ABSTRACT Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the linguistic and the logical-mathematical. As the arts tend to emphasise ways of knowing outside these intelligences, their marginalised status is exacerbated. A recent two-year project in eight primary schools on dance, drama, music and visual art found that the non-verbal aspects of each art form warranted serious attention to investigate what it means to learn in the arts. In this paper we describe and discuss the results of an aspect of action research in dance from this larger research project. We demonstrate how movement can be used as the primary expressive mode of communication, as opposed to privileging the spoken word. Throug...
The aim with this paper is to make clear and discuss the research approach as well as the ontologica...
This volume reconstructs the changing attitudes towards dancing in texts over the centuries, in part...
Dancing literacy: Expanding children’s and teachers ’ literacy repertoires through embodied knowing ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
There is much evidence from literature, including from brain research, of the value of collaborative...
The purpose of this research was to examine the nonverbal communication of dance among individuals i...
In art, there are artists and there are audiences, which the former is trying to reach. Accomplishin...
Contemporary dance—movement deliberately and systematically cultivated for its own sake—is examined ...
The experience of dance, of bodies moving in space, might reasonably be considered as ineffable – as...
The hypothesis from which we begin our approach is that a significant way of communication is non-ve...
This paper reports a series of experiments that investigated how dance artists learn to see and unde...
The aim with this paper is to make clear and discuss the research approach as well as the ontologica...
The aim with this paper is to make clear and discuss the research approach as well as the ontologica...
This volume reconstructs the changing attitudes towards dancing in texts over the centuries, in part...
Dancing literacy: Expanding children’s and teachers ’ literacy repertoires through embodied knowing ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
Gardner (1983, 1993) has long argued that education privileges certain intelligences, primarily the ...
There is much evidence from literature, including from brain research, of the value of collaborative...
The purpose of this research was to examine the nonverbal communication of dance among individuals i...
In art, there are artists and there are audiences, which the former is trying to reach. Accomplishin...
Contemporary dance—movement deliberately and systematically cultivated for its own sake—is examined ...
The experience of dance, of bodies moving in space, might reasonably be considered as ineffable – as...
The hypothesis from which we begin our approach is that a significant way of communication is non-ve...
This paper reports a series of experiments that investigated how dance artists learn to see and unde...
The aim with this paper is to make clear and discuss the research approach as well as the ontologica...
The aim with this paper is to make clear and discuss the research approach as well as the ontologica...
This volume reconstructs the changing attitudes towards dancing in texts over the centuries, in part...
Dancing literacy: Expanding children’s and teachers ’ literacy repertoires through embodied knowing ...