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Anatomy, Kinesiology & Movement Analysis Arts Integration Assessments Choreography History Leadership & Administration Music for Dance Pedagogy & Teaching Methods Research Standards / Portfolio

OPDI Course Catalog

Scroll down or click on an interest area to to see a listing of all Online Professional Development Institute (OPDI)™ courses. To see which courses are currently being offered and open for enrollment, please visit Upcoming OPDI Courses.

Anatomy, Kinesiology, and Movement Analysis

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OPDI-110: Dance Kinesiology and Applied Teaching Practices

This course provides an introduction to the field of dance kinesiology with an emphasis on applied teaching practices. The course will provide participants with a strong foundation in anatomy and kinesiology to help maximize performance and minimize potential injuries in their students. Participants will learn how to create environments to promote healthy approaches in the training of dancers, including injury basics, developmentally safe practices, nutrition, and creation of a medical support network. The information provided in the course is based upon proven principles and methodologies gathered from current research. 3 NDEO CEUs. Eligible for 3 UNCG undergraduate credits. Professor: Robin Kish, MS Kinesiology

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OPDI-116: Harkness Center for Dance Injuries: The Applied Science of Dancer Health and Injury Prevention

Dance educators in every genre of dance serve a myriad of student populations. The goal of this evidenced-based course is to present you, the dance educator, with key principles of overall health in a way that will allow you to critically interpret the information, apply it to your dance education setting, and formulate a dance injury prevention plan of action in your teaching practice. Participants will explore the relationship, or spectrum, between overall health and dance injuries in order to consider what a dance injury prevention plan of action would include in any given environment. Topics covered will include physical, psychodynamic, and environmental factors; motor skill development; strength and conditioning principles; common dance injuries and their formal nomenclature; common myths about injury and training; adolescent dancer health; basic functional anatomy/biomechanics and nutrition; and teacher self-care. Upon analyzing the course material, participants will design an action plan for their students and receive feedback from Harkness Center for Dance Injuries (HCDI) clinicians. At the end of this course, students will demonstrate knowledge of what factors constitute overall health and how they can use this knowledge to develop and deepen their own teaching practices, regardless of educational setting. It is strongly encouraged but not required that prior to engaging in this course, that participants have previously taken NDEO’s OPDI-110 Dance Kinesiology and Applied Teaching Practice or another anatomy/kinesiology course. 3 NDEO CEUs. Professor: August 12, 2018) Professors: Marijeanne Liederbach with Joshua Honrado, Kristen Stevens, and William Zinser

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OPDI-M10: Movement Behavior Analysis and Profiling in Dance (6 weeks)

Movement Behavior Analysis and Profiling (MBA/P) teaches dance educators, artists, choreographers, scholars, historians, and researchers how to observe and analyze movement in dance training and performance. In this course students will learn how to identify and chart their own movement behavior profile as well as that of others, identify inherited and learned capacities in movement that differentiate students engaged in the same movement activities, assess the kinetic options performers have in developing their talents in expressive movement, and integrate skills in observing and recording the dancer’s characteristic use of space, time, and force. MBA/P was developed by Drs. Valerie Hunt and Sally Fitt, and is one of the two movement analysis systems used in dance. 1.5 NDEO CEUs. Professor: Dr. Thomas Hagood

Arts Integration

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OPDI-115: Dance Integration: Re-envisioning the Creative Process

Dance Integration is an exploration of arts integration through use of the creative process as a method for developing movement, dance phrases, dances, and entire units of study. This course helps dance educators (teaching artists, K-12 educators, studio teachers, instructors at company schools, university professors along with their pre-service student teachers) integrate dance across the curriculum through: understanding the creative process (from concept, investigation and exploration through selection, development, refinement and exhibition); creating dance-making activities and lessons; designing and assessing integrated projects; understanding the use of different teaching styles, and selecting and adding appropriate national, state, or local standards, and applicable 21st Century Learning Skills. The content of this course is also useful for teacher preparation programs and professional development (for dance and non-dance educators). 3 NDEO CEUs. Professor: Marty Sprague, MFA

Assessments

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OPDI-103: Foundations for Assessments in Dance

This course helps teachers understand the functions and applications of assessments using formative, summative and authentic assessments. Participants’ study: What are assessments? What functions do assessments serve? What kinds of assessment tools are there? How can assessments measure student learning and growth? Students will use a wide variety of assessment techniques, tools, and instruments to support their learning process, build their own assessments in dance, and construct traditional educational testing instruments. 3 NDEO CEUs. Eligible for 3 UNCG graduate credits. Professor: Rima Faber, PhD

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OPDI-M3: Rubrics and Portfolio Assessments in Dance (4 weeks)

