DANCEIN THE MUSIC

CURRICULU
Musicand dancearenaturalpartnersin a generalmusiccurriculum
witha multiculturalfocus.

he status of dance in the

school curriculumhas stimu-
lated much debate in recent
decades. Many educators
have been critical of its loca-
tion in the school'sphysical education
department where it is likely to be
presentedas "anisolated activitylimit-
ed to the mastery of discrete move-
ment skills."l In addition, they argue
that dance tends to receive less atten-
tion in physical education programs
than, say, games and gymnastics.2
Others argue that dance is less an ath-
letic feat and more an artisticand cul-
tural endeavor3 and that it would
seem logical to align it in the curricu-
lum with related art forms such as
music or theatre. A shift in focus has
been underway in the last decade or
so. In assessing the state of dance in
education in the early 1980s, aestheti-
cian Curtis L. Carter concluded that Interaction isa keypartofdance,
ofparticipants which
oftenservesa socialfunction.
its role was expanding "fromits origi-
nal locus in physical education to its
inclusion among the fine arts."4The much where dance is located in the and life of people of different ethnic
inclusion of dance with music, the- curricularorganizationof subjects but origins: their customs, their music,
atre, and the visual arts in the recently that all children have learning experi- their celebrationsand costumes."7
published National Standardsfor Arts ences in this expressive art form.6 The naturalalliance between music
Educationconfirms this change of cur- Dance can be linked easily with many and dance learning experiences has
ricularorientation.5 other learning experiences. It is, as been underestimated and under-
In the end, the concern is not so dance educators Jennifer Wall and explored in the general music class.
Nancy Murraypoint out, "One of the Over a decade ago, PatriciaK. Shehan
MarieMcCarthy is assistantprofessorin the
best examplesof integrationof subject pointed out that "the potential of folk
matter which can be found in the dance has largely been neglected by
Schoolof MusicattheUniversityof Marylandin
school curriculum. Here it is possible music specialistsas a means for teach-
Park,
College Maryland. for children to learn about the history ing rhythm and meter."8There are, I
MAY 1996 17

