NDEO K-12 SPECIAL INTEREST GROUP TASK FORCE PANEL 2009

1. NDEO K-12 SPECIAL INTEREST GROUP TASK FORCE PANEL 2009 Diana Domoracki-Kisto, Chair K-12 SIG What Drives Dance Curriculum Direction and Goals? Take A Bite of the Apple-Exploring Resources to Promote Best Practices NDEO NYC 2009 Conference

2. Purpose of NDEO K-12 Special Interest Group(from NDEO Strategic Plan 2008) • Goal #ll • Strengthen the national voice and vision for Dance Education in the Arts • Objective #3 • Strengthen the communication and dissemination of information among the teaching arts workforce in Dance Education in the Arts

3. NDEO Strategic Plan 2008Strategies: • Enhance communication K-12 • Convene focus group and make email lists to communicate monthly to E Communicator on Dance Education • Enhance best practices • Develop Internet Forum for K-12 • Develop a database of curricular materials • Abstract/agenda for the 2009 meeting: developed from the post-it notes of audience attending Task Force panel.

4. NDEO K-12 Task Force Goals: • To present an expert summarization oftopics brought up at 2008 conference • To advocate best practices within the topic • To present current research and resources on the topic • To develop research question or next steps directions with this topic for NDEO K-12 SIG Forum posting

5. Philosophy Our experienced knowledge as dance educators in the arts K-12 enables us to share expertise, research, anecdotal experiences and successes in a climate of nurturing, support, and successfully proven teaching practices.

6. PHILOSOPHYThe experienced K-12 Dance Educator is an embodied resource promoting best practices by: • Examining and analyzing collective practices with colleagues by sharing curriculum, using standards, assessment tools, and modeled programs • Refining dance field experience, choreographic, and pedagogic skills with colleagues in professional development settings and with master artists and educators • Applying research methods in the classroom

7. K-12 Task Force Topics: • Interdisciplinary dance • Sequential training/proficiency • Empowering through standards K-5 • Dance assessment • Dance for special populations • Empowering through standards 6-8 • Empowering through standards 9-12 • Best health practices/National Dance Honor Society • Dance adjudication • Dance and the school’s core vision • K-12 Dance Educator as resource to promote best practices

8. Interdisciplinary Dance Diana Domoracki-KistoMagnet Arts Resource Specialist William A. Morris I.S. 61 Magnet School of Arts and Letters through Museum Studies Staten Island, New York dkdance1@yahoo.com

9. Guidelines for Interdisciplinary Arts Planning: • Allow enough planning/communication time to build thematic units and lessons, including per session after school time and emails • Find genuine connections between dance and subject • Align dance processes and content with academic themes • Make an explicit connection between dance and key unit ideas: Fall into Learning with Native American Dance, Story, Culture.

10. NYC Blueprint in Dance Strand: Making Connections: Connect Dance to Other Arts and Disciplines: Music, Visual Arts, Theatre, Language Arts, Math, Science • Shake, Rattle and Roll Thematic Unit grade 6 (Understanding the Forces of Nature); Dancing Weather Movement Studies 2009. • Native American Dance, Story, and Culture Thematic Unit grade 7; Vision Quest Dance Studies 2008.

11. Resources for Interdisciplinary Dance • Partnering Dance and Education: Intelligent Moves for Changing Times. Judith Lynne Hanna. Human Kinetics 1999 • Teaching the Three R’s: Through Movement Experiences. Ann Gilbert. Macmillan. 1977 • Using Movement to Teach Academics. S. Minton Rowman and Littlefield, 2008 • Dance About Anything. S. McGreevy-Nichols, H. Scheff, M. Sprague. Human Kinetics. • Creating Meaning Through Literature and the Arts: an Integration Resource for Classroom Teachers. Claudia E. Cornett. Pearson Education Inc. 2007

12. Research Question/Next Steps for Interdisciplinary Dance: • How do we engage the classroom teachers we work with to promote this process? • When should the dance arts specialist focus on interdisciplinary dance in their setting?

