This article was downloaded by: [University of Waikato]On: 14 July 2014, At: 11:12Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House,37-41 Mortimer Street, London W1T 3JH, UK

Journal of Physical Education, Recreation & DancePublication details, including instructions for authors and subscription information:http://www.tandfonline.com/loi/ujrd20

Teaching Training and Discipline-Based Dance EducationBeverly Allen aa Department of Physical Education , Ohio State University , Columbus , OH , 43210 , USAPublished online: 25 Feb 2013.

To cite this article: Beverly Allen (1988) Teaching Training and Discipline-Based Dance Education, Journal of PhysicalEducation, Recreation & Dance, 59:9, 65-73, DOI: 10.1080/07303084.1988.10606322

To link to this article: http://dx.doi.org/10.1080/07303084.1988.10606322

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) containedin the publications on our platform. However, Taylor & Francis, our agents, and our licensors make norepresentations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of theContent. Any opinions and views expressed in this publication are the opinions and views of the authors, andare not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon andshould be independently verified with primary sources of information. Taylor and Francis shall not be liable forany losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoeveror howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use ofthe Content.

This article may be used for research, teaching, and private study purposes. Any substantial or systematicreproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in anyform to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

D ance education is in themidst ofsignificant changes.The growing number of

states awarding certification indance education is a strong indica­tion that the field is becoming morerecognized and accepted as a legiti­mate and specific area of study; thisnecessitates particular consid­erations in teacher preparation.

Dance education implies thatdance is, in and of itself, a disciplineto be studied in an educational set­ting. Knowledge about dance is en­gendered and validated in the samewayas knowledge in other academicdisciplines-through a body ofknowledge, based upon scholarlyresearch in essentially every aspectof dance. Dance, like other disci­plines, has a distinctive history, lan­guage, learning sequence, culturalbasis, conceptual content, methodof inquiry, literature, historical fig­ures, and opportunity for creativity.

A dance education program ischaracterized by engaging studentsin experiences that heighten per­ceptual abilities, prompt deci­sion-making based upon criticallydeveloped values, and encouragediverse responses. Dance educationprovides experiences in (1) learningabout dance, (2) creating dance, (3)making critical decisions aboutdance, and (4) enjoying dance(Pennsylvania Department of Edu­cation, 1974).

The concepts of knowledge andvalues are included in dance educa­tion. The term knowledge has mul­tiple meanings, referring not only toknowledge about dance, but also toknowledge of dance as a mode ofknowing through experience of theexpressive power of dance. HaroldTaylor (1960) points out that feweducators realize that the arts are aform of knowledge.

Dance is a discipline having anorganized set of theories, concepts,principles, and skills. It consists of adistinct body of knowledge thatneeds to be studied in order to beunderstood. The study ofdance as adiscipline involves the acquisition ofconcepts, facts, and skills related todeveloping an understanding of thenature of dance, how dance func-

JOPERD-November-December 1988

TEACHING TRAININGAND

DISCIPUNE-BASEDDANCE EDUCATION

BEVERLY ALLEN

[acques D'Amhoise: NationalDance Institute

65

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

66

tions in culture, the making of ra­tional decisions and informed valuejudgments about dance, as well asactual dance performance. As a dis­cipline, dance education addressesthe structure, meaning, and value ofdance.

Dance is a mode of knowing.Knowing in dance occurs both onthe explicit and tacit level. Explicitknowledge can be described as for­mulated facts and formulae that canbe learned from external sourcesand may be critically reflected upon.Tacit knowledge is an innate processbased on knowledge that mayormay not be conducive to critical re­flection. Tacit knowledge may besubstantiated by explicit knowledgeand explicit knowledge may bedeepened by tacit knowledge, bothhaving the profound effect of va­lidating the other.

On the explicit level, dance in­volves conscious awareness and de­cision-making. It emphasizes in­tellectual outcomes and makes useof Bloom's (1956) Taxonomy of Edu­cational Objectives in the cognitivedomain. On the tacit level, danceinvolves the expressive and aestheticexperience. It concerns attitudes,interests, and appreciation andmakes use of Krathwohl's et al.(1964) Taxonomy ofEducational Objec­tives in the affective domain.