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believe, historical, curricular, and art forms. Furthermore,cross-cultural ing a musical style, they are in an
logistical reasons for this neglect. In research on the role of dance clearly advantageous position to engage in
the past, negative connotations and demonstrates its close links to music creative musical activity that emulates
stereotypeshave surroundedthe activ- making. that style. For example, students who
ity of dance. Some religious groups can perform the Russian "Troika"or
viewed bodily movement and dance the Russian-American "Korobushka"
with hostility and, in many cases, dances, in addition to learning folk
banned dancing. Also, the view of songs and listening actively to Rus-
dance as a feminine activity dominat- sian compositions, have a musically
ed Victorian social and educational enlargedand culturallyenriched reper-
values, and this view continued to Thepresenceof childrens toire to draw from when asked to cre-
shape attitudes toward dance in the ate a musical setting based on the
twentieth century. singinggamesand Russian folktale "The Snow Maiden."
In addition to the socioculturalfac- dancesin playgrounds Or those students who have been
tors, the fact that the teaching of introduced to the unique aesthetic of
dance since the early decades of the acrossculturesis one Japanesedance and performed"Tanko
century was the responsibility of the Bushi" or "Toyko Dontaku" may
physicaleducation teacherdiscouraged convincingpieceof structurea musical composition based
the music teacher from integrating evidencethat a natural on a haiku poem around a dance that
dance into the general music class. incorporates movement patterns they
Besides, music teacherswere generally allianceexistsbetween have learned. In sum, the presentation
not trained to include dance in the of multiculturaldances can have mul-
curriculum beyond singing games for the two artforms. tiple positive effects on musical perfor-
the primary grades. Also, there are mance and achievement.
some logistical problems identified by
teachers in informal interviews-pri- to Classroom
FromCulture
marily the lack of classroomspace and Attention to dance style and cross-
suitable recordingsof dance music. cultural aesthetics is vitally important
With the rising popularity of a DanceintheMusicClassroom in the backgroundstudy and presenta-
multicultural approach to music edu- The fact that dance intermingles tion of dances in the classroom. Since
cation and the curricular shift of with music and other relatedart forms dance is "an embodiment of culture
dance from physical education to the in cultural contexts affords multiple ... a way of knowing, a way of
fine arts, it is timely to examine the opportunities for using it as an inte- communicating, a kinetic human his-
potential of dance in the general gral and naturalpart of the music cur- tory,"12 a study of its patterns and
music class and to make some discipli- riculum. Teacherscould introduce, for characteristicscan provide musical and
nary connections. I am not suggesting example, song dances such as the tra- cultural insights into the performance
that music teachers ought to assume ditional Anglo-American "Alabama and the meaning of the dance. These
responsibility for dance education. Gal," the Japanese"SoranBushi," the insights are not only interesting for
Similar to the other arts, dance is a African-American "Zudie-O," the students but lead toward more educa-
unique way of knowing and experi- Greek "Gerakina,"or those presented tionally resonant experiences and
encing oneself in the world and, as a by Bryan Burton in Moving within the improve the quality and meaning of
curriculardiscipline, should ideally be Circle:Contemporary Native American multiculturaleducation in music. The
taught by a specialist. However, as Music and Dance.11 Dances that pro- following sections describe different
Charles B. Fowler pointed out, "All vide kinesthetic knowledge of and per- lenses for looking at dance in its myri-
arts teachers, regardless of focus, forming skill in a variety of meters ad forms and with its shifting dimen-
should know something about dance, include the Philippine "Tinikling"in sions of meaning.13 Not all these
just as dance teachers should know triple meter, reels in quadruple meter, dimensions of dance meaning are nec-
something about the other arts."9 jigs in compound duple meter, and essarilyapplicableto any one dance.
More recently, the chair of the Task the Bulgarian"ruchenitsa"in irregular Dance context.What is understood
Force for National Standards in meter. Dance also provides a visual as dance varies across cultures. Many
Dance, Mary Maitland Kimball, has and moving experience of musical societies have no word that translates
suggested that dance should be taught form. Consider the binary form of"La the word "dance,"while other societies
"in alliancewith other arts that share a Cucaracha," both in its musical and have multiple words for different
similar philosophy."10Music is indeed dance forms, in contrast to the dances without having a single generic
one of those arts. The presenceof chil- Ecuadorean"AmoresHallares,"where term. Judith Lynne Hanna provides
dren's singing games and dances in the dance pattern differs each time the the following examples to show the
playgrounds across cultures is one musical section is repeated. flexibility of this art form in cultural
convincing piece of evidence that a Furthermore, when students learn contexts: In Hawaii, a single word for
naturalalliance exists between the two dances as a component part of learn- dance (hula) has many referents-the