13. Sequential Training and Proficiency in Dance Ms. Marty Sprague PO Box 11 Slocum, RI 02877-0011 martysprague1@cox.net 401-294-3179 (landline) 401-524-9516 (cell)

14. Sequential Training and Proficiency in Dance: A History of Rhode Island Education Requirements • Good education meant arts were included without question • 12 years later, current status • Basic Education Plan included required ½ credit arts course for college bound High School students • First set of National DanceStandards/Opportunity to Learn Standards developed, vetted, and published • Leverage to develop RI’s Proficiencies for High School Graduation Requirements: Arts a core subject • Written sequential standards: hope for districts to program sequential dance • Regents remove mandated arts: Basic Education Plan changed

15. Sequential Training Guidelines, Goals, and Rhode Island History • Integrated into the school day • Peripherally incorporated into other clubs: theatre, music, visual arts • Providence Arts Magnet programs and Artists in Education Residencies provide an almost sequential program • Ripple of compliance through some RI communities: future hopes for sequential programming • Not many public school dance programs left: 3 high schools, 1 after school: private sector dance can fulfill requirements • Will arts programs survive unscathed in these economic times?

16. Research Question for Sequential Training and Proficiency in Dance • How can we best use the pressure of standards, proficiencies, and arts as core subjects to develop necessary sequential dance education programming?

17. Empowering through the Standards K-5 Kathleen Isaac, M.A., Dance Educator, PS 165 The Edith K. Bergtraum School Director of EKB Dance Company and Student-to-Student Dance Mentoring Program kisaac30@nyc.rr.com

18. Empowering through Standards K-5 Use of standards: • Provides performance indicators or goals that encourage teachers with different backgrounds, strengths and approaches to plan, implement and assess curricula, using appropriate scope and sequence • Encourages age and interest appropriate practice • Strengthens “dance validity,” helping to put dance curricula and programming on par with other subjects • Serves as a tool for communication with the administration, school and parent community about best practices in dance education

19. Research Question/Next Steps for Empowering through the Standards K-5 How can dance educators be empowered to utilize the standards in the creation of units of study and be encouraged to share these units as best practices with other dance educators? How are children empowered through high quality, standards-based dance instruction?

20. Dance Assessment Here’s a tool, but what does it tell us? How can we record information to make it clear to others?

21. DANCE EDUCATION ASSESSMENT IN THE NEW YORK CITY SCHOOLS • NYCDOE institutes ArtsCount in 2007/08 to enhance arts instruction in K-12 NYC public schools • ArtsCount builds upon the Blueprint for Teaching and Learning in the Arts (Dance K-12) which provides common benchmarks and curriculum goals • ArtsCount provides a Guide for Principals to support them as they build and sustain high quality dance programs • Schools are invited to designate an Arts Liaison to serve as a conduit for arts learning and help students meet New York State instructional mandates • Accountability is evaluated on a series of arts education metrics, the results of which will impact schools’ Annual Arts in Schools Report, Progress Reports, Annual Compliance Review and Principals’ Performance Evaluations

22. Evaluations for NYC schools are based on: • Annual Arts Education Survey – tracks compliance with student participation in arts education according to NYS Instructional Requirements in the arts; space; arts teachers; cultural partners; sequences in the arts, etc. • Parent, Student and Teacher Learning Environment Survey – measures student, teacher and parent satisfaction with arts education in NYC schools • Quality Reviews – measures the extent that the school exhibits broad or engaging curriculum, including the arts, to enhance learning both within and outside the school day • Regents Diplomas with Advanced Designation through the Arts – tracks the number of students who earn Advanced Regents Diplomas through the Arts by participating in an arts sequence and passing a NYC standards-based arts exam (begins in 2009)

23. Research Question/Next StepsDance Assessment From the single assessment tool, used to evaluate one student’s achievement of a benchmark, to the larger task of assessing entire school dance programs, how can assessment be used to enhance dance instruction, while continuing to promote best dance teaching practices and artistry?