Elizabeth Hayes (1964) states thatmuch knowledge in dance is intui­tive. This intuitive knowledge is realknowledge based upon human sen­sitivity and experience. She main­tains that dance creation, apprecia­tion, and criticism are all largely thereflection and outcome of humanintuition.

Marjorie Grene makes the follow­ing statement about tacit knowl­edge.

Let us recognize that tacit knowingis the fundamental power of themind, which creates explicit know­ing, lends meaning to it and con­trols its uses. Formalization of tacitknowing immensely expands thepowers of the mind by creating amachinery of precise thought, butit also opens up paths of intuition;any attempt to gain complete con­trol of thought by explicit rules is

self-contradictory ... The pursuitof formalization will find its trueplace in a tacit framework. (1969,p. 156).Dance is experience. It involves

the physical, mental, and emotionalaspects of the individual and is ex­perienced through dancing, creat­ing dance, and responding to dance(National Dance Association, 1988).Dancing is the active engagement ofthe individual in the physical act ofmoving the body in time, throughspace, with energy. Dancing in­volves exploring, sensing, concen­trating, and committing to the totalexperience. Creating dance is theactive engagement of the individualin the forming process. Physicalform is given to internal thoughtsand feelings. Imagining, exploring,improvising, problem-solving, anddecision-making are all a part ofcreating dance. Responding todance is active engagement of theindividual in "perceiving, reacting,producing, conceptualizing, analyz­ing, evaluating, and valuing" (Re­imer,1971).

Consider the value of dance ingeneral-Why do people dance?What do they get from dancing?The answers lie within the assess­ment of values of dance to the indi­vidual, to society, and to culture as awhole. For the individual, dance in­volves the physical, mental, andemotional functions. It provides ameans to attain self-awareness,self-development, and self-fulfill­ment. Dance not only has value forthe individual from the benefits de­rived, but the individual also de­velops a set of values.

Margaret H'Doubler (1940, p.64) maintains that the capacity toexpress develops character and asense of values: "The concern ofdance should be to develop thepower of expression through thestudy of dance." Charles Silberman(1976, p. 38) supports a curriculumconcerned with "individual growthand fulfillment and those con­cerned with the transmission ofspecific skills, intellectual disci­plines, and bodies of knowledge." Itis his opinion that the cognitive andthe affective behaviors are equally

important. Alma Hawkins (1954)contends that through successfulcreative experiences in dance theindividual will grow in understand­ing of self, in relationship to others,and in turn, in total development.

Dance is often a cooperative en­deavor, an art of socialization. Itprovides a means of knowingothers, building a feeling of socialidentity and unity, thus promoting agreater understanding of commu­nity. Dance education is not justabout simple socialization, it is abouthow involvement with dance ena­bles the individual to understandhim or herself and society. Basedupon the individual's understand­ing and aspirations of what a societycan be, June Parrott (1986) main­tains that through the use of the artforms, the individual can "create anew society."

Culturally, dance reinforces life­style. Through dance, an under­standing of one's own culture andthe culture of others can be at­tained:

Culture is activity of thought, andreceptiveness to beauty andhumane feelings ... What weshould aim at producing is menwho possess both cultural and ex­pert knowledge in some special di­rection. Their expert knowledgewill give them the ground to startfrom, and their culture will leadthem deep as philosophy and ashigh as art. We have to rememberthat the valuable development isself development. . . (Whitehead,1967, p. I).

