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Kamarck, Edward (ed.) / Arts in society: growth of dance in America
(Summer-Fall, 1976)

Hayes, Elizabeth
Dance in academe: [dance in the universities: yesterday, today and tomorrow],   pp. 340-[345] PDF (6.1 MB)


Page [345]


styles and techniques. 5) It is through his
kinesthetic experience that a student becomes
aware of the expressive powers of movement.
6) For a dancer to communicate successfully
through movement he must have something to
say; and for him to have something to say
he must become sensitive to his environment
and his fellowman; he must learn to see, to
feel, to think and to listen.
It therefore follows that dance in education
has a responsibility to meet the needs of stu-
dents at all levels of ability. And it is the role
Games, Donald McKayle, choreographer.
Utah Repertory Dance Theatre. Photo by
Doug Bernstein.
of the dance educator to help each individual
student to discover and have faith in his own
potential; to provide the necessary discipline
for the student to achieve his professional
goals; to give him the freedom and encourage-
ment to explore and pursue his own creative
endeavors; to inspire the student to have the
courage to expand his experience beyond the
comfortable and familiar; and to help him to
find acceptable criteria by which to evaluate
intelligently the results of his efforts. It is my
belief that such an approach to dance educa-
tion will contribute not only to the profession-
al development of the dancer as a teacher,
researcher, critic, or creative artist, but also to
the enrichment of the individual as a human
being and member of society. F


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