identify the learning relationships of one landmark style to another.

equips teachers with the fundamental knowledge for developing a repertoire of professional behaviors that embrace the objectives needed to connect with and educate students.

defined as the : “study of the structure or internal workings of something.”

a statement in which an entire structure is based.

includes decisions that define the intent—the specific planning and preparation decisions for what and how events are to occur.

set includes decisions related to the implementation— the execution of the pre-impact decisions during the actual face-to-face interaction and performance of the tasks.

includes decisions that deal with assessment and feedback of the learner’s performance during the impact and assessment of the overall congruence between the intent and the action of the learning experience.

11-landmark teaching-learning approaches as well as alternative approaches that lie between each style on the Spectrum.

Three basic processes for conscious thinking

enables the reproduction aspect of learning by recalling and replicating previously known knowledge. This information may include facts, dates, names, events, routines, procedures, rules, previous models, etc.

engages learners in production of information that was previously unknown to them. This knowledge can include concepts, relationships between or among entities, principles, and theorems.

refers to responses that are perceived as unique or original—something that is new, different, beyond commonly known or anticipated responses.  Responses that are considered creative can be produced in either memory or discovery thinking processes.

would be a class where u learn how to dance but not necessarily a class where u actually dance.

Teaching dance can be challenging because of the unique “___” management situations that often arise from the dynamic nature of the content.

can be defined as how something is organized internally as well as externally in relation to its surroundings. It can be viewed both on a large or small scale and may also include in its discussion, the factors and conditions that lead to a specific organization pattern.

According to ,_________it is important to be “pre-active” rather than reactive in establishing effective management strategies in the dance class. Ideally, adopting a pre-active attitude means planning the dance class well before coming or facing the students and the learners. (R. Rosales)

The success of the class often depends on that “____” with students.

Once the lesson is underway, the dynamics of the dance lesson present constant management challenges. With all students moving at once, the teacher needs to be observing, identifying, and preventing potential problems. When introducing the content, the teacher needs to explain the activity or task.

between tasks or between sections of class are often problematic for the inexperienced teacher. Moving students into the dance space, preparing them for the lesson, and shifting from task to task requires planning, practice, and patience. Developing classroom rules, transition procedures, and policies with student involvement during the first days of school gives students a sense of ownership.

Applying learned dance material in a performance-like environment allows students to practice their skills noncompetitively. Furthermore, periodic application tasks, that is, learning experiences that have a performance-like situation, are useful for assessing students’ understanding of content.

Ending the class effectively is also important for classroom management. The content needs to be summarized, key points reinforced, and a lead-in to the next class delivered. Students need to leave class feeling positive about themselves and about dance.

the art or practice of designing sequences of movements of physical bodies in which motion or form or both are specified

one who creates choreographies by practicing the art of choreography, a process known as choreographing.

three elements that comprise choreography.

refers to when movements occur in the choreography and whether they are fast or slow.

In combination with time and action, the energy corresponds to the degree of tension or fluidity with which the steps are executed. Energy is considered as the most complex of the elements of dance, it can take years to developed. Even if a dance is performed with an appropriate rhythm and movements according to it, the energy can convert the dance from rigid to fluid and with naturalness. The talent of the dancer has a great influence on this aspect.

element of dance describes how a dancer occupies and interacts with the area around them. All matter has volume and therefore takes up space. An inanimate object, such as a ball, piece of furniture, or even a vehicle, describing the space these objects take up can even be measured with an exact formula. A dancer's occupation of space is more complex, though, because dancers are not stationary.