The role and value of arts educa­tion has been and is presently ques­tioned. The arguments that haveensued have been primarily basedupon two philosophical viewpoints:the utilitarian philosophy and theaesthetic philosophy. The utilitarianapproach integrates the arts into thecurriculum to demonstrate, illus­trate, elucidate, and culminatenon-arts subjects. According toFowler (1985), utilitarian philoso­phy reasons that the arts should bevalued because of their practical andinstrumental contributions to

human development, whereas,aesthetic philosophy reasons that

JOPERD-r-;ovember-Derember 1988

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

The function of the arts in generaleducation is a perennial issue.There have been times when thearts were heralded as remedies forthe ills affecting schools and societyitself. Now, however, as new criseschange educational priorities, therole of the arts is again in question.What role should they play in to­day's schools, given the rising de­mand for excellence? (Efland,1985, p. II)

In Gerald L. Knieter's (Fowler,1985) point of view, the support ofthe arts based upon utilitarian phi­losophy-that the arts are to bevalued because of their contri­butions to human development-isfor nonaesthetic (nonartistic)reasons. He feels that "any profes­sion that seeks justification apartfrom its subject is on shaky ground"(p, 17). Dobbs (Fowler, 1985) main­tains that rationales for the arts inthe curriculum as merely utilitarianperpetuates the "non-intellectual­ity" of the arts. He suggests that weapproach the arts cognitively, and indoing so make them the "legitimatebusiness of the schools" (p. 14). Theutilitarian concept of arts education

j.~

'".t'I~ ;

BostonBallet School: a boys' class held at the Great Woods EducationalForum.

the arts have their own intrinsic emphasizes arts education as an en-qualities that make them worthy of richment component rather than asinclusion in the education cur- a basic discipline in the curriculum.riculum. The aesthetic philosophy of arts

education su pports the arts asacademic disciplines. The issue ofthe arts as academic subjects has eli­cited a major debate. David C. King(1985) states that many arts educa­tion leaders believe that the arts willbe stripped of their uniquely valu­able assets if they are treated as anacademic discipline. He quotesJohnGoodlad, who wrote "I am disap­pointed with the degree to whicharts classes appear to be dominatedby the ambience of English, mathe­matics, and other academic subjects... following the rules, finding theone right answer, practicing thelower cognitive processes" (p. 4).King also looks at the approach sug­gested by Maxine Greene. Greenesuggests a combination of cognitiveand affective development. She be­lieves, King reports, that attainingaesthetic literacy is a cognitive proc­ess, but it cannot be acquired bytreating arts education as anacademic discipline.

Charles B. Fowler, (1985) con­tends that the arts are an intellectualprocess. He explains that the con­cept of process has broadened and"now refers to how the mind func-

JOPERD-November-December 1988

tions to create, to discern, to per­form, to evaluate, or to do any of theother tasks associated with the artsand learning" (p. 14). The mentalmeans of perceiving, understand­ing, and reacting are developedthrough the cognitive approach toarts education. Fowler cites Steph­en M. Dobbs and David Perkins insupport of his statement. Dobbsmaintains that, when approachedcognitively and creatively, creativityin the arts is a form of problem-solv­ing and a set of skills that can bestudied. David Perkins asserts thatthe cognitive and affective domainsare not opposites. Cognition is anecessary provision for feelings.Feelings are cognitions (informa­tion) and like any information, needto be viewed analytically.

The nature ofdance lends itself toboth aesthetic and utilitarian pur­poses. Though it has its own intrin­sic values, the results of learningdance, by virtue, overlap into learn­ing in other general educationcourses. David King (1985) surmisesnothing is lost if arts education hap­pens to enhance general educationby "improving such cognitive skillsas writing, analytical thinking, prob­lem solving, and decision making"(p.7).

The cognitive approach to dance

67

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

68

education does not negate the indi­vidual properties of dance, but in­stead, allows it to be viewed as a dis­cipline with a set of concepts andskills that can be studied. Theutilitarian function of dance in noway negates its aesthetic contri­butions. Instead, it enhances thevalue of dance education in the cur­riculum. It is when utilitarian func­tion is stressed as the dominant as­pect of dance education that it is nolonger dance education.

Consider the following statementby the President's Commission onHigher Education cited by Hawkins(1954) in light of the value of dancein the general education cur­riculum.

General education should give tothe student the values, attitudes,knowledge and skills that will equipthem to live rightly and well in afree society. It should enable themto identify, interpret. select. andbuild into his life those compo­nents of his cultural heritage thatcontribute richly to understandingand appreciation of the world inwhich he lives. It should thereforeembrace ethical values. scientificgeneralizations, and aesthetic con­ceptions (p. 27).