This course is the process of gathering evidence that may be used to effectively measure student learning. Assessments may be used in any dance education environment: private school of dance, conservatory, recreation center, preK-12, or post-secondary education. We can both monitor students’ progress during the learning process (formative assessment) and at the end of a period of time (summative assessment), perhaps a semester, a season, or a year. This 1 unit course will give participants a basic understanding of assessment as it pertains to dance education and understand how to use rubrics and portfolios as tools for assessments. 1 NDEO CEU. Professor: Susan McGreevy-Nichols

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OPDI-M8: Designing Model Cornerstone Assessments (6 weeks)

This course helps participants understand how to assess their students at benchmark grades of 2, 5, 8 and the three high school levels (proficient, accomplished, advanced) to demonstrate the type of standards-based evidence needed to show student achievement. This course follows OPDI-112 (Implementing the Standards). Model Cornerstone Assessments (MCAs) are a component of the new National Core Arts Standards. 1.5 NDEO CEUs. Professor: Susan McGreevy-Nichols

Choreography

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OPDI-106: Choreographic Explorations in Dance Since 1953

This course covers choreographers working in modern, ballet, hip hop, tap, and cultural forms since1953 and takes a thematic rather than chronological approach, allowing for close study of feeling, form, and historical context. Themes include: Non-narrative dance; Myth; Gender; Culturally Specific Explorations; Social and Political Commentary; Music. Do you want to better understand the values, ideas, social events, and cultural influences inspiring today’s concert dance choreographers? Do you want to integrate your work in dance with other disciplines such as literature, visual art, theatre, music, history, women’s studies, and African and Asian studies? Do you want to inspire your students with new ideas for dance projects? Emphasis is on viewing numerous works rather than extensive readings and on finding fresh applications to a wide variety of teaching situations. Artists covered include Martha Graham, Alwin Nikolais, Erick Hawkins, Meredith Monk, Alvin Ailey, Twyla Tharp, Trisha Brown, Christopher Wheeldon, George Balanchine, Bill T. Jones, Lucinda Childs, Doug Varone, Urban Bush Women, and many others. Previously known as Choreographic Explorations: What contemporary dance choreographers are creating today and why? 3 NDEO CEUs. Eligible for 3 UNCG undergraduate credits. Professor: Naima Prevots, PhD

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OPDI-119: Motif Notation Literacy through the Language of Dance® Approach: Your Move, Your Choreography

How do we refresh our choreographic dance making and that of our students? How do we find new ways of exploring meaning making through our movement? The Language of Dance® (LOD) approach—created and developed by Ann Hutchinson Guest—is a comprehensive system of dance literacy that bolsters the dance artist’s and dance educator’s practice. It provides deep awareness, meaningful understanding, enriched embodiment, precise language for communication, effective tools for analysis, and a playful means for generating movement and documenting it. This course takes the dance professional on a journey of self-discovery through meaningful dance creation using the lens of the LOD. Over the next twelve weeks, you will be exposed to LOD literacy processes while gaining familiarity and foundational fluency using the building blocks of motif notation. Employing graphic representation for dance making offers key insights into your aesthetic preferences and comfortable patterns in your body and new approaches and inspirations that emerge out of your exploration with course content. The tools found in the LOD approach to using motif notation to choreograph provide potential for a lifetime of infinite creative explorations for dance making. This course provides a bridge between cognitive awareness and embodied experience, opening a door to the world of making, notating, and reading notated dances. It is organized to deliver composition and dance notation experiences that are creative and interactive with the aim of achieving meaningful dance making and personal transformation. Book required: Your Move (2nd Edition) by Ann Hutchison Guest and Tina Curran. 3 NDEO CEUs. Professor: Beth Megill

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OPDI-M9: Choreographic Sharing and Explorations – School, Studio, Personal

OPDI-M9: Choreographic Sharing and Explorations – School, Studio, Personal (6 weeks)

This course is designed to encourage participants to share and explore choreographic projects created by them and others with the goal of expanding their own ability to create new material, review choreography already produced, and envision new creative possibilities. In the process, students will understand more deeply how to look at the work of others, and how to best explore and review their own methods and results. The course is designed for dance teachers and artists who create choreography for their students in concerts and workshops, as well as for those who create original choreography independent of work environments. Through sharing and exploring work and process with peers and faculty, dance teachers and artists will have opportunities to make their choreography stronger and more meaningful, and enhance the power of dance for themselves and audiences. 1.5 NDEO CEUs. Professor: Dr. Naima Prevots, PhD

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OPDI-M18: Intro. to Choreography in Dance Education: A Process to Teach Your Students How to Create Dances (6 weeks)