18 MUSIC EDUCATORS JOURNAL

dance, the dancers, or song or chant dances do not have a program. Their range from the tikling bird in
used, to name a few. For the Ubakala purpose may be primarily movement, "Tinikling," the cockroach in "La
of Nigeria, drum accompaniment is a the creation of a "kinetic design."16 Cucaracha,"the paddles of the "Canoe
necessarypart of dance, and therefore Consider Appalachian clogging, Irish Dance," the horses of the "Troika,"to
the word for dance also denotes a traditional solo and set dances, the oars of "SoranBushi."A compari-
drum. In Japan, there are men's song African-American tap dancing, or son of the use of images acrosscultures
dances ("Utamai") and women's Russian cossack dances. In many of provides insight into a people's values,
dances ("Miko-mar"), while "Odori" these practices, display of virtuosic their modes of expression, and their
refers to dances that emphasize foot movement is central to its purpose. Yet uses of environmentalmaterials.
movement.14 in other instances, the social function Form. This component can be
In contrast, the Hopi Pueblo is of primary importance and some- describedand analyzedby the students
Native Americans call their dance times dancersactuallyconverse as they themselves. If a videotape of the dance
"work," while in the West African move. Balkanwomen's dances are like- is available,they can see its formation
Akan tradition, the word "agor"means ly to exemplify this strong orientation (lines, squares, closed or open circles,
dance, music, play, and is a metaphor for "making, renewing, or retaining dial, partners, or combinations of
for participation in Asante society.15 friendshipson a social level."17 these formations), the sequence of the
What is clear from a cross-cultural dance movements, and the overall
study of dance is that its definition is structure. The dance's form can be
intricate and embraces a broad range comparedwith the form of the accom-
of human behaviors. panying song or dance music, where
Purpose. Generally dances have a either applies.
social function at some level in the Interactionof dancers.Related to the
sense that they are performedby or for dance formation is the interaction of
groups of people who share artistic the participants. Do dancers touch
values and aesthetic expectations. physically and how? Who dances with
Within that social function there is a The evocationofimages whom? How are dancers grouped?
tremendous variety of purposes. A How do they move through space?Are
dance can celebrate work and/or pro- throughmovement there specific gender roles? Are other
forms of interaction such as eye con-
vide opportunities for the young to
patternsisfrequently
practice work rhythms-for example, tact or direction of the body signifi-
the English "Sailor'sHornpipe," the encounteredin dance. cant?
Haliwa-Saponi "Canoe Dance," the Movement style. This refers to the
Danish "Shoemaker'sDance," or the kind of movements used in the dance,
Japanese coal miner's dance, "Tanko identified by Hanna as postural (whole
Bushi." body), gestural (body parts), and loco-
Mimetic actions associated with motor (change of location of the
these dances are also found in dances whole body).19 It also involves body
that recall activities or experiences levels, size of movements, direction,
from the dancers'environment. In the function of particularbody parts, the
"Tinikling," hopping over bamboo Location. The place in which the shape of the movements, and the spa-
poles reminds dancers of the long- dance is performed is influenced by tial patterns created by the dancers as
legged tikling bird, which moves in many factors, including the purpose, they move. If we heighten students'
and out of the tall grasses of the the climatic conditions, the time of awarenessof stylistic details by model-
Philippines. Likewise, in the "Troika," day it is performed, and changing cir- ing and/or by verbal description, the
dancers imitate the steps of the horses cumstances over time. An authentic chances of their movements being styl-
as they move around the imaginary dance environment may not be possi- istically accurate are increased.Also, a
spoke of the troika'swheels. In Japan- ble to replicatein the classroom;yet it live or videotaped performance of a
ese folk dances, imitation of nature is is important for students to see how dance can help achieve this end.
prevalent,in keeping with their atten- dance fits into the everyday life of Dress.Do dancerswear special dress
tion to nature in all art forms. Finding a community.18 Then the human when performing? How does this
a partner or a reenactment of mating importance of dance and its key role influence or enhance the performance?
rituals is also a common purpose to in communal life are more likely to Consider, for example, the impact of
dances cross-culturally-for example, become evident to them. the kimono and "tabi" (Japanese
the Ecuadorean"AmoresHallaras."Yet Use of imagery. The evocation of footwear) on the body and foot move-
other dances originated in a historical images through movement patterns is ments of certain Japanese dancers, or
event that was significant to a commu- frequentlyencountered in dance. As in the impact of the headdress and bells
nity. "La Cucaracha"became popular any art form, their use lends depth, worn by some Native American
during the Mexican Revolution. adds color, and sharpens the focus of dancers on the sounds produced by
Of course, similar to music, many the expression. Images used in dance the movement of the body, or the

MAY 1996 19
 instruments as they move? If musical
instruments are used, what are they
and what is their role in the dance
context? Is the spatial relationship
between the dancers and the musi-
cians significant? When performed
today, is the dance usually accompa-
nied by live or recordedmusic?

