Assata J.

Haki

Handwritten Notes

Kim Taylor Knight

Research study outline: Focus on children in the inclusion classroom

Video material notes:

What is the full meaning of an inclusion classroom?

I understand that Kim focus will be:

Using dance to assist in social and emotional growth for the first grades of students
Working with homeroom teachers and in-house therapist.

Video notes:

Early childhood education/students

Storytelling is a form that reinforce literary skills and or building
Whole Child Learning

Going back to basics:

Laban movements
Body energy, space, time or Body action, space, time
Motifs

Personal notes on whole child education, motifs and Laban Movements:

The whole school community and child: (WSCC) Responding to the call for greater
alignment, integrations, and collaboration between education and health to improve each childs
cognitive, physical, social, and emotional developments.

(This is how you truly make sure that no child leaves themselves behind)

Laban Movement Analysis is a theoretical and experimental system for the observation,
description, prescription on performance, and interpretative of human movement.

LMA provides a rich overview of the scope of movement possibilities.

What can LMA/BF contribute to the field of education?

Whole person education, (self as psychological, physical, sociological, spiritual, etc.)

Understanding of the relationship between individual/group/society.
Transformative experience.
 Learners are active agents in their own empowered learning rather than passive recipients
of received knowledge.

Motifs: Definition: Motif is an object or idea that repeats itself throughout a literary work.

Motif in dancing: Youtube links/Site:

https://literarydevices.net/motif/

https://www.youtube.com/watch?v=IZoOxvVqfXE

https://www.youtube.com/watch?v=-8P1w7jwYvo

https://www.youtube.com/watch?v=jjWQCgrWBUg

Site to better understand the, whole child education direction:

http://www.wholechildeducation.org/

These are sites and documents that I will begin studying to better complete my educational goals
for this course:

Observing Cognitive changes and assessing and evaluating learning and teaching goals:

https://www.researchgate.net/publication/276880270_Theatre_Arts_for_Improving_Cognitive_a
nd_Affective_Health

Learning Arts and The Brains pdf

The Arts and Human Development pdf

https://www.cmu.edu/teaching/assessment/index.html

Kims three questions:

1.) What practice do teaching artist use that would be of the greater benefit to the classroom
arts, (dance/theatre) teachers?

I believe that each teaching artist develops their own practice that can be adjusted per
class/project. What I have learned as a teaching artist is that being the guide of the students
voices allows them to feel oneness with the project and that what they say count. This has been
an excellent way to get students to participate within my theatre class spaces. Personally, I allow
myself to learn by observing and listening to my students the first day and work to create
practices that will open them up to the creative process.

2.) How are these practices different from those of the classroom arts teachers?

I would say for me the difference is that I am not bound to the restrictions of state standards. I
believe that is what makes the difference in school art classrooms, and teaching artist classrooms.
As a teaching artist, I create avenues that is all inclusive to the creative process in which it is
impossible to leave a child behind.

3.) Are there data points I dont implement to measures the success of my program?

I cannot answer this question because I have created measuring or assessing my practice and
students learning goals, my goal to learn as part of this course teachings/fieldwork. However, I
am researching ways and the dos and donts of evaluating data and will share what I think may
be helpful to you.