24. Dance for Special Populations Sandra Stratton-Gonzalez Dance Educator PS 372 sandibklyn@msn.com

25. Best Practices: Universal Supports Strategies that organize and structure the dance classroom and dance lesson for the benefit of all learners. RULES: safety, responsibility and respect ROUTINES for transitions, warm up, materials, sharing etc. INCENTIVES including formal and informal performances, favorite activities, and trips

26. Targeted Supports Targeted supports are instructional strategies designed to address specific challenges in the classroom. For example: Give advance notice of changes in routine for children with emotional challenges Teach and reinforce social skills for children with ADD/ADHD Break tasks into small steps, giving directions orally, visually and in writing for children with cognitive challenges

27. Aligning Dance Activities with Individualized Education Plan (IEP) Goals

28. Creating IEP goals in dance

29. Resources Diane Duggan, Sandra Stratton-Gonzalez, Catherine Gallant. Dance Education for Diverse Learners: A Special Education Supplement to the Blueprint for Teaching and Learning in Dance. NYC Department of Education, 2009. Research Questions How can a dance educator address the Individualized Education Plan goals of her students in cognitive, social and emotional domains within the K-5 dance curriculum? What impact do dance goals, written into a child’s Individualized Education Plan, have on the child’s learning?

30. Empowering through the Standards 6-8 Traci Hinton Peterson Dance EducatorThe Albert Shanker School for Visual and Performing Arts I.S. 126Q Long Island City, NY

31. The middle school dance educator needs to examine his/her: •  Core values/philosophy (based upon Dunham Principals) 1.Self knowledge- Who are you? 2. Detachment-Viewing situations and circumstances objectively 3. Discrimination – making choices • Personal/professional growth via self journaling, professional development • Relationship with students, teachers, staff, administrators, community • His/her part in the emotional responses of the students • His/her place in the culture of the school building, and communities the students come from

32.  New York City Blueprint for Learning in the Arts/Dance • Dance Making Strand        1. Collaborate with peers to set formations and spatial patterns for a group work using learned movement material •  Assessment 1. Journaling process and performance results •  Necessary Connections – Finding the links between Blueprint Standards and personal core values

33. Research Question/Next steps for Dance Standards through 6-8: and Resources • What is the impact of a dance educator’s core values on standards based instruction? • Resources •  Bloom’s Taxomony -http://www.odu.edu/educ/roverbau/Bloom/blooms_taxonomy.htm • Learning and Leading with Habits of Mind:  16 Essential Characteristics for Success/Edited by Arthur L. Costa, Bena Kallick/ASCD/2008 • A Framework for Understanding Poverty/Ruby K. Payne/RFT Publishing Co./1998 • Effective Classroom Management/Carl J.Walker, LaDonna L. Wellen/Allyn and Bacon Inc./1978 • Dunham Technique:  A Way of Life/Kendall-Hunt Publishing Co./1990 • The Intimate Act of Choreography/Lynne A. Blom and L. Tarin Chaplin/Dance Books, Ltd., 1989

34. Empowering through the Standards 9-12The Standards: A Web of Intersecting Artistic Threads • Dr. Joy Friedlander, Dance Artist Educator The Philadelphia High School for Girls Contact: joyfriedlander@comcast.net

35. National, State, and Citywide Dance Standards • Articulate and deconstruct what the art form of dance comprises • Are holistic- all parts of standards are important • Allow students to digest smaller amounts of new knowledge • Keep the educator on track to not forgo “lesscomfortable” places of teaching

36. How National Content Standards are used • Understanding choreographic principles, processes, structures • Understanding dance as a way to create and communicate meaning • Apply and demonstrate critical and creative thinking skills in dance

37. Research Question/Next Steps for Standards 9-12 • Have our viability and visibility improved in education since the writing of the National Standards for Arts Education? • Have the scope and depth of dance improved in the schools? How?

38. Best Health Practices/National Dance Honor Society Abigail Agresta-Stratton, MA, RDE Dance Educator West Islip High School President-Elect New York State Dance Education Association Abigail0103@optonline.net

39. Dance Educators Setting the Example of Best Health Practices • Eat healthy foods • Drink water, but not too much as it dilutes the blood sodium Four Basic Kinesiology Principles Regularly Overlooked by Dancers: 1. Specificity Clarity of movement Clarity of technique 2. Overload Be sensitive Sense when it is enough 3. Over Training Dancers need to grow and develop We can not “shape” the body of the dancer, but we can “shape” the dancer 4. Periodization Muscle Recovery