A major goal of education is the de­velopment of the mind and in­tellectual capabilities of the individ­ual. In recent years, the educationaltrend has emphasized intellectualprocesses, i.e., reaching higherlevels of thought.

Dance education develops skillsvital to the realization of this educa­tional goal. All of our mental pro­cesses depend upon perception. In­adequate perceiving results in poorthinking, inappropriate feeling,diminished interest and enjoymentof life. A major focus of dance is onthe training of perception.

In perceptual thinking, onecomes to know about things in theway they affect us as well as by theirdistinguishing properties. MargaretH'Doubler (1978) states that per­ceptual thinking leads to conceptualthinking or the formation of con­cepts. Through the use of conceptsit is possible to extract more abstractinformation. The greater the con­ceptual abilities, the better the gen-

eral problem solving abilities. Expe­riences broaden the perceptualbase, enhancing the development ofimproved discrimination andproviding the capacity to perceiveincreased specificity and unique­ness.

Dance education should heightenperceptual and analytical abilities. Itnurtures imagination and creativityrequisite to innovative thinking andproblem-solving. Dance educationelicits and develops judgment andcultivates the senses.

Dance education is more thansimply preparing dancers to enterthe profession of dance; it is ameans by which the passive spec­tator can become an active partici­pant. Formal study in dance educa­tion is based upon the acquisition ofliteracy in dance. Literacy involvesboth the ability to use personal skillsand processes required for expres­sion in dance and the ability to un­derstand the work of others. Theindividual is provided an opportu­nity to combine intellect and emo­tion in an effort to increase personalknowledge, skills, and understand­ing of dance, thus providing afoundation for intellectual and ar­tistic achievement.

In essence, dance students willachieve an understanding of theheritage of dance, the developmentof its many forms, and its pioneer­ing and contemporary contributors;understand its values and functionsin culture, society, and in the de­velopment of attitudes and valuesbasic to human relations; reach alevel of personal achievement inaesthetic expression and perfor­mance skills; heighten perception,appreciation, and understanding ofdance as consumers; and heightenpersonal enjoyment of life anddance as an art form.

There is a need to develop a com­prehensive, sequential dance educa­tion curriculum that will accomplishthese goals.

In considering the views of cur­ricularists, both in the area of artseducation and in curriculum in­struction and development, it is pos­sible to discern the basic structureand content of dance education cur-

riculum.Theodore Zernick (1981) states

that conception of the curriculumhas a profound influence on theformation of its content and for thisreason it is important that "the cur­riculum reflects an organized con­ception of knowledge and not sim­ply a fragmented collection of skills"(p. 155).

Edmund B. Feldman (1981)maintains that the arts are mul­tidimensional. Given their pluralis­tic nature, the curriculum must bestructured so as to acknowledge (1)the variety of traditions and ethnicconstituencies; (2) generating gen­eral educational values within thearts context; and (3) the necessity ofmastering the tools, skills, and lan­guages of the arts.

Nadia Nahumck (1968) states:

"The art form in its completenessneeds to be experienced. Benefitsaccruing to students ought to beevaluated in terms of aesthetic per­ception as well as physical skill.This curriculum must therefore,provide a broad base for move­ment exploration by all studentsand a resilient plan for wider anddeeper dance experience leadingto opportunities for specializationin unique and distinctive aspects ofthe art form" (p. 16).

The discipline of dance may beconceptualized as having fourmajor dimensions: 1) aesthetics, 2)production, 3) history, and 4) criti­Cism.

Aesthetics is a means of analyzingand interpreting some of thedeepest and most human feelings. Itgives rise to questioning, criticallyexamining, and drawing conclu­sions from experiences.

The aesthetic dimension of dancefocuses upon the experiencing ofhuman feelings and meanings con­veyed through dance, understand­ing the nature of dance, and analyz­ing and interpreting dance.