This course offers participants experience with a system that can be used to teach basic elements and principles of choreography and explores how to encourage self-expression through dance making. Many dancers have not formally studied the art of choreography. Perhaps someone is experienced in making dances but now wants support learning how to teach others. How does the studio teacher, or performing arts center instructor, teach the choreographic process to young performers? How does the education director of a dance company structure dance-making activities within school residencies? How does one teach pre- and in-service teachers, or instructors in community recreational programs, how to teach this process to students with little or no dance experience? In this course, participants will walk through, or model, a process that they can use to teach students how to create their own choreography. The course text is actually a student textbook and so it will be a small “leap” from course participation to application of this methodology in one’s teaching practice. Peer discussions, journal reflections and reflective essays will help in this application. Book Required: Experiencing Dance: from Student to Dance Artist by Helene Scheff, Marty Sprague, and Susan McGreevy-Nichols. (2nd Edition). 1.5 NDEO CEUs. Professor: Marty Sprague.

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OPDI-M19: Dance Stagecraft and Production (6 weeks)

This course introduces elementary technical theatre skills and knowledge. The content covers costumes and props, sound, lighting, scenery and sets as well as front of house and stage management. The purpose of the course is to: equip dance artists and educators with technical theater knowledge and abilities, incorporate stage production elements, and add clarity and richness to the artistic intent of their choreography. Further, information is given for the production of full concerts, recitals, and musical theater shows. The basics of sound, costumes, properties (props), lighting, sets and scenery are presented so that communications with technical designers and crews are clear and professional. Etiquette, respect, roles and responsibilities, cooperation among the departments, and order of the backstage hierarchy are presented. Some text and activities appropriate for middle or high school students will example how a teacher can incorporate stagecraft and production within a dance program. While the text, Drew Campbell’s, Technical Theater for Non-Technical People, may provide more in-depth information than some of our dance people may need, one never knows when opportunities could arise to work in full theatrical productions in state-of-the-art theaters. 1.5 NDEO CEUs. Professor: Marty Sprague.

History

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OPDI-102: Dance History 1800 to the Present

This course investigates the ways in which dance in Western Europe developed through various cultural influences from the romantic ballet scenario in the nineteenth century to American artistic compositions of the twenty-first century in the present day. It is intended to expand students’ understanding of dance as both an art form and as a social and cultural artifact. Study includes concert dance forms (ballet, modern, jazz/musical theatre) and numerous social and ballroom dances from 1800 to present. Particular attention focuses on developing students’ ability to become highly qualified dance educators and to assist them in developing their own students as informed and literate audience members for dance and related dance arts performances. 3 NDEO CEUs. Professor: Doug Risner, PhD

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OPDI-111a&b: Dance History: Global, Cultural and Historical Considerations

This course (offered in two parts) provides an overview of dance history in cultural and historical context, from its earliest documentation (pre-historic times) to current practices, including the emergence of new dance forms through transmigration (e.g. Kathak to Flamenco, Clogging to Tap, Gumboot to Stepping). Global in its perspective, the course equally emphasizes Western and Non-Western dance forms. Using context as its primary lens, the course covers theatrical, folk and social forms of dance in socio-economic, religious, and political environments. The effects of culture on what and how we dance and the corresponding influence of dance on its society will also be explored. Among other dance forms, participants will explore examples of dance influenced by politics (e.g. Kurt Jooss' Green Table, and the trajectory of Cambodian court dance), economics (social dances of the Depression and Swing eras), religion (e.g. Bharata Natyam, as performed by the devadasis, and Sufi "whirling dervishes"), and myths and legends (e.g. Graham's Errand into the Maze, or variations on Apollo from Louis XIV through Czarist Russia to Balanchine.) 3 NDEO CEUs (1.5 for each part). Eligible for 3 UNCG Undergrad credits. Professor: Patricia Cohen, MA, RDE

Leadership and Administration

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OPDI-117: Developing Strategic Leadership in Dance and Life

