Dance and Movement Teaspoon of Light Project

Keep your plaza on the arrow non on the neverthelesstocks (Faculty of Education, University of Auckland, 2011b) bound is crush outive exertion with intent, purpose, and form. It exists in umpteen forms and styles and is practised in all cultures, taking attribute in a range of contexts for various purposes. free reintic event is the expression of ideas, feelings and human experience with movement, sound, ocular image and the realisation of role. Both shimmer and Dance is essential in childrens education and has many an(prenominal) take ins however also portrays disputes for instructors.In this essay I nominate look ford three ascertainedness out comes linked to Drama and Dance that were evident in the teaspoonful of put d cause project coordinated by Dr Peter OConner in Christchurch, immature Zealand which was aimed to subprogram drama and jump education to support children and teachers during the aftermath of the 2011 major earthquake. I have discussed be nefits and gainsays that may occur by incorporating the quest learning outcomes into the firsthand school curriculum Imagining and Creating New Works, use Skills, Techniques and Processes and do Aesthetic Choices.The first learning outcome is Imagining and imaginative New Works. It is a prop of drama and move that focuses on exploring and essaying with movement to express ideas and feelings (Tasmanian Curriculum, 2007). It includes discovering and creating movement solutions that emerge from a range of startle points and stimuli. in that location argon benefits and challenges the occur from Imagining and Creating New Works. A benefit to this learning outcome is that through stimuli for gui bound, learners buttocks interpret their own ideas and this work encourages social sensitivity and group cooperation during collaborative work.The Tasmanian Curriculum (2007), states that the crowning(prenominal) expression of movement is recognised in performance. During A Teaspoo n of let down, OConnor told the students of a stimulant the first line of a story at that place was a girl who, when she got out of bed, tripped, and tore her stuff of fancys. (Faculty of Education, University of Auckland, 2011a). A discussion then emerged about the story. The seven- and eight- year-olds told OConner that if you tear a dream cloth, your dreams disappear.The students then solemnly said that it is the saddest thing that backside happen to anyone. OConner asks the students to show him what the girl from the story might go to like when she tore her cloth of dreams. Cor interlockt (2011) states the dance is undecomposed to the primary school curriculum as it develops imaginative problem solving. It is stated that power is put to use to solve problems in every put forward matter, including the subject of life (Parrish, 2007 cited in Cornett, 2011).Through the learning outcome of Imagining and Creative New Works the students demo key components such as represen ting ideas and making survivals, reinforcing the benefit-stimulus encourages students to explore and sample with movement to express their personal ideas and feelings. A challenge that Imagining and Creative New Works portrays is the mean component from Drama. This component suggests that the creators of a lesson invite to be very immediate- working in the here and in a flash (Tasmanian Curriculum, 2007). The challenge is for teachers to be flexible in their sessions.Teachers need to know how and when to change direction in a lesson when a new lead appears that is worth proceeding. During A Teaspoon of demoralize the students involved were continuously take part in whole class imaginary worlds, i. e. dream makers, re-creating Sarahs cloth of dreams, using magic rubbers and chill the dreams with magic spells (Faculty of Education, University of Auckland, 2011a). OConner (2011) believes that the imaginary world that was get tod during the sessions was the comfort of the work (Faculty of Education, University of Auckland, b).He states that as teachers, the session ended up in different places because they were prep atomic number 18d to let it. OConner mentions a quote from Dorothy Heathcote related to working on classrooms keep your eye on the arrow not the target (Faculty of Education, University of Auckland, 2011b). Wright (2003) describes this challenge in that teachers must be equal to(p) to communicate expectations, needs and difficulties in a direct and sensitive manner and be able to accept the same level of directness from the children. The teacher needs to go out, inclinationen and fell what the children need and require to express (Wright, 2003).OConner (2011) reflects on his session in A Teaspoon of fallible as constantly changing. He believed that deciding in the moment was an important challenge for the teachers and directors. The second learning outcome is Using Skills, Techniques and Processes in drama and dance. It is movement based as students master a median(a) by reorganising, reinterpreting and assimilating movement and design element in new contexts or for a new purpose. The process involves working collaboratively to experiment with dramatic techniques in constructing, rehearsing and refining the performance (Tasmanian Curriculum, 2007).There argon benefits and challenges for the teachers and students when exploring this outcome. The Tasmanian Curriculum (2007) states that a benefit for Using Skills, Techniques and Processes is the developing of awareness, relationships and appropriate behaviours in dance and drama, leads to an extend in self-esteem and bureau. During A Teaspoon of Light it was shown that the students gained trustingness throughout the sessions. Ginny Thorner, a Christchurch artist showed the students a role-play, demonstrating practical dance skills and drama elements.The students observed Thorners demonstration first before shortly having the opportunity to create their own answ er to create a whole class experience of moving dreams (Faculty of Education, University of Auckland, 2011b). OConner stated that very few of the students had danced before, but through the use of teacher modelling it enabled them to develop their own short dance phrases, and therefore gaining huge amounts of confidence enhancing their opportunity to learn key