Production affords the opportu­nity to experiment and to developskills of performance or the makingof dances that have aesthetic prop­erties. Direct involvement in thecreative processes of dance produc­tion facilitates understanding of

.I0PERD-November-December 1988

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

how dances are created and howideas are expressed through dance.Dance production also provides op­portunities for decision-making,problem-solving, and creative ex­pression of ideas and feelings.

Performance includes the acquisi­tion of movement skills in the formof technique and their underlyingkinesiological principles; studyingthe elements of dance-movementof the body in time, through spacewith energy; and performing andcreating dances. Dance isa perform­ing art and it is only natural thatperformance be an important out­come and valued dimension ofdance education.

History imparts knowledge perti­nent to the understanding of dance.It brings information about creatorsofdance, the functions ofdance, thecultural contexts in which danceswere created, and the rationale forchanges in dance over time into per­spective. The times and culture ofthe creators of dance is reflected intheir work. The dance contributesto the understanding of past civiliza­tions as well as present societies.

The study ofdances from the pastand the present aid in the develop­ment ofhow dance reflects values ofa society; how social, political, andeconomic belief influences dance;and how dance has contributed tosociety.

The heritage of dance, its func­tion in and value to society, and thecultural context in which it wascreated are part of the study of itshistory. Nadia Nahumck (1968)considers the study of dance historyto be valid whether the concern iswith a chronology of great works,personalities, or studies of dancewithin its multicultural environ­ment.

Criticism addresses the com­prehension ofand judgments aboutdance. Criticism offers a base ofknowledge and objective criterionupon which intelligent and in­formed analyses, interpretations,and judgments about dance may beformulated. Dance criticism re­quires observation, discrimination,comparison, differentiation, anduse ofexpressive language to articu-

JOPERD-November-December 1988

late the assessment of a dance.Through these experiences, theability to understand the meaningofand tojudge the quality, purpose,and value of dance is broadened.

In critiquing, dance studentscome to realize that response to adance is a combination of knowl­edge, personal experience, andwhat actually exists in the dance:"They come to appreciate diversityof individual responses and in­terpretations and may identify howpoints of view about a dance corre­spond to various theories aboutwhat art should be" (National DanceAssociation, 1988, p. 18).

The dance education curriculummust provide a wide range of expe­riences in dance. It must provide anorganized conception of knowledgeabout dance as well as meaningfulexperiencing ofdance. Through re­lating and integrating the content ofthe disciplines of dance aesthetics,dance production, dance history,and dance criticism, the dance edu­cation curriculum can be developedfrom a broad base of knowledge.Such a dance education curriculumwill prepare the emerging profes­sional dance teachers to teach danceas a discipline in the general educa­tion curriculum.

References

Bloom, B. S. (ed.). (1956). Taxonomy ofeducational objectives, Handbook I: Cog­nitive domain. New York: Longman,Inc.

Efland, A. (1985). Excellence in educa­tion: The role of the arts. In T. B.Tuttle, (Ed.), Fine arts in the cur­riculum. Washington: National Edu­cation Association.

Feldman, E. B. (1981). Varieties of artscurriculum. In M. Engel & J. Haus­man (Eds.), Curriculum and instructionin artsand aesthetic education. St. Louis:CEMREL, Inc.

Ford, G. W. and L. Pugno. (1964). Thestructure of knowledge and curriculum.Chicago: Rand McNally.

Fowler, C. B. (1985). Addressing the is­sues: The case for the arts. In T. B.Tuttle (Ed.), Fineartsin thecurriculum.Washington: National Education As­sociation.

Grene, M. (1984). Beyond empiricism:Michael Polayni reconsidered. NewYork: Peter Long.

Hawkins, A.(1954). Modern dance inhigher education. New York: TeachersCollege.

Hayes, E. R. (1964). An introduction totheteaching of dance. New York. TheRonald Press Co.

H'Doubler, M. N. (1978). A way ofthinking. In D. J. Fallon, (Ed.), En­coresfor dance. Selected articles on DanceIII, 1968-77. AAHPER Publications,1978.