40. Notes from Principles of Dance Medicine Conference NYC July 24, 2008 Training Young Dancers - Young Bodies are Pliable • Classical Ballet Training should not begin until age 8 or age 9 • Some Adolescents age 11 – 15 are more susceptible to Injury • Adolescents age 12 – 14 should not train more than 14 – 16 hours per week • Pointe work should begin after the growth spurt Injuries in Dance Common Causes • Fatigue • Poor Technique Dealing with Injuries • Use Caution • Encourage use of Proper Technique • Teach to the Individual Student

41. Enforcing Best Health Practices in the Classroom • Set the Healthy Tone • Utilize the National Standards Learning and Teaching Dance in the Arts: Ages 5 – 18 • Utilize the Professional Teaching Standards in the Arts • Utilize Standards of a K – 12 Model Program; Opportunities to Learn in Dance Arts Education • Utilize National Programs such as the National Honor Society for Dance Arts • Explore possibly offering College Level Dance Courses at your High School • Explore programs such as the International Baccalaureate Organization Diploma Program in Dance • Explore the possibility of future Advanced Placement Dance Courses

42. Goals of the National Honor Society for Dance Arts • To promote and honor outstanding artistic achievement in dance students 11-18 years of age • To encourage young dance artists to be leaders in their communities • To identify honor students of junior and senior high school age for nomination to the NDEO Artistic Merit, Leadership and Academic Achievement Award, one of the highest honors programs for dance in the United States

43. Research/Next Step Questions for Best Health Practices • How do we support and further promote safe and healthy choices in our dance programs, for our dancers, and for ourselves? • How do we share this information within our communities without alienating those that do not follow these health expert guidelines?

44. Non-Competitive Adjudication Arizona Dance Education Organization (AzDEO) Lynn MonsonPresident, AzDEOlmonson@cox.net

45. Focus on Learning Development: • Scoring criteria based on AZ Dance Standards • Inclusive of all dance styles • Open process with input from the field • Developed by committee • Each year, feedback is solicited from teachers and adjudicators, reviewed and changes are instituted Criteria: • Three categories: Choreography, Performance Values, Technique • Rankings: Emerging, Good, Superior, Distinction • Each category is scored separately and then a total score

46. Non-Competitive Feedback to Schools: • Schools choose to be adjudicated or not • Scores not announced at performance; mailed to teachers after the performance • Letter sent with scoring that explains results & process • Teachers can decide to use it or not with their students

47. Research Questions/Next Steps Research Questions: • How many teachers are using the results as a learning tool for themselves and their students? • If so, is it increasing learning for students and how, in what areas? Next Steps: • Refining information for adjudicators and rubric • Please share on sticky notes and/or at forum what you are doing in your non-competitive adjudication. Article in E-Communicator: (33) December 4, 2008

48. Dance and A School’s Core Vision Science Skills Center High School for Science, Technology & the Creative Arts Principal Judy A. Henry Ms. Patricia Dye-A’ Dance Educator/Advisor JIB Dance Co. Jow_ile_bailer@yahoo.com

49. PICTURE CAPTIONS: • Skills Counsel of Elders & BAM DanceAfrica’s Counsel of Elders • Josephine Gonzalez & • Briana Hartman • Elijah - JIB’s Dance Captain • with the mask figure • In the Kasumai Dance • which represents • PEACE • DIRECTOR’S CORNER • “Dancing is like breathing in strength and releasing fears.” • -Josephine Gonzalez AD 08 • “Dance is not just movement! It is a way of life, My way of life.” -Briana Hartman AD 08

50. We Inject The Art of Dance Into A School of Science Baba Chuck Davis at the Weeksville DanceAfrica’s Opening Ceremony 2009 Red Hook Waterfront Arts Festival 2008 JIB Executive Board Members: Josephine Gonzalez - Artistic Director/Treasurer Briana Hartman – Artistic Director/Senior Dance Captain Elijah Vaughns-Asst. Artistic Director/Dance Captain Sharisse DaSilva – Asst. Artistic Director/Stage Supervisor Raphael Parra – JIB Executive Advisor JIB Board of Directors Members : Kamicha Arthur…Head of Advertising, Events and Coordinator, *PTAMCCL & Liaison Tyree Baugh... Assistant Dance Captain /Assistant Treasurer Haajar Orta...Interim Assistant Dance Captain Mariam Safo… Lead Costume Committee Member Andrew Oliver … Requisition and Computer Technician JIB Researcher/Archivist