group members shared their salient learning experiences in relation to collaboration within their groups and with the artists, and “gaining confidence” in tandem with overcoming the challenges of public engagement. Aspects of self-directed learning, social bonding, and sense of belonging promoted motivation and eventually deeper learning. The public audience members shared their learning experiences in regard to public dialogue and display of the artworks.
This study supports recognizing the value of pedagogy-based artworks in relation to learning that is intrinsically motivational and meaningful. The artworks in my study serve as arts-based models for learning and teaching social justice issues and civic engagement. In conclusion, artists’ approaches can diversify educators’ pedagogical approaches, and educational outcomes can support artists in creating empowering work with participants. Ultimately, this study advocates for the value of artmaking as a collective, transformative experience.
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PENG, YA-LING, and 彭雅鈴. "The Performing Arts Teaching for Student Club:A Case Study of New Taipei Municipal Jin-he High School." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/b9n3t4.
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碩士<br>國立臺灣藝術大學<br>戲劇學系<br>106<br>In accordance with the curriculum vision purposed by the Ministry of Education regarding the 12-year Basic Education as well as the physical and mental development of students in this new era, it is of great urgency for teachers to design curriculums filled with creativeness and connotation to fulfill their education mission.
Case study, one of the qualitative research methods, was used in this research. With the education concept of curriculum integration, the researcher used the intrinsic quality of art education that lies within creative drama to assimilate into performing arts clubs in junior high schools, and then conducted drama creation and teaching with the opportunity of club presentation performances. Triangulation was also used, as perspectives from educators, students, home-room teachers and parents were all considered in the examination process, and various data forms including observation records, meeting records, class handouts, video recordings, student journals, questionnaires, reflection notes and audience feedback sheets were all collected for the research purpose. After the actual teaching and research process, followed by induction, analysis, deep reflection and probation, the conclusions of this research are listed as follows:
I.With the education concept of “curriculum integration”, “creative drama” can be used to assimilate into classes in performance art clubs, so that students can have multiple ways to learn.
II.Teachers can try to design the scenior of the “plays to perform”, and then design suitable “curriculum plans” in accordance with teaching objectives, issues with stories and students’ prior knowledge, so that teachers and students can conducted drama creation together during class time, and therefore gain happiness and sense of achievement during the process of teaching and learning.
III.With the guidance of curriculum activities, we can enhance the ability of self-integration for students in junior high schools.
IV.The process of this research is clearly effective in enhancing teachers’ ability in teaching and doing research as well as assisting in their professional growth.
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Hsieh, Fang-Chia, and 謝芳佳. "The Multiple-case Study of Arts and Humanities Consultants in New Taipei City Applying Performing Arts in Music Teaching in Elementary Schools." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/36461490911671950335.
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Lin, Shu-Ching, and 林淑菁. "An Exploratory Study of Creative Dance Curriculum and Teaching in the Performing Arts Subject of Junior High School." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/10576841291271699814.
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碩士<br>國立臺灣藝術大學<br>表演藝術研究所<br>98<br>This research focuses on exploring the implementation of Performing Arts curriculum in junior high school. The purpose of this study is to understand the effects on the implementation of the Creative Dance Lesson in the Performing Arts course in the subject of Arts and Humanities of junior high school, in which students were taught via designed curriculum and instruction and observed the responses and feedback during the lessons.
This study focuses on evaluating the efficacy of giving integrated instruction in the Creative Dance lesson, which is implemented AIDE Creative Thinking Teaching Method( Chen, Long-An,1998,pp.88) . Documentary analysis is firstly used to analyze the data gained from classroom observation on students’ learning behaviors and performances and next Survey Researching and Observation Survey are utilized too. The students are given New Creativity Test to evaluate the creation of the experimental group in the end of the experimental instruction. The key point of the test is to see whether the students become more creative or not, after the Creative Dance lesson. The results and findings from analyzing and comparing the data are as the following:
1. In the Creative Dance lesson, the students are able to use varied units of dance motions to act, and they are more willing to work with their classmates.
2. In the Creative Dance lesson, students are able to express themselves and discuss with partners. They share work to accomplish the given task. They watch, analyze, and appreciate others’ performances and motivate themselves to learn.
3. In the Creative Dance lesson, students are provided with the opportunities to show and express themselves. This helps to develop self-confidence in them and inspire the ability of creative thinking.
4. The Creative Dance Curriculum enhances the interaction between people, so that students are willing to attempt the creative dance lessons.