concepts such as kinaesthetic awareness, performance skills, interaction and mean.It was evident in the clip that as the development of these skills increased, the students self-esteem and confidence increased also, hence be a benefit in the primary school curriculum A challenge that Using Skills, Techniques and Processes may reveal is the bitch for teachers awareness of and sensitivity to early(a) peoples ideas, physical boundaries, background and experience. The Tasmanian Curriculum (2007), states in put up to manipulate the medium successfully in the classroom context, there are a set of behaviours that should be expec ted and boost during the session, such as respect and empathy.In addition, Cornett (2011) writes that students assess the move ways peers express ideas through movement no one body shape or locomotive movement is right or wrong. In A Teaspoon of Light activities were use where students created their own dance sequence based on what they felt were communicatory movements. The students were also given the task to mirror a partners movement (Faculty of Education, University of Auckland, 2011a). There is evidence of the students working in their personal space, and developing awareness of what their body can do.The clip shows students dancing uniquely to how they felt dreams may be brought to life. Students come to de catch fire in the nontextual matter of fellow classmates as they witness the inventiveness of peers (Cornett, 2011). This is a clip where teachers and students must be sensitive to opposite peoples designs. OConner believed this was a time during the sessions that delivered rich, good theatre (Faculty of Education, University of Auckland, 2011b). While exploring this learning outcome, teachers awareness of and sensitivity to other students perceptions is critical.The third learning outcome is fashioning Aesthetic Choices. A sense of aesthetics is deeply personal and students use their knowledge of aesthetic choice to make meaning and to critically appraise the kit and boodle of others. In drama and dance, aesthetic choices are employ to bring out the intention of the performance (Tasmanian Curriculum, 2007). There are both benefits and challenges that array from this learning outcome. A benefit to Making Aesthetic Choices in drama and dance is to deepen sensory awareness and learn to express themselves through the artistic use of pantomime, dialog and improvisation (Cornett, 2011).Maslow places aesthetic understandings at the top of his motivating pyramid (Cited in Cornett, 2011). Aesthetic Choices are present in A Tea Spoon of Light wh en the students wrote a recipe of the things they would use in order to repair the torn cloth of dreams (Faculty of Education, University of Auckland, 2011a). Initially the identify consisted of their own wants, needs and likes bed, to be asleep, pyjamas and lights off. The second dip mentioned after some Aesthetic Choices were made, demonstrated a deeper understanding of the purpose.The second list consisted of 1 tsp of light in the darkest tunnel, 10 cups of love, 2 tsp of belief, 1/2 cup of adventure, 3/4 cup of hope. The list created by the students produced the rich Stendhal effect, the ah experience of being fey or moved (Lushington 2003, cited in Cornett, 2011). A challenge for successfully in cooperating Making Aesthetic Choices into the primary school curriculum is to be conscientious planning teachers who are inner about drama strategies and voluntary to adapt them for specific student needs (Cornett, 2011).In The Teaspoon of Light one occasion demonstrating Aesthetic Choices was the swarm paradiddle activity. The students decided that they needed an imaginary becloud bowl to mix all the ingredients together to create the new cloth of dreams. The students were able to explore and experiment with different types of movement spontaneously and in response to OConners requests (Faculty of Education, University of Auckland, 2011a). The students chose what, how, who, when and even what intensity when they were pose their ingredients into the cloud bowl. OConner asked questions to deepen their aesthetic understanding. Is 2 tsp. of belief light or heavy? What colour might it be? And with each description, the element went into the bowl (Faculty of Education, University of Auckland, 2011a). The lesson was successful, but due to the fact that OConner was knowledgeable enough to create a safety net while guiding the students through the activity. He used strategies that enhance students ability to look, discuss, view, review, select, reflect and refin e (Tasmanian Curriculum, 2007). Cornett (2011), states that the dance literacy level needed by teachers is contingent upon what their students are expected to know and do.Reason can answer questions but imagination has to ask them (Albert Einstein, cited in Cornett, 2011). Learning through drama and dance develops the ability to appreciate and value on dramatic works. Drama develops the courage and continuity to have a go. The Teaspoon of Light project coordinated by Dr Peter OConner in Christchurch demonstrates the learning outcomes of Imagining and Creating New Works, Using Skills, Techniques and Processes and Making Aesthetic Choices which in turn, have both benefits and challenges whilst being in cooperated into the primary school curriculum.References Cornett, C. (2011). Integrating dance and creative movement. In Creating Meaning Through lit and the Arts (4th ed. ), pp. 255-281. Allyn & Bacon, Boston, USA Faculty of Education, University of Auckland foedauck. (2011a, April 14 ). Earthquake a teaspoon of light. . Retrieved from http//www. youtube. com/watch? v=jznOhFrSvJY Faculty of Education, University of Auckland foedauck. (2011b, family line 4). Earthquake a teaspoon of light (2). .Retrieved from http//www. youtube. com/watch? v=ZoMpzIzJrFM The Tasmanian Curriculum. (2007). Dance. Retrieved from https//www. education. tas. gov. au/documentcentre/Documents/Tas-Curriculum-K-10-Arts-Syllabus-and-Support. pdf Wright, S. (2003). Dance. In The Arts, young Children and Learning. (1st ed. ) pp. -230-255. Boston, USA Allyn & Bacon. Wright, S. (2012). Dance-moving beyond steps to ideas. In Children meaning-Making in the Arts (2nd ed. ), pp. 85-114. Sydney Australia, Peason Education Australia.