Curricular
Making Connections
The foregoing lenses with which to
view dance practices are enlightening
to our own and to our students'
understanding,appreciation, and per-
formance of dance in cultural context.
They may also be useful when plan-
ning integrated lessons across the dis-
ciplines of music and dance since they
make vital disciplinary connections
between the two art forms, connec-
tions that are implicit in the National
Standards for Arts Education. For
Dance students
provides withavisualandmoving ofmusical
experience form.
example, consider the similarities of
some of the content standards for
effect of the elaborate and beautiful that are unique to dance traditions. music and dance. Music content stan-
Celtic designs of Irish traditional They can describe the dress, a parti- dard 8 calls for "understanding rela-
dance costumes on the overall visual cular movement, dance titles, or cus- tionships between music, the other
presentation of the dance. No doubt toms that have grown with the prac- arts, and disciplines outside the arts,"
footwearis closely linked to the nature tice of a particulardance. and dance content standard7 calls for
of the dance step. A tap dancer could "making connections between dance
not perform in the moccasins of the and other disciplines."Music content
Native American dancer. Likewise, a standard 9 calls for "understanding
barefoot West African dancer has no music in relation to history and cul-
need for the "hard"shoes worn by the ture," and dance content standard 5
performerof an Irish hornpipe. Form Attentionto dancestyle calls for "demonstrating and under-
follows function. standing dance in various culturesand
Use of props. Another concrete and cross-cultural historicalperiods."
aspect of dance that students can In considering the implementation
observecriticallyis the use of props or aesthetics
is vitally of the National Standardsand, specifi-
objects in the course of perfor-
mance-the swords of the Morris importantin the cally, the challenge of making discipli-
nary connections, Samuel Hope urges
dancers, the ribbons of the English background studyand that teachers consider seriously the
"Maypole" or "Ribbon Dance," the integrity of the connections: "Integrity
masksworn by certainWest Africanor presentationof dancesin means ensuring that programs com-
Caribbean dancers, or the handker-
chiefs used to link dancers in some
theclassroom. bining disciplines are honest about
how they advance the knowledge and
Greek dances. For their own perfor- skills of students."21 Integrating
mance, students can, as part of an knowledge and skills from the disci-
interdisciplinary project, make these pline of dance into the general music
props (or imitations of them). class has the potential to increase dis-
Language. Dance educator Phyllis Musical accompaniment.Of central ciplinary competence in music. Music
Weikart emphasizes the role of lan- importance to many dance perfor- and dance, as curricularsubjects, need
guage as a bridge to movement and mances and of particularsignificance to be taught as separate disciplines.
provides a list of movement vocabu- to the music educator and student are But if we as educators are going to be
lary that is useful for teaching dance the role and nature of musical accom- true to the artisticconnection between
across cultures, for example, "step," paniment. Is the dance accompanied these two art forms in culture, then we
"close," "cross,""touch," "turn,"and by song, choral dialogue, hand-clap- need to make appropriateconnections
"kick."20Beyond this common vocab- ping, or finger clicking? Do the that involve the dance or physical edu-
ulary,there are also words and phrases dancers wear and/or play musical cation teacher (wherethat applies) and