This course looks at leadership as a complex process that has multiple dimensions. We begin with questioning: What is the role of ethics, integrity, and character in the leadership process? Is leadership more dependent on innate traits, skills and characteristics, or is it more learned behavior and strategy? This course focuses on the latter – learned behavior that requires one formulate and execute strategy. In narrowing our focus to lead with strategic thinking, we examine four ways effective leaders gain insight, drive change, and get results. In this journey, we draw on aspects of cognitive psychology, systems thinking, and game theory to inform strategy – a truly fascinating concept. When we integrate formulating strategy with executing strategy and apply intent to those functions, leadership types emerge – visionary, directive, incubating, and collaborate. We examine these in detail looking at core and applied competencies associated with strategic leadership. Case studies allow us to deconstruct and reconstruct concepts learned; ultimately understanding how formulating and implementing strategic thinking is critical to effective and successful leadership. In each module, students apply course content to personal and professional situations through doing many self-reflective inventories to provide base-line information about their own innate or acquired abilities; and building a Learning Opportunity case study applying lesson learned. Indeed the course provides the dance educator and administrator with important and practical ways to develop critical skills sets, develop actionable approaches to solving problems, and capitalize on innate strengths. Book required: Leading with Strategic Thinking: For Ways Effective Leaders Gain Insight, Drive Change, and Get Results by Aaron K. Olson & B. Keith Simerson (2015) Hoboken, NJ: John Wiley & Sons, Inc. 3 NDEO CEUs. Professor: Dr. Jane Bonbright

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OPDI-121: Ethical Dilemmas in Dance Education

In this course, we explore ethical dimensions of dance education based upon the pedagogical premise that each of us will teach as we were taught unless we seriously scrutinize our pedagogical choices, teaching approaches, and ethical decision-making. Participants are encouraged to investigate carefully their teaching practices and leadership potential by stepping back and objectively observing, considering, and assessing individual values and assumptions in ethical decision-making. There is always a tendency when facing a problem to look for the correct answer, however, as with all ethical dilemmas, the difficulty comes not in choosing right over wrong, but in deciding between conflicting choices that are neither all right nor all wrong. Ethical dilemmas in education are ones in which teachers must take action that will benefit one party at some expense or inconvenience to another. Resolving ethical dilemmas presses dance educators to prioritize among the conflicting wants, needs, and interests of students, parents, colleagues, and the larger culture. In other words, making one right choice in an ethical dilemma usually means that an individual cannot make another choice, which is equally right and equally important. Ethical decisions are difficult because no single option clearly dominates the alternatives. Given the social nature of ethical decision-making, the pedagogical approach to this course promotes and supports a collaborative learning community. With clear instructions and a set goal, partners and small groups explore collaboratively, experiment within themselves and work with open communication. Book required: Ethical Dilemmas in Dance Education by Doug Risner and Karen Schupp; Can be ordered from McFarland Books at https://mcfarlandbooks.com/product/ethical-dilemmas-in-dance-education/ 3 NDEO CEUs. Professor: Dr. Doug Risner

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OPDI-M5: Writing Successful Funding Proposals (6 weeks)

This is a course that takes the dance professional (OPDI student) on a journey that begins with understanding the basic sections required in a funding proposal, reflecting on one’s own institutional funding needs to develop the content in the funding proposal, and then articulating that content into the components of a full funding request. The course provides you a basic structure for writing proposals that is applicable to most private and public corporate and family foundations and state and federal grants. Writing any funding proposal is a learned skill and it improves with experience. Success builds success and, eventually, funders too learn who is a good investment, and who is not. It can take several years to earn this reputation; however, it is well worth the effort. Writing proposals is a delightful challenge and it can be a whole lot of fun! Students are advised to bring samples of grant opportunities with them for direct application, if available. Otherwise, real-life grants will be used as samples and assignments. 1.5 NDEO CEUs. Professor: Jane Bonbright, EdD

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OPDI-M22: Using Dance Pedagogic Content Knowledge (PCK) to Drive Programmatic and Self (8 weeks)

This course provides students with a useful conceptual framework to inspire thoughtful and informed curricular decisions about the allocation of instructional time and focus in K-16 dance education (elementary school to college) and to reflect on and renew one’s personal teaching practice. The conceptual framework explored is the 10 Pedagogic Content Knowledge (PCK) Skills Clusters that comprise the DELTA (Dance Entry Level Teacher Assessment) stemming from the National Core Arts Standards for Dance. These clusters include: 1) Performing Dance as an Intentional, Expressive Art Form (guiding principles), 2) Choreography (exploring, planning, revising), 3) Integrated Approaches to Historical, Cultural & Contemporary Dance Studies, 4) Dance Language, Literacy & Critical Analysis, 5) Pedagogical Theory & Practice, 6) Knowledge of the Learner, 7) Assessment Literacy, Evaluation & Reflective Practice, 8) School-based Policies, 9) Dance Classroom, and 10) Technical Production. Anyone with an interest in dance education and dance teacher preparation would benefit from this course, from new teachers to seasoned dance education professionals from any teaching environment. It is designed to support and extend dance education content knowledge while expanding personal and professional expertise. 2 NDEO CEUs. Professors: Dr. Elizabeth McPherson and Dr. Dale Schmid

