By Linda Ashley, David Lines
This quantity appears to be like ahead and re-examines ultra-modern schooling and pedagogical practices in track and dance within the diversified cultural environments present in Oceania. The ebook additionally identifies a key factor of the way lecturers face the chance of taking a reflexive view in their personal cultural legacy in track and dance schooling as they paintings from and along diverse cultural worldviews. This key factor, among different debates that come up, positions Intersecting Cultures as an cutting edge textual content that fills a niche within the present marketplace with hugely applicable and clean principles from basic resources. The e-book bargains commentaries that underpin and tell present pedagogy and larger photograph coverage for the appearing arts in schooling in Oceania, and in parallel methods in different nations.
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Extra info for Intersecting Cultures in Music and Dance Education: An Oceanic Perspective
Cultural Disjunctures and Intersections: Indigenous Musics and School-Based Education in Micronesia Brian Diettrich Abstract Musical learning in Micronesian schools is characterised by a cultural disjuncture, a partition between the musical experiences that take place in educational institutions, and the indigenous musical practices in the wider community that have deep roots in the nation’s peoples and cultures. In this chapter I examine the culture of music learning in Chuuk in the Federated States of Micronesia, and I seek to understand the underlying frameworks that have supported this division in transmission.
J. ). Case study: Martial arts for self-confidence in school. North Carolina: Fayetteville State University. , & Woolley, M. (1992). The big picture. Victoria: Eleanor Curtain Publishing. html Tānemahuta Gray is a choreographer, dancer, aerialist, teacher and producer of 18 productions and events and has worked both in New Zealand and abroad since graduating from the New Zealand School of Dance in 1994. His choreographic credits include WOW-World of WearableArt Awards, Māui – One Man Against The Gods, Arohanui – The Greatest Love, Kōwhiti Festivals 2010–2013, The Ragged and the Opening Ceremony of the Chinese World Expo.
Moving as one entity creates a powerful energy force, which in turn informs the movements of the group. The moves are not difﬁcult to execute, but there is transference of weight from one leg to the other, as well as balancing. This helps to create an understanding of counter-balancing in movement. Ngā Mihimihi is the second strand of movement development in Mau Kōrari focusing purely on the elements of the mihimihi or pēpēhā which concern identity (personal introduction). The mihimihi is linked to: the waka (vessels of ancestral migration to Aotearoa); maunga (the mountain that people connect to); awa (the river or body of water important to the health and nurturing of the people); the iwi and hapū (tribal and extended family links); tūpuna (ancestral whakapapa); marae (traditional gathering space of the tribe or hapū); and the ingoa or name of your family.