26 Matching Annotations
  1. Oct 2015
    1. structure and release, creative outlet and consistency of routine, and hard work along with expressive play.

      seems like there could be something here about bodies and learning

    2. commitment

      I'm curious to look into this issue of commitment more. What external and internal factors contribute to some people committing to this more than others?

    3. keep standards high

      seems like the goals are different from the first case study. here the focus is learning towards excellent performance as opposed to learning for learning's sake or to teach communal values or to keep young people "off the street."

    4. the use of dance and music to revive European imm grant cultures and to alleviate social fragmentation of such groups

      In this particular case they are using dance as a way to learn and somehow revitalize old traditions from their countries of origin (or their ancestors' countries of origin)

    5. Now, youth .were drawn to dance, drama, and other forms of art as a means to form strong, safe group affiliations

      This is more about "art and identity", but for sure the argument of bodies-(1)->arts-(2)->identity-(3)->learning can be made. I mean, for the mentioned forms of art (1) is kind of obvious, (2) is their argument, and (3) came strong in previous readings.

    6. Verbal communication in all three dance groups played no more impor­tant a role than other forms of expression and displays of knowing.

      Dancing is seen as just a legitimate form of expression as writing or speaking.

    7. Instructors always move with the youths, never asking them to do any­thing they do not do themselves.

      Movement becomes an instrument to bring students and teachers together in shared experience.

    8. she saw "their creative juices flowing" in writing, speaking, dancing, and singing activities, The youths "create their own performances , , , working out what they want to have as the basis of a script, dance, or song," and the themes they selected were those of their everyday lives,

      movement is another tool for expression and formation of identity

    9. For urban youth organizations that want to attract youth away from the seductive life of the streets or the violence and sexual exploitation pro­mOted in much commercial entertainment, the organization of insttuction and of performance stands at the center of the effectiveness of dance.

      The relationship between connection with the body and learning is one that I believe has the potential to foster positive well-being in at-risk youth. With that said, as we saw above there are many factors that need to be accounted for.

    10. "Some of them we'll reach-! don't care if they're going to be professional dancers or not. That's not the point. The point is that they're working close with a teacher, and that's going to reflect for all their lives.

      Establishing a mentorship. This makes me think of lpp, but I also think this is promoting a social well-being through the mentorship, not just expertise in the dance field.

    11. dance will help the youngsters aca­demically and personally.

      Dance will? Or being a part of an organization will?

    12. Henri explains the philosophy as well as practices of Liberty as search­ing for ways "to make these kids proud of themselves as capable of doin' something good, really good. They need that, and they'll never come to do it unless we let them know they can."

      Connection with their body, i.e. performance of the arts also promotes a positive well-being.

    13. writing, speaking, dancing, and singing activities,

      The youth seem to become able to express themselves, regardless of what type of academic successes they may possess.

    14. ocus on workshops in African folk dance, oral his­tory, and innovative African American drama for the adults and youths of the neighboring housing projects

      Learning about their African heritage through performance.

    15. The per­forming atts of these groups came to be central to the entertainment of the folk festivals that had begun to flourish in the early 1970s. These festivals cel­ebrated immigrant ethnic groups,

      youth are able to learn about their culture through this performance of the arts. also with these festivals they are able to learn about cultures. their relationship with their own identity (body) allows them to learn about all the different identities that exist int he world.

    16. youth leaders and community representatives who argued the value of the arts were performers from the neighborhoods or ethnic groups whose youngsters they wanted to involve in the arts. Many of these performers-particularly African Americans-had their beginnings in the 1960s and 1970s, in the height of ethnic pride movements centered in store­front theaters, galleries, bookstores, and social halls of local churches.

      In there past, I believe these leaders saw positive results in potnetially themselves and other youth, that made them value the arts.

    17. "They help you here to know that you gotta learn to walk around what's out there. Keep your head up and keep on gain'.

      This quotation addresses actually moving the body in relationship to what is potentially learned, such as Narrative, Identity, Self-Esteem, Perseverance

    18. For most of the youth, as well as for many of the adults who label themselves "realistic," their Old World ethnicity is really "food, fun, and festivals" and a commitment to what they see as working-class values and morals-hard work and honesty.

      Here again we see that the dance is in service of a value - this time its ethnic/cultural. The parents want their kids to connect to a remembered past, and the kids value this cultural identity as something that is positive, especially since it centers around "food, fun, and festivals"

    19. Throughout this production, youngsters heard Liberty's staff explain that the news commentator at the scene of the shoot­ing and on the evening news hour could not use African American English vernacular but only mainstream American standard English, For those who played the roles of reporters and broadcasters to achieve appropriate dic­tion, word choice, and eye gaze required considerable attention and prac­tice

      Connecting dance and their everyday lived experiences - not just abstract concepts or themes. Also by emphasizing languages, validating their own literacies while roleplaying different perspectives. This roleplaying is often used in social justice education to build empathies and different point of views.

    20. Unlike most children's theaters that work to perfect short-term productions that parents and friends will attend, Liberty focused on producing a video­tape as their final performance; instead of building sets, they filmed on loca­tion-in the projects, in local churches, or on the streets, The premiere showing of the finished video project took place at Liberty, with friends invited to attend for a big party, but life in the projects did not afford the luxury of going out at night safely, Thus, a primary goal of making the videotapes was for the youngsters to be able to take the tapes with them to play wherever and with whomever they wished,

      One of the key things that I took away from this piece was that the leaders of these activities aren't interested in creating professional dancers - even though they strive to be as professional as possible. It's about how can the movement empower kinds in some way?

      Here, Henri believes that this work will give kids a sense of worth that might not be so easily found in other aspects of their lives - and I think this is especially present in the fact that the kids are able to perform in a way that they and their family/friends can experience and be proud of, even given the harsh realities of life in the projects.

    21. These narratives, as well as their strong support of movement both violent and subtle, allow much to be communicated that might not be verbalized directly

      Dance allows students the opportunities to express things that they may find difficult to address verbal or in any other way

    22. tried to highlight "Now, youth were drawn to dance...and identity for themselves." (71-72) but hypothesis doesn't want to let me.

      Seems like participants are using dance to learn about their individual identities as well as to find their place within the larger group/CoP.

    23. history of dance as an expression of ethnic heritage, culturally valued narratives and forms of movement, and social protest underscored these leaders' special commitment to this art.

      shared history, values, practice come together in the movement of dance and possibly create opportunities for learning. through learning dances, children in these ethnic groups learn about their cultural history and the values of their communities.

    24. potential role of the arts in creating for young people a sense of story, intense holistic involvement across a range of activ­ities, and a connecting quasi-spiritual bridge to both a past and a future Jed some youth leaders and philanthropic foundations to try immersion in the arts for youngsters

      immersion...this might have something to do with the question we're trying to answer about the relationship between bodies and learning.

    25. to the arts to find ways to attract what they regarded as "at-risk" youth away from drugs

      again, involvement in the arts is a way to keep busy so as to stay out of trouble but not necessarily a longterm solution to solving a societal problem

    26. My people had used music to soothe slavery's tormenl or to propitiate God, or to describe the sweetness of love and the distress of lovelessness, bull knew no race could sing and donee its way to freedom

      seems like movement is described here as a coping mechanism, a way to get by but not a way to accomplish an actual goal.