Music for Dance

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OPDI-120: Music Theory and Applications for the Dance Teacher

Understanding music is an essential tool for a successful dance teacher. In a classroom setting, it is beneficial to be able to articulate to your students where rhythmic patterns lie, and where specific accents of movements occur. The first half of the course will raise awareness of the relationship between music and dance, covering the concepts of Beat, Pulse, Meter, Tempo, Dynamics, Articulation, and Phrasing. The student is given an opportunity to explore and apply to dance the concepts learned and write a short musical score to demonstrate overall comprehension. In the second half of the course, students continue to examine the symbiotic relationships that exist between music and dance finding meaningful ways to express those relationships in their teaching. Based on newly acquired musical knowledge and aided with a cadre of tools, students identify musical resources that support teaching and choreography needs. Participants will learn how to make effective music choices reflecting choreographic intent, build personal music libraries, and how to effectively communicate with live musicians in class and performance. In practicums, participants deconstruct a musical score and build a choreographic study derived from the musical structure. Finally, each student works collaboratively with the instructor in a composer/choreographer project with the instructor composing music for each student based on the student’s articulated choreographic intent. By the end of this course, students have a very organic understanding of their relationship with music. No textbook required. 3 NDEO CEUs. Professor: Jon Anderson

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OPDI-M14: Music Fundamentals for the Dance Teacher (6 weeks)

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OPDI-M17: Musical Applications for the Dance Teacher (6 weeks)

In this course students will apply concepts learned in OPDI-M14: Music Theory Fundamentals for the Dance Teacher in a variety of applications and examine the symbiotic relationships that exist between music and dance finding meaningful ways to express those relationships in their teaching. Based on newly acquired musical knowledge and aided with a cadre of tools, students identify musical resources that support teaching and choreography needs. Participants will learn how to make good music choices reflecting choreographic intent, build personal music libraries, and how to effectively communicate with live musicians in class and performance. In practicums, participants deconstruct a musical score and build a choreographic study derived from the musical structure; and each student works collaboratively with the instructor in a composer/choreographer project with the instructor composing music for each student based on the student’s articulated choreographic intent. By the end of this course, students have a very organic understanding of their relationship with music. No textbook required. Pre-requisite: OPDI-M14: Music Theory Fundamentals for the Dance Teacher or previous experience with basic music theory. 1.5 NDEO CEUs. Professor: Jon Anderson.

Pedagogy and Teaching Methods

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OPDI-107: Creative Dance in Early Childhood

This course provides an in-depth study of the NDEO Standards for Dance in Early Childhood and gives participants an understanding of developmentally appropriate pedagogy for children ages birth to 5 years. Students will be immersed in the study of the concepts and content of creative dance/movement, cognitive and child development, standards/assessment, pedagogy and best practices. Through readings, research, interactive activities and assignments, students will gain an understanding of how to develop and implement a creative dance curriculum. Students will apply their knowledge and understanding in an actual classroom. 3 NDEO CEUs. Professor: Lynn Monson

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OPDI-113: Foundations of Dance Pedagogy

This course provides a survey of educational foundations in dance pedagogy with particular emphasis on social and cultural aspects of pedagogical theory in multiple settings (K-12, private studio, higher education, and dance in community). Study includes the historical context of education and dance education, education theory, the art and science of teaching, the sociology of school organization and culture, and the ethical dimensions of teaching. Applied experiences include field observations in diverse dance teaching environments and social immersion projects. 3 NDEO CEUs. Professor: Doug Risner, PhD

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OPDI-114: Teaching Dance to Students with Disabilities

All children and adults need opportunities to learn, create, perform and respond to dance in all its forms. Dance provides students, with and without disabilities, a means of expression and communication, an opportunity to collaborate with others in the creative process and the exploration of new movement possibilities. Through this course educators will learn instructional strategies that successfully include students with disabilities in the P-12 school environment, dance studios, community spaces and higher education. Course participants will acquire knowledge and skills needed to plan and implement an effective and inclusive Dance Education program. The course will address legislation related to students with disabilities, characteristics of different disabilities, content and teaching accommodations for learning in dance education, goals, assessments and Individual Education Plans (IEP), and Disability Justice. Participants will also view the performances (via video) of professional dancers with disabilities. Educators who teach in the PreK-12 schools, private studios, higher education, and community dance programs will find this course can assist them with the knowledge and learning experiences to provide meaningful dance education programs for students with disabilities. 3 NDEO CEUs. Professor: Sandra Stratton-Gonzalez.

