Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book’s nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America).

How can we identify the expressive qualities of music through movement? Students demonstrate expressive qualities of music through movement.

This course is an introduction to selected musical traditions of West Africa. A variety of musical practices and their cultural contexts will be explored through listening, reading, and written assignments, with an emphasis on class discussion. The course includes in-class instruction in West African drumming, song and dance, as well as lecture-demonstrations by guest artists.
After an introductory unit, the course will be organized around four main geographical areas: Senegal, Mali, Ghana, and Nigeria. An in-depth study of music from these countries will be interspersed with brief overviews of Southern, Central, and East Africa.

Albuquerque’s thriving hip-hop and freestyle dance scene is influenced by Indigenous dancers from many tribes, Pueblos and other communities. A strong sense of solidarity holds it all together, say dancers Anne Pesata (Jicarilla Apache) and Raven Bright (Diné). The couple describes the scene as “Indigenous futurism.” Meet Randy L. Barton, or Randy Boogie, a dancer, DJ and artist (Navajo) who created The Sacred Cypher, an event that highlights how Indigenous art forms connect with hip-hop.

Dance Content and Achievement Standards for the state of North Dakota. Updated 2000.

This is a lesson plan that will be utilized in the classroom in order for the students to learn about the sun. The lesson plan includes a song and dance, a book, lecture, and even a poster project presented by the students. The children will be graded based off of the children's understanding of the relationship between them and the Sun.

In this lesson, students investigate these questions by analyzing videos of dancing through the decades. With the help of a worksheet, student groups watch footage of the Charleston and Lindy Hop, the Mambo, "Love-in" dancing, Disco, and Break Dancing. Based on their informed observation of these styles, they then debate whether dance has "evolved" in American culture, or remained mostly the same.

Philadelphia has a rich history of producing world-class dance talent, from virtuoso tap dancers LaVaughn Robinson and the Nicholas Brothers to the contemporary house and street dancers from Rennie Harris Puremovement, the longest running street dance theater company in the world. And, like the signature Philly sound, the city has moves with soul.

An exhaustive compilation and index of all eighteen editions of the first volume of the Dancing Master, 1651-1728. Extensive indexes provide access to all of the almost 500 dances in a wide variety of ways, covering publication information, musical elements, arrangements of dancers, and even the dance steps. Every dance step or figure used throughout the 18 editions is indexed with a list of all the dances that use it.

This resource was created by Kate Steffen, in collaboration with Lynn Bowder, as part of ESU2's Mastering the Arts project. This project is a four year initiative focused on integrating arts into the core curriculum through teacher education and experiential learning.

This course focuses on popular music, i.e. music created for and transmitted by mass media. Various popular music genres from around the world will be studied through listening, reading and written assignments, with an emphasis on class discussion. In particular, we will consider issues of musical change, syncretism, Westernization, globalization, the impact of recording industries, and the post-colonial era. Case studies will include Afro-pop, reggae, bhangra, rave, and global hip-hop.

This unit is presented as a progression of tasks that allow students to explore movement through a variety of creative tasks. Students will move in personal and general space, while exploring elements of shape, size, speed, force, flow, and time. To promote student confidence and willingness in dance, teachers should isolate the dance elements before asking students to apply these elements using imagery or partner/group tasks.Photo Attribution: KCBalletMedia (Photography: Brett Pruitt & East Market Studios)References:Graham, G., Holt/Hale, S. A., & Parker, M. (2013). Children moving: A reflective approach to teaching physical education. 9th ed. New York: McGraw-Hill.Joyce, M. (1994). First steps in teaching creative dance to children. California: Mayfield Publishing.

This unit is presented as a progression of tasks that allow students to explore movement through a variety of creative tasks. Students will move in personal and general space, while exploring elements of shape, size, speed, force, flow, and time. To promote student confidence and willingness in dance, teachers should isolate the dance elements before asking students to apply these elements using imagery or partner/group tasks.The National Standards and Grade-Level Outcomes in this unit are referenced from the "National Standards & Grade Level Outcomes for K-12 Physical Education."SHAPE America Outcomes:KindergartenPerforms locomotor skills in response to teacher-led creative dance. (S1.E5.K)Maintains momentary stillness on different bases of support. (S1.E7.Ka)Forms wide, narrow, curled and twisted body shapes. (S1.E7.Kb)Contrasts the actions of curling and stretching. (S1.E10.K)Travels in general space with different speeds. (S2.E3.K)Recognizes that when you move fast, your heart beats faster and you breathe faster.3 (S3.E3.K)Follows directions in group settings (e.g., safe behaviors, following rules, taking turns). (S4.E1.K)Identifies physical activities that are enjoyable. (S5.E3.Ka)Grade OneCombines locomotor and nonlocomotor skills in a teacher- designed dance. (S1.E5.1)Maintains stillness on different bases of support with different body shapes. (S1.E7.1)Demonstrates twisting, curling, bending and stretching actions. (S1.E10.1)Differentiates between fast and slow speeds. (S2.E3.1a)Differentiates between strong and light force. (S2.E3.1b)Identifies the heart as a muscle that grows stronger with exercise, play and physical activity. (S3.E3.1)Accepts personal responsibility by using equipment and space appropriately. (S4.E1.1)Describes positive feelings that result from participating in physical activities. (S5.E3.1a)Grade TwoPerforms a teacher- and/or student- designed rhythmic activity with correct response to simple rhythms. (S1.E5.2)Balances on different bases of support, combining levels and shapes. (S1.E7.2a)Differentiates among twisting, curling, bending and stretching actions. (S1.E10.2)Combines balances and transfers into athree-part sequence (i.e., dance, gymnastics). (S1.E11.2)Varies time and force with gradual increases and decreases. (S2.E3.2)Identifies physical activities that contribute to fitness. (S3.E3.2b)Practices skills with minimal teacher prompting. (S4.E1.2)Identifies physical activities that provide self-expression (e.g. dance, gymnastics routines, practice tasks in games environments). (S5.E3.2)Photo Attribution: KCBalletMedia (Photography: Brett Pruitt & East Market Studios)References:Graham, G., Holt/Hale, S. A., & Parker, M. (2013). Children moving: A reflective approach to teaching physical education. 9th ed. New York: McGraw-Hill.Joyce, M. (1994). First steps in teaching creative dance to children. California: Mayfield Publishing.

Witness the unstoppable joy of dancing bomba, Puerto Rico’s Afro-Puerto Rican dance of resistance. Meet sisters Mar and María Cruz who are dedicated to the dance and its legacy of survival, and trace some of the communities where bomba is at its most vibrant, from the Santurce area of San Juan, to Loíza, the bastion of Afro-Puerto Rican culture across the Rio Grande.

How can we explore meter and duration by composing measures of rhythm with our bodies? Students perform and create rhythmic patterns using their bodies.

**For remote learning: Students will pick between two dances to practice during the week:German Clap Dance (in this lesson) or Line Dance**For classroom: Teacher will focus on this dance all week.In this lesson, the German Clap Dance is introduced.  The steps are broken down and students get a feel for the rhythm of the music. 

Learn how classroom teachers, artists and arts organizations are using the arts to teach social and emotional learning (SEL). Social and emotional learning gives students strategies on how to manage their emotions and how to collaborate and empathize with others. These are important skills that help students succeed at school, work, and life. SEL can be incorporated into any subject matter and any grade level, but incorporating the arts can be an especially effective way to learn and practice SEL.