20 MUSIC EDUCATORS JOURNAL

teachersof other relateddisciplines. ture, to reassess their relationship in 12. Joan Frosch-Schroder, "A Global
With thoughtful and careful cur- generaleducation, and to redefinecur- View: Dance Appreciationfor the 21st Cen-
riculum planning, then, general music ricula to reflect the natural alliance tury,"Journalof PhysicalEducation,Recreation
teachers can draw on dances from a between these two art forms.22 and Dance62 (March1991):62.
variety of cultures to deepen student's 13. I have borrowedthe phrase"dimen-
musical knowledge, increase their sions of dance meaning" from Francis
skills, and shape their attitudes and Sparshott'sexcellent book, Off the Ground:
values. At the level of knowledge and FirstStepsto a PhilosophicalConsideration
of
understanding, students gain insight the Dance (Princeton,NJ: PrincetonUniver-
into (1) the myriad of ways in which Notes sity Press,1988).
music relates to dance across cultures, 1. Sarah Hilsendager, "In Transition- 14. Judith Lynne Hanna, To Dance Is
(2) the various vocal and instrumental AmericanDance Education," Journalof Phys- Human:A Theoryof NonverbalCommunica-
ensembles that accompany dance, (3) icalEducation,Recreationand Dance61 (Feb- tion, rev. ed. (Chicagoand London:Univer-
the relationship between the musi- ruary1990):47. sityof ChicagoPress,1987): 18.
cal form and dance patterns and 2. LoisChoksyand David Brummitt,120 15. Joan Frosch-Schroder, "A Global
sequences, and (4) historical, cultural, Singing Gamesand Dancesfor Elementary View: Dance Appreciationfor the 21st Cen-
and geographical background that Schools(EnglewoodCliffs, NJ: Prentice-Hall, tury,"Journalof PhysicalEducation,Recreation
sheds light on both the music and 1987): 2; TheresaM. Purcell,TeachingChil- andDance62 (March1991):62.
dance styles of the period and/or cul- dren Dance: Becoming a Master Teacher 16. Hanna,24.
ture. (Champaign,IL:Human Kinetics,1994):vii; 17. Betty Casey,InternationalFolkDanc-
At the skill level, students gain (1) JenniferWall and Nancy Murray,Children ing U.S.A., forewordby Miriam Gray (Gar-
kinesthetic experience of a wide vari- and Movement:PhysicalEducationin the Ele- den City, NY: Doubleday and Co., 1981):
ety of dances, (2) increased skill in mentarySchool,2d ed. (Madison,WI: WCB 106.
identifying and performing various Brown and BenchmarkPublishers, 1994): 18. ElizabethFernandezO'Brien,"Teach-
meters and rhythmic patterns, (3) 140. ing Dance of Other Cultures,"Journal of
competence in recognizing form and 3. Peter Brinson, Dance as Education: PhysicalEducation,Recreationand Dance 62
in creating within a particular music Towardsa NationalDance Culture(London: (February1991):40-41.
form, and (4) performing experience FalmerPress,1991):79; GrahamMcFee, The 19. Hanna,36.
(in a variety of cultural styles) that Conceptof Dance Education (London and 20. PhyllisWeikart, TeachingMovement
expands students' concept of style and New York:Routledge,1994): 19; ElsaPosey, and Dance, 3d ed. (Ypsilanti, MI: The
increasestheir ability to create within "Discipline-Based Arts Education-Develop- High/ScopePress,1989):387-392.
a given style. At the affective level, ing a Dance Curriculum," Journalof Physical 21. Samuel Hope, "MakingDisciplinary
educational experiences that make Education,Recreationand Dance59 (Novem- Connections,"Perspectiveson Implementation:
interdisciplinary connections between ber/December1988):62. Arts EducationStandardsfor AmericanStu-
music and dance can have the effect of 4. CurtisL. Carter,"The State of Dance dents(Reston,VA: Music EducatorsNational
improving students' general attitudes in Education:Past and Present,"Theoryinto Conference,1994):42.
toward dance and movement in the Practice23 (Autumn1984):295. 22. Resourcesthat music teachersmight
school curriculum. These experiences 5. NationalStandards for ArtsEducation: use to introduce dance to their students
engage students directly in perfor- What Every YoungAmericanShould Know include the following: Peter Amidon, Mary
mance and help them view dance as and Be Able to Do in the Arts (Reston, VA: Cay Brass,and Andy Davis, eds., Chimesof
an activity that is frequently insepara- Music Educators National Conference, Dunkirk:GreatDancesfor Children,2nd ed.
ble from music and is embedded in 1994). (Brattleboro, VT: New England Dancing
human values. 6. Walland Murray,140. MastersProductions, 1991), accompanying
While the value of dance in chil- 7. Ibid., 147. cassettetape; Bryan Burton, Moving within
dren's musical development is widely 8. PatriciaK. Shehan, "TeachingMusic the Circle: ContemporaryNative American
acknowledged,there are certain factors throughBalkanFolkDance,"MusicEducators Music and Dance (Danbury, CT: World
working against a true integration of Journal71 (November1984):48. Music Press, 1993), accompanyingcassette
dance into the music curriculum:the 9. CharlesB. Fowler,Danceas Education tape;JaneA. Harris,Anne M. Pittman, and
ambiguous status of dance education (Washington,DC: National Dance Associa- MarlysS. Waller,Dancea While:Handbook
in the schools; the limited amount of tion, 1977):38. of Folk, Square, Contra,and Social Dance,
graded, up-to-date materialsin multi- 10. Mary Maitland Kimball, "Writing 7th ed. (New York: Macmillan College
cultural dance; and the general lack Standardsfor Dance,"in The Visionfor Arts Publishing Co., 1994); Sanna Longden,
of research-based knowledge and Educationin the 21st Century(Reston, VA: Favorite Folk Dances of Kids and Teachers
resourceson the role of dance in con- Music Educators National Conference, (Evanston, IL: Folkstyle Productions,
temporary children's culture. In this 1994):32. 1991), accompanyingvideotape and notes;
transitional time for dance in general 11. BryanBurton,Movingwithinthe Cir- and Phyllis S. Weikart, TeachingMovement
education, music educators have a cle:Contemporary NativeAmericanMusicand and Dance, 3rd ed. (Ypsilanti, MI: High
prime opportunity to assess the rela- Dance (Danbury, CT: World Music Press, Scope Press, 1989), accompanying record-
tionship of music and dance in cul- 1993). ings and videotapes.?

MAY 1996 21