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OPDI-118: Dance Education Laboratory (DEL) Essentials

The mission of the Dance Education Laboratory (DEL) is to bring dance into children's lives and education by inspiring teachers to be life-long learners, by encouraging experimentation and observation in teaching, and by enabling teachers to give children ownership of the art form as a means of communication. DEL Essentials course is an introductory course that provides an overview of the key components of the nationally acclaimed DEL model of teaching dance to children and teenagers. This new online course is based on the highly popular DEL Essentials course that is taught at DEL 92Y and at Jacob’s Pillow. Participants will examine Laban Movement Analysis (LMA) as a framework for dynamic and scaffolded lesson planning, explore the DEL method of collaborative dance making, gain effective and inspired teaching strategies, and learn how to make connections between dance and other disciplines. If you are a first year teacher or seasoned dance educator who wants to refresh your practice, DEL is the course for you! Join the DEL community network and gain access to a wide range of dance education resources. #danceforeverychild 3 NDEO CEUs. Professor: Ann Biddle

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OPDI-M1: Dance Pedagogy: Learning Styles and Theories (4 weeks)

This course explores some of the educational theories that dance educators adapt to the classroom and studio. A working knowledge of this material allows us to develop a tool kit of teaching approaches, which serves the educational needs of our students. Each theory is accompanied with specific applications, usable in all teaching environments. In succession, we will explore the work of Muska Mosston’s Spectrum of Teaching Styles, Bloom’s Taxonomy, Arthur L. Costa and Bena Kallick’s Habits of Mind, and Howard Gardner’s Multiple Intelligences.
1 NDEO CEU. Professor: Sue McGreevy-Nichols

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OPDI-M2: Elements of Dance (4 weeks)

This course explores the language we use to describe movement, and dance in particular. Through movement and discussion we will examine how the body moves in space, in time, and with energy (dynamics). A working knowledge of this material allows us to identify and describe movement with specificity and clarity, which serves both teachers and students. Ultimately, the goal of movement is to communicate meaning. We will explore the tools with which the body communicates. We call these tools the elements of movement. Our bodies are the instruments of communication. We will examine what moves, where, how, and when it moves in space, and with certain qualities that enhance meaning. 1 NDEO CEU. Professor: Patricia Cohen, MA

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OPDI-M4: Developmental Domains in Dance (4 weeks)

This course explores the human development as it informs our teaching of students of all ages and abilities. Human development will be explored in several categories, called domains, which include physical, cognitive, social, and emotional development. As dance educators, we need to be aware of our students’ development in each of these domains. Participants will utilize this information in observing and identifying behaviors in each of the domains, and in creating learning environments in which all students can succeed. 1 NDEO CEU. Professor: Patricia Cohen, MA

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OPDI-M6: Introduction to Creative Dance for Early Childhood (6 weeks)

This course explores the concepts and content essential for quality teaching and learning for creative dance for early childhood. Cognitive and child development, standards, assessment, pedagogy and the foundations of curriculum development will be investigated through readings, research, observation and interactive projects. The course will explore BrainDance, developed by Anne Green Gilbert, and its 8 patterns of movement (Breath, Tactile, Core-Distal, Head-Tail, Upper-Lower, Body Side, Cross Lateral, and Vestibular) to show how it addresses child development principles and current brain research. Participants will grapple with essential questions, and learn the skills to be able to develop and implement a creative dance curriculum outline for either 3-5 or 6-8 years of age. 1.5 NDEO CEUs. Professor: Lynn Monson

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OPDI-M7: Ballet Theory and Composition (6 weeks)

This course examines the diverse and multilateral Western training systems of the French, English, Russian, Italian, Danish, and American schools. By examining historical approaches, students will compose their own syllabus for classroom training. Due to its emphasis on ballet technique and teacher performance, the course relies heavily on visual learning (viewing videos), video recording of classroom teaching, and video conference feedback. This course is beneficial for university students, dancers who are making the transition from a performance career to a ballet-teaching career, and current teachers who want to brush up on theory with online flexibility. It is recommended that students have at the minimum, an introductory knowledge of ballet terminology and technique. It is recommended that students enrolled in this course are currently teaching a ballet class or have instructional access to a group of students, in order to apply assignments that require student demonstrations. If you do not have access to students during this course, please inform the instruction immediately for alternate assignment. Book required: Technical Manual and Dictionary of Classical Ballet by G. Grant. (2014) New York, NY: Dover Publications.1.5 NDEO CEUs. Professor: Lori Provost, MA

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OPDI-M12: Jazz Dance Theory and Practice (6 weeks)