H'Doubler, M. N. (1940). Dance: A cre­ative art experience. Madison: Univer­sity of Wisconsin Press.

King, D. C. (1985). Must theartsgo round'coloring, polishing, and playing' to in­cludesubstance and rigor? Twoart centerssayyes. ASCD curriculum update.

Krathwohl, D. R., Bloom, B. S., &Musia, B. B. (1964). Taxonomy of edu­cational objectives, handbook II: Affectivedomain. New York: Longman, Inc.

Nahumck, N. (1968). A comprehensivegraded curriculum in dance trainingfor secondary schools. Research indance: Problems and possibilities. NewYork: CORD.

National Dance Association. (1988).Dance curriculum guidelines K-12. Res­ton: National Dance Association.

Parrott, J. (1986). Developing excellencethrough curriculum in art. Journal ofAesthetic Education. 20(3).

Pennsylvania Department of Education.(1974). A way of getting started: Defi­nitions through a process. Harrisburg:Bureau of Curriculum Services.

Rae, C. (1968). Dance commentary:Educational and performing art. En­coresfor DanceSelected Articles on DanceIII.

Reimer, B. (1971). Building an aestheticeducation curriculum: A model andits application. In M. Engel & J.Hausman, (Eds.), Curriculum and in­struction in arts and aesthetic education.St. Louis: CEMREL, Inc.

Silberman, C. (1976). Crisis in the class­room. New York: Doubleday.

Taylor, H. (1960). Art and the intellect.New York: Doubleday & Co.

Whitehead, A. N. (1967). The aims ofeducation and other essays. New York:The Free Press.

Zemick, T. (1981). Stage theory and itsimplications for curriculum de­velopment in art education. In M.Engel & J. Hausman, (Eds.), Cur­riculumand instruction in artsand aesthe­ticeducation. St. Louis: CEMREL, Inc.

Beverly Allen is a graduate research as­sociate in the Department ofPhysicalEducation at Ohio State University,Columbus, OH 43210.

69

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

THEULTI IEHTNESS 'HINEFORYOURSCHOOL

BACKED BY THE SCHWINN"NO-TIME-LIMIT"WARRANTY

The Air-Dyne Ergo­meter is guaranteedto be free from

, defects in materials, andworkmanship

by the famousSchwinn "No­

Time-Limir:warranty.Details areavailable at

your Schwinndealer.

MWURE AND MONITOR SERVICED BY ANADONALINDMDUAL PERfORMANCE NnwORK OF SCHWINN DEALERS

A built-in digital timer The Air-Dyne is soldand precision workload fully assembled andindicator permit accurate ready to ride. Famousmeasurement of theuser's Schwinn ser- ~ ... 'performance in a given vice is astime. These instruments close as yourcan help to nearby .avoid over- authorizedexertion at Schwinnthestart and dealer.to measure CALLimprovement TOLL-FREEon a continu- 1-800-ing basis. 228-1881.

operation exercises legs, thighsandhips.

DESIGNED TO IMPROVECARDIOVASCULARFITNESS

The Schwinn Air-Dyne is atrue ergometer designed toprovide the aerobic exercisepeople need to maintain andimprove theircardiovascularsystems. Aunique air displace­

ment principle permitscontinuous program­mable andvariableworkload resistance.

ONE MACHINE TOEXERCISE MRY MAJORMUSCLE MASS

Students and faculty canuse the Schwinn Air- Dyne toexercise the upper as well as thelower body, separately andorsimultaneously. Its uniquemoving hand levers can buildand tone arm, shoulder, backandstomach muscles as pedal

Forfree brochure, write Excelsor Fitness Equpment Ql.,217N.Jefferson, Chicago, IL 60606, ASchwinn Q)mpany

Circle 119 on Reader Service Card

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

•II

When a yo(.(n9 person has s disability} personal best canmean 90;n.9to school, p/ay in9 a sport, or butttJning a shirt,It can mean joining +he Scours, help in9 a nei9hbor, orho1din9 a job.

