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Several HK authors were recently involved in the creation of a new Title IX DVD set, created through a partnership between WBGU-PBS, Bowling Green State University, and the National Association for Girls and Women in Sport (NAGWS). Human Kinetics’ authors were influential in the creation and content in a new 3-disc DVD set, Title IX: Implications for Women in Sport and Education. Linda J. Carpenter and R. Vivian Acosta, authors of the Human Kinetics book Title IX , are among the experts who...
This chapter explores the ways we move our bodies in choreography by looking at the range of movement; the coordination of movement from the inside out; locomotion using action words; and the choreographic use of personal space, nonlocomotor movement, gestures, and shapes. Create an original Impulse dance that includes successions, focal points, isolations, action and reaction, and body-part leads. Move on to movement motivated by imaginary outside touches, and finish with a sequence ...
Using key words, such as slow and quick, will help the students get the correct rhythm with their dance steps and also help them differentiate the various dances. For example, while teaching the cha-cha, recite, “Slow, slow, quick, quick, quick. ” While teaching the waltz, recite, “Slow, quick, quick”; for the foxtrot, “Slow, slow, quick, quick”; for the tango, “Slow, slow, quick, quick, slow”; for the shag, “Quick, quick, quick, quick, quick, quick, slow, slow.
Dance skills can be enhanced when students do not recognize that they are working on dance skills. Chapter 3 of Rhythmic Activities and Dance is intended to introduce rhythms and dance movements to students of all abilities in a no-fault, nonthreatening atmosphere. When you are teaching students with intermediate abilities, your focus will be first on the combination movements, then shift to the selected dance steps suggested in chapter 1. With advanced students, the focus shifts to mastery...