This course traces the continuum of jazz dance from its roots to its many manifestations today. Students will explore their own jazz dance identity through a process of examining historical jazz eras and styles (authentic, vernacular, theatrical, and contemporary) and by engaging in reflection, choreographic explorations, and dialogue with classmates. Additional course components include reading, video viewing and analysis, and writing assignments that allow students to focus their understanding of jazz dance. Whether you teach in a privately owned dance studio, in K-12, or in higher education, this course will also offer participants the opportunity to practice a historically-rooted approach for teaching jazz dance that is relevant today in contemporary jazz dance practices. By applying essential jazz dance characteristics that are derived from the origins of jazz but are often forgotten in dance studios today, participants will be able to integrate a rich understanding of jazz dance to classroom exercises that are already in your tool box. Feedback from classmates and instructor will open the doors to a dialogue where, as a community, one can share successes and challenges. In turn, participants will complete this course with a series of class exercises that can be explored and integrated into regular studio classes. Book required: Jazz Dance: A History of the Roots and Branches by Lindsay Guarino and Wendy Oliver. (2014). Gainseville, FL: University Press of Florida. 1.5 NDEO CEUs. Professor: Lindsay Guarino

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OPDI-M13: Modern Dance Theory and Composition (6 weeks)

In this course, students will engage in research and reflection on the following questions: As a teacher, what long term dance learning or enduring understanding do you wish to pass on to your students regarding modern dance? As a choreographer, do you know the lineage, from where your personal expressive style is rooted and developed, of your modern dance style? As a performer, how can an understanding of modern dance styles aid in clarity of execution in repertory pieces? From where do we develop our personal movement preferences and expressive capabilities? What or who has influenced these preferences and capabilities? Even if you are a “rebel”, as opposed to one devoted to passing on a legacy, you need to know from what or whom you are rebelling. By applying a known family genealogy, one is given a deeper sense of identity and so knowing the modern dance historical genealogy gives a deeper sense of one’s place in the modern dance world and thereby improve one’s dance products and students’ training experience. Required Books: Legg, Joshua. (2011). Introduction to Modern Dance Techniques. Hightstown, NJ: Princeton Book Company Publishers. Optional additional text: Strauss, Marc Raymond with Nadel, Myron Howard. (2012). Looking at Contemporary Dance: A Guide for the Internet Age. Hightstown, NJ: Princeton Book Company Publishers. 1.5 NDEO CEUs. Professor: Marty Sprague

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OPDI-M20: Building an Online Dance Course: Process, Product, & Student Engagement (6 weeks)

OPDI-M20: Building an Online Dance Course: Process and Product (6 weeks)

COVID-19 and social distancing have heightened the need for all dance educators to develop skills needed to teach online, to develop a comprehensive online course, and to implement strategies to keep students engaged. This course takes the dance professional (OPDI student) through the process of planning, designing, and implementing an online course and explores commonly used online Learning Management Systems (LMS). Participants learn how to develop course modules, identify resources, and design assignments, student work, and assessments. Student engagement strategies will also be explored. Whether you are teaching dance technique or the academic side of dance, this course will help you develop a rigorous, well-constructed online course that can work across multiple teaching environments. Participants should have an idea for a course outline that they would like to design by the end of this course. 1.5 NDEO CEUs. Professor: Beth Megill

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OPDI-M21: Integrating Social Emotional Learning (SEL) in Dance Curriculum (6 weeks)

With an emerging evidence base connecting dance to Social and Emotional Learning (SEL) outcomes, it’s important for dance teachers to understand and be able to articulate this connection. Additionally, any kind of dance teacher can strengthen their pedagogy and student outcomes with a more intentional and explicit focus on SEL. This course provides strategies for aligning dance curriculum to CASEL’s “Framework for Systemic Social and Emotional Learning.” CASEL stands for the Collaborative for Academic, Social, and Emotional Learning. Participants will learn about the CASEL framework and the research showing the strong connection between dance and SEL. The five broad SEL competency areas: Self-Awareness, Self-Management, Social Awareness, Relationship Skills, and Responsible Decision-Making. The course will wrap up with participants mapping out an action plan for how they can integrate explicit and intentional SEL approaches into their teaching. 1.5 NDEO CEUs. Professor: Margot Toppen

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OPDI-M23: Creating an Ethics and Pedagogy of Teaching with(out) Touch (6 weeks)