The Foundation for Exceptional Children honors youngpeople who face difficult chaJlenges and sa1J "Yes r Con!"If yov. know someone. from two to 2./ years of age, with ddisability and a \\ yes r can" attitudeI please tell us.The schlevemenrs may be in any of these ca~9or;es:

ACADfMICSARTS

ATHLETICSCQMMUN ITY SERVICE

EMPLOYMENTEXTRACURRICULAR KT/VITIES

INDEPENDENT LIVING SkiLLSWrite to:YES I CAN!The Foundation for I:xcepiiona/ ChildrenResroo, Virg in ia 22.0'1

Circle 236 on Reader Service Card

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

":<Be">}' pget.: ~~~'"';w:'::'"{,;~' / n

~~_~P#f.'--' heart research off on->;~:~:~:c~~dd:~~r::::,nl~'sh:::nd;~:a::a~~~st the right foot

of students across America Jump Rope for Heart.

Besides establishing good lifelong exercise And the lefthabits, it's a fun-filled way for students to raise

money to help loot the bill lor vital research. And the rightBut without your support, it can't get a leg up.

Find out how you and your school can have a great And the lefttime learning the benefits of leading healthy and

active lifestyles while joining in the fight against heart disease.

Circle 134 and mail in the Reader Service Card. You will receive all the information you need to get

your students up in the air about heart health. Who knows? A major medical breakthrough could be just

two feet away.

6American Heart~Association 54)\", . , all'

American plrvncal.t'ducQnGnAlliance '"""an",,

and dance

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4

Are Physical EducatorsPhysically Fit?

Perceived and Measured PhysicalFitness of Physical Educators

In the article "Are Physical Edu­cators Phvsirally Fit?" by L. JeromeBrandon and Raynette L. EvansUOPERD. September, 1988), onpp. 73-75. four tables were inad­vcrteutly omitted. The article'spremise asserts that "As role mod­els. physical education teachersmust exhibit healthy lifestyle prac­tices to optimize teaching effec­tiveness." This contention wasbased on research finding that stu­dents are biased on the basis ofteacher appearance.

TABLE 3. Respondents'Nutrition Information

TABLE 1. Aerobic Activities(Fifty-two or 85% of the respondents engaged in some type of aerobic activity)·

Summary of those who participated at least one day a week

Activity N % of sample

Walking 43 71.6Jogging 29 48.7Running 18 30.0Cycling 16 26.6Swimming 10 16.7

Summary of those who participated three or more days a week for at least20 minutes per session. (This included 46 respondents or 77% of thesample)

Walking 41 68.0Jogging 21 35.0Running 12 20.0Cycling 9 15.0Swimming 7 11.7·Because some respondents participated in more than one activity the sum of the Ns will not equalthe totals listed in the headings.

TABLE 2. Muscle Fitness Activity(Thirty-seven or 61.6% engaged in some type of muscle fitness activity.·)

Summary of the type of activities in which the respondents engaged

Activity N % of sample

·Because some respondents participated in numerous activities the sum of the Ns will not equalthe totals listed in the headings.

Summary of those who engaged in at least three muscle fitness activitiesthree or more days a week (This included 31 respondents or 52% of thesample)

Sit-Ups 35 58.3Hamstring Stretches 28 46.7Waist Bends 28 46.7Lower Back Exercises 25 41.7

Largest Meal of the DayDinner 61%

Consumes Snacks 2 ormore times per day 31%

Consumes red meat4 or more times a week 49%

Consumes alcohol on adaily basis 26%

Eats breakfast 2 or lesstimes per week 36%

Sit-UpsHamstring StretchesWaist BendsLower Back Exercises

28222120

47.036.735.033.3

TABLE 4. Mean, Standard Deviation and Rating of the Subjects by Sex on the Measured Physical Fitness Items(N = 20; Female = 14, Male = 6)

Test Item ><: SD Norms: Average Values· Rating

·All norms are from Fox et al. (1987) except for sit-ups which come from the GSU Fitness Center

BODY FAT(%)FemalesMales

CARDIOVASCULAR MAXIMAL O2INTAKE (ml.kg.-lmin- 1)

FemalesMales

