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1、DanceasaLanguageofLearningandaSourceofEmbodiedKnowledgeRichard,MarcThecurrentstatusofdanceinOntarioschoolsistenuousatbest.Perhapsthisreflectsthestatusofdanceintheconsciousnessofthegeneralpublic.MyMastersresearch(Richard,2009)indicatesthatgeneralistteachersseedanceasyetan
2、otheradd-ontoanalreadyoverburdenedcurriculum;thus,theyfailtoseetheincrediblepotentialfordanceasalanguageandformofembodiedlearning.Generalistteachersdon'tseethemselvesasartists,letalonedancers,andthereforedon'tfeelcomfortableteachingdance(Richard,2009).Forthemostpart,gene
3、ralistteachers(andIbelievethegeneralpublic)haveaverynarrowviewofwhatdanceeducationentails:theteacherstandsatthefrontanddemonstratesadance(e.g.theMacarena),whichthestudentslearnandrepeat.Inthisteacher-directedmodelofdanceinstructionthereislittleroomforthedevelopmentoflivi
4、ngskills(personal,interpersonal,criticalandcreativethinking),asoudinedintherecendyrevisedOntariogrades1-8healthandphysicaleducationcurriculum(MinistryofEducation,2010).Mostofthestakeholdersineducationhaveverylittleknowledgeofcreativedance,definedbySueStinson(1998)as"anar
5、tformthatisbasedonnaturalmovementratherthanmovementofaparticularstyleasonemightseeintapdanceorballet"(p.2).Increativedanceexperiencesthestudentscreatedancesandtheteacher'sroleisnottoteachdancesortechniquebuttofacilitatelearningandcreation.Makingvisiblethemanyprofoundmome
6、ntsofbodilylearningwithinacreativedancesettingmighthelptobroadendefinitionsofeducationandlearning.CancienneandSnowber(2009)recognizedanceasauniquesiteforlearningaboutourselves,andourworld:"Danceallowsarelationshiptodevelopbetweentheouterworldandourbodies...ourbodiesexper
7、iencethingsfirst,viaourphysicalinteractionwiththeworld;therefore,therearekindsofdatathatourbodiesexperiencebeforeourminds"(p.188).Thisincludessuchthingsasthesensationoftouch,thefeelofaironourskinaswemovethroughspace,aswellasphysicalinteractionswithobjectsandotherpeople.F
8、ormanygeneralistteachers,creativedanceeducationremainsanenigma;theseteacherslooktothe'real'dancersforso