Dance teachers in every setting have long used touch as a teaching method. It is employed for correction or support, to provide a goal, impart kinesthetic feedback, or other reasons. With disclosures of sexual misconduct at top artistic institutions, the rise of the #MeToo movement, startling statistics regarding young people who have experienced trauma, and ongoing concerns around coronavirus, we now have an excellent opportunity to address the pedagogy of touch. Different approaches, such as imagistic language, prop work, or other types of touch may provide for safer learning environments, empower students, and/or provide new depth to the creativity and teaching practices already employed. This course combines knowledge of best practices of physical contact in dance and theatre performance with Laban/Bartenieff Touch-for-Repatterning practices. It examines consent and power dynamics in the studio, creating an ethics of touch for movement classes, and low-touch/no-touch teaching options. Those enrolled in the course will be encouraged to strategically offer opportunities for students to practice consent and exercise agency when touch is employed. The course encourages personal reflection and choice-making for effective teaching. The material is applicable to dance teachers in any environment. 1.5 NDEO CEUs. Professor: Nicole Perry

Research

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OPDI-105: Introduction to Dance Education Research

This course provides a survey of current research paradigms in dance education inquiry with particular emphasis on research design, methodology, and pedagogical implications for dance teaching and curriculum. The course provides an in-depth study of empirical and exploratory research drawn from historical, philosophical, ethnographic, case study, survey, action research, interpretive and critical approaches. The formulation of research question(s) and their methodologies figure prominently in the course outcomes. 3 NDEO CEUs. Eligible for 3 UNCG undergraduate credits. Professor: Doug Risner, PhD

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OPDI-109: NDEO Conference Research Study

This course provides the student an opportunity to transform national conference into a laboratory for research. Under the advisement of the professor and several months before conference, the student develops a research question , does a review of literature, pre-selects conference sessions (presentations, panels, papers, and workshops) relevant to the research question and to be attended, and schedules interviews at conference with experts in the area of study. In the final research paper, the student synthesizes his/her understandings with the literature review, conference sessions, and interviews to develop one’s own conclusions and recommendations for future study. The completed research paper is due six weeks post-conference. Cost of course w/conference fee is $550. Offered as an Independent Study and can only be taken once. 3 NDEO CEUs. Professor: Jane Bonbright, EdD

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OPDI-M11: Exploring Dance Education History, Legacy, and Literacy through DELRdi (6 weeks)

This course is designed to help your dance education practice in many diverse ways. Importantly, it provides the participants with exciting and creative ideas and resources to build interesting class content. It introduces stimulating research and important dance topics, and provides the knowledge-base to debate the merits of a selected topic in light of previous studies. It enables participants to address important and relevant issues and policy in dance education. In addition, students will develop fluency using DELRdi (Dance Education Literature and Research descriptive index) and discover the vast range of information contained in the index. Students will share results of individual searches and discuss interpretations of what the literature tells us about dance education and research. Finally, participants will develop a new online DELRdi tutorial for first-time users, locate missing documents and prepare them for inclusion in the DELRdi, and create an independent project applying DELRdi to a particular population or area of interest. 1.5 NDEO CEUs. Professors: Anne Dunkin and Rachel K. Palermo

Standards / Portfolio

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OPDI-101: Introduction to the Professional Teaching Standards for Dance Arts (PTSDA)

This course deepens the student's understanding of standards and provides them with the tools needed to apply standards in their daily teaching environment. The PTSDA provides eight industry standards for teaching dance that include: developing your own goals, objectives, and value systems for teaching dance (to any age in any environment); understanding the content of dance, students and needs; incorporating diverse resources into your program; addressing the need to grow as a professional and contribute to the profession; building your program in your community; and reflecting on your own teaching practice utilizing student and teacher assessments, program evaluation, and research. 3 NDEO CEUs. Professor: Patricia Cohen, MA.

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OPDI-112: Implementing the New National Core Arts Standards in Dance

This course will delve into the new standards that were launched in October 2014 as part of a collaborative effort with all the major art forms including dance, music, theater, visual arts and media arts. The new dance standards focus on the 4 artistic processes of creating, performing, responding and connecting. Participants will go in-depth with the standards and learn how to apply the standards in their own classrooms or studios. During this course participants will develop curriculum and lesson plans based on the new standards. 3 NDEO CEUs. Professor: Susan McGreevy-Nichols and Marty Sprague

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OPDI-201: PTSDA ~ Professional Portfolio Development

This course guides participants through the essentials of developing a professional portfolio culminating in an organized, useful compilation of one's accomplishments, skills and pedagogical expertise. Each course module substantively references the Professional Teaching Standards for Dance Arts, providing solid evidence of one's deep understanding of the Standards manifested in statements of teaching philosophy, lesson plans and assessments for varied populations, videos of teaching moments, documented collaborations with colleagues, and one's place in the community as an advocate for dance in arts education. Professional portfolios are now also being used more and more as a tool for teacher evaluation and job promotion. Pre-requisites Intro to PTSDA or test-out. As with all Independent Studies, the student must develop a personal timeline for completing all course requirements. 3 NDEO CEUs. Professor: Patricia Cohen, MA.