5. The result of New Creative Test shows that the students in the experimental group make obvious progress in their creation after attaining to the Creative Dance Lesson; on the contrary, the students in the other group make no progress at all. It reveals that the Creative Dance Curriculum helps junior high school students promote their creative ability.
From the results of the research, the researcher also suggested publisher of the various textbooks can integrate “the creative dance curriculum” in the performing arts teaching material in junior high school.
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Han, Jungmin Grace. "Restoring the Malleable Inner Self: A Journey of Lifelong Transformation and Growth Through Musical Performance." Thesis, 2021. https://doi.org/10.7916/d8-ghra-fm04.
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Classical music performance has long been perceived as the domain of people with talent. This pervasive way of thinking can inhibit individuals from reaching their true musical potential. I argue that this problem has to do with the habitual performing and teaching practices based upon the body-mind dualism, which ignores intrinsically connected qualities of the performing body and mind. In this project, I aimed to understand the intrinsic malleable capacity, or my terms, the malleable inner self, as the intrinsic measurement for lifelong learning and growth in the context of musical performance and its pedagogy. Through autoethnographic narrative inquiry with the life story interview method as a methodological lens, I used the Korean cellist Ms. Lim’s 30- year transformative journey as an essential testimony. This project arises from a way of knowing I have turned to, the move from practice to theory, which I came to believe opens up a mode of inquiry that offers continuous growth, as did Ms. Lim’s lifelong transformative journey. In my reimagination of Ms. Lim’s narrative—in which I redefine her transformative journey as a musical pilgrimage—the self is the “capacity within.” I cultivated the idea of the entirety of the musical self, underlying a sense of wholeness or a sense of the self as a musical whole, the pinnacle of the restored capacity that comes with the body-mind/self- music unity. In this sense, the malleable inner self or the malleable capacity within is the foundational condition to be restored to experience the entirety of the musical self or a sense of the self as a musical whole.
I further reimagined, from the transformative learning perspective, how this restored self/capacity can reflect understanding of an essential pedagogy, breaking out of the extrinsic measurement-oriented pedagogical structure in the context of musical performance. I conclude that every individual musician at all levels retains an inherent, malleable musical capacity, which can be restored from the unified, liberated mind-body as the ultimate musical entity. With the capacity-building perspective, my study demonstrates that students and teachers can open their own doors for ultimate lifelong transformation and growth by restoring the malleable inner self, turning away from the long-standing perspectives in classical music performance and its pedagogy.
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Wu, Shi-Yu, and 吳思楀. "The Study of Performing Arts Courses of Grade 1-9 Comparison And Teaching Process in Dance And Drama Curriculum." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/37252181693840670604.
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碩士<br>中國文化大學<br>舞蹈學系<br>100<br>Abstract
The aims of this study are both to compare the pedagogy of dance and drama, and to examine the teaching process of drama and dance in the field of Performing Arts within Grade 1-9 Curriculums. Based on the former comparison and examination, the researcher will design an integrated curriculum of dance and drama, which concerned with the social issues. Then, through an empirical teaching, the researcher wants to clarify the possible strategy of teaching dance and drama as a whole. The methods of research are literature analyzed and empirical teaching. In order to define the issues of teaching and learning process, during the empirical teaching an observation and simple data analysis are applied. The outcomes of the research as follow:
(1) For the students of elementary school, movement improvisation is easily to reach the life of children. And the elements of dance can be separated exploring by the students, therefore dance classes are quickly accepted by the students.
(2) In drama classes the mode of teaching are integrated. The classes always start from the rational thinking, through which student can develop logic thinking, communication skills and creativity.
(3) In order to achieve various educational objectives, dance and drama can be applied as complementary subjects within performing arts in Grade 1-9 curriculum.
(4) In the performing arts courses, the curricular of dance and drama must be equally developed and settled.
(5) According to the result of comparison, dance learning is benefit to strength one’s body language and responsive movement. While drama can arouse learner’s intellectual thinking in related to cultural context. Both of them emphasized on developing one’s social interrelationship.
Keywords: Grade 1-9 Curriculum, Arts and Humanities, Performing Arts, Dance Curriculum , Drama Curriculum.
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Hsiao, Wen-Wen, and 蕭文文. "The Dance Teaching Design and Study of the Performing Arts in High School : The Case of Choreographing with Symbol." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/03048455842519067334.
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碩士<br>國立臺灣藝術大學<br>表演藝術教學碩士學位班<br>100<br>After the Ministry of Education enacted the “Senior High School Curriculum Guidelines” in January of 2008 to be carried out officially in 2010 academic year, “Art and Life” has become a new compulsory subject, which is divided into three courses of life application, including art of visual application, art of musical application and performing arts. Since the implementation in 2010 academic year, Taiwan’s education still lacks a case of complete dance education design which includes the “expression of consciousness through body language and creative dance”, and the “educational performance in various places by dramas or dancing with sound effects and scenes”. The teaching of these courses nowadays is mostly based on appreciation or theater education. Seldom is there education design and relevant researches with creative dancing or dance presentations as education goals.
This study describes how Taipei Municipal Wan Fang Senior High School (WFSH) conducts teaching of creative dancing since the implementation of the “Senior High School Curriculum Guidelines”, and how it uses “Choreographing with Symbol” to guide students in achieving the goal of presentation. 11th to 12th grade students are under the pressure of SAT (Subject Ability Test) , and through the curriculum design of creative dancing, they are able to release pressure and feel joyful. Researchers designed the curriculum from the angle of creativity teaching to trigger learning motive and interest, so that the sense of accomplishment from learning may be enhanced for students to learn and create with positive and active attitudes.
This study combined the contents of the “Choreographing with Symbol” designed by researchers for teaching junior high school students and the warm-ups, movements and action combinations based on creative dancing. These were extended and transformed into a design suitable for the cognitive and learning states of senior high school students. This study then conducted a qualitative research on the results of the design being carried out for two years in the senior high department.
The study method is based on the qualitative research which uses teachers as primary observers. The purpose of the study is to interpret how to integrate the curriculum design for creative dancing into the teaching strategy of “Choreographing with Symbol” within ten classes. The source of study basis includes contents of teaching plan designs, feedback and observations from other teachers, field notes, photos and videos from teachers who participated in curriculum seminars, memos on guidance of teachers, and records and analyses of students’ pre- and post-tests. These are used to describe the inspiration and impact of “Choreographing with Symbol” on the learning of senior high school students.
The purpose of this study is to share an effective and successful teaching design case, and to interpret the data from questionnaires, observations and interviews for understanding the module is acceptant among senior high school students.
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Falkner, Adam Wallace Graham. "A Poet’s Room: Troubling Tolerance, Cultural Ruptures & The Dialogic Curriculum." Thesis, 2018. https://doi.org/10.7916/D8XD2J38.
Full textAbstract:
Many high school communities across the United States grapple with issues of bullying, harassment and other forms of student conflict that are often the result of intolerance and misunderstandings across and among social identities (Griffin et. al., 2012). In an effort to rebuild tone and community, however, schools have focused predominantly on (1) addressing only antagonistic student behavior and (2) tolerance-based approaches that result in the superficial “choreography of civil speech” (Mayo. 2004). Both methods, in different ways, have struggled to meaningfully address many of the underlying issues responsible for intergroup and interpersonal conflict and the deterioration of community in schools (Dessel, 2010; Poteat & DiGiovanni, 2010).
This qualitative case study examines the impact of an innovative arts-based curriculum designed to center the construction and performance of student “creative authoethnographies” in the classroom as a way of proactively working toward dialogue about identity and social analysis. Conducted over the course of a single school year at a high school in New York City, this research looks carefully at the experiences of seven students. Through close analysis of student interviews, archived student writing, curriculum documents, student surveys and other qualitative data, this work strives to articulate what courses such as these offer students, and how their presence in schools holds the potential to directly address issues of bullying and conflict across difference.
Responding to the critical multiculturalist call (Banks, 1995, Morrell, 2007; Camangian, 2010) for a pedagogy that combines the successful but historically separate practices of autoethnography and the teaching of dialogue skills, this study introduces “cultural ruptures” and a “pedagogy of disruption” as part of a new approach to engaging young people in an of education that is explicit in it’s efforts to critique society and interrogate one’s own identity (Freire & Macedo, 1987). This research also advocates strongly on behalf of English classrooms (and English teachers specifically) as among the most important “actors” in the work of humanizing education, and offers tangible recommendations and strategies for practitioners toward that end.
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HSIEH, HSIN-YI, and 謝馨儀. "A Study on the Learning Effectiveness of Theatre-in-Education Teaching Mode into Performing Arts Curriculum in Junior High School：Taking the Musical MULAN for Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/b842wa.
Full textAbstract:
碩士<br>國立臺灣藝術大學<br>表演藝術教學碩士學位班<br>107<br>The purpose of this study was to explore the Theatre-in-Education teaching mode into performing arts curriculum in junior high school by adopting the method of case study. The research object was the 9th grade students of junior high school. By using the musical "MULAN" as the main material, researcher introduced the knowledge of musical and designed the Theatre-in-Education with related topics that could allow students to actually participate the theater. By observing and video taping students’ learning process, researcher analyzed the consequences of the course and the conclusions were as follow:
1. Theatre-in-Education teaching mode could incorporate issues into performing
arts curriculum in junior high school.
2. Theatre-in-Education teaching mode was an effective teaching process in
performing arts curriculum in junior high school.
3. Theatre-in-Education teaching mode could improve students’ learning in
performing arts curriculum in junior high school.
The results of this study could provide suggestions for the performing arts teachers or subsequent researches.
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CHEN, HUNG-TU, and 陳宏圖. "Discussing the Relationship between Teachers' Teaching Style and Students' Learning Motivation in Performing Arts Courses--A Case Study of Pei Shin Junior High School in Chiayi City." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9u2naf.
Full textAbstract:
碩士<br>南華大學<br>文化創意事業管理學系<br>106<br>This study aims to investigate the relationship between teachers’ teaching styles perceived by high school students and learning motivation. The research uses the questionnaire survey procedure, the grand total provides 368 questionnaire, recycling effective questionnaire 354, the effective questionnaire recycling a rate 96.19%. In addition, the data gathered by the scores valuated through “performing arts teachers’ teaching styles scale sheet” and “learning motivation scale sheet for performing arts”. The questionnaire information has confirmed after the descriptive statistics, one way ANOVA and pearson’s Crrelatiopn, and obtains the following a conclusion :
1. Junior high school students perceived performing arts teachers’ teaching styles : between teacher-centered and student-centered is the most, then is student-centered. At the level of teaching style, the highest level of student centers is "teaching process" and "curriculum design".
2. Junior high school students have good learning motives on "self-efficiency" and "learning value".
3. “school scale” and “students’grade” significantly affects their perceptions on the performing arts teachers’ teaching styles.
4. “school scale” , “students’ grade” and” student genders” significantly affects their perceptions on the learning motivation.
Based on the above results, suggestions are made for the reference of performing arts teachers and future researchers.
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LEE, LING, and 李舲. "A Study on the Creative Drama of Appling Storytelling Type Board Games: Taking the Seventh Grade Performing Arts Teaching in a Junior High School of Hsinchu City." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7a9964.
Full textAbstract:
碩士<br>國立臺灣藝術大學<br>表演藝術教學碩士學位班<br>107<br>The Researcher have been teaching the performing arts course in the junior high school for five years, and aware of the dilemma of the teaching: the lack of students' attention in learning, and showing resistance because of lack of experience in performing. The purpose of this study is to explore whether this course can produce positive learning experience for students, enhance their interest and willingness to learn the course of performing arts in the near future by using the course of board game combined with storytelling lessons in creative drama.
This study is using the case study method. The curriculum design is based on the 12-year Education Curriculum Guide, and used nine lessons to teach in combination with the board game "Dixit". According to the questionnaire, case interviews, third-party observation records and teachers' self-observation, the data were collected and the results were analyzed. After the study, the following conclusions are drawn:
1. Researchers can design the course according to the curriculum guide and essential elements of creative drama.
2. Students have significant learning changes in the creative drama of appling storytelling type board games.
3. The creative drama of appling storytelling type board games can achieve teaching effect.
Based on the findings, the researcher put forward suggestions for future teaching and related research.
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何建霖. "Industrial education track students who win competitions of performing arts research procedures of learning skills and teachers teaching strategies:a case study of mechanical engineering drawing and design CAD." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/98702140445306837349.
Full textAbstract:
碩士<br>國立彰化師範大學<br>工業教育與技術學系<br>97<br>This research study aims at exploring the Skill Learning Developments of Industrial Education Track Student Winners of Industrial Technology Arts Competitions and their Teachers’ Instructional Strategies, focusing on the subject area in relation to “Computer Assisted Mechanical Drawing” and Industrial Technology Arts Competitions.
The researcher employs a qualitative research method by interviewing ten teachers and their students in a purpose of understanding the teachers’ instructional strategies as well as aspects of the students’ skill learning outcomes. The results and main findings of this study are as follows:
1. Elements that influence skill learning outcomes include instructional strategies as well as internal and external factors.
2. Students who participate in the competitions share the following personal traits, including activeness, self-motivation, a sense of responsibility, dedication to time, a stable emotional state, endurance against pressure, problem-solving abilities, and a high standard of spatial and drawing skills.
3. The four types of teachers’ instructional strategies in this study are demonstration, practice, presentation, and design.
4. A typical process of learning development shared by the competition winners involves thinking and exploration, repetitive practice, finding and solving problems, and innovative integration of instructional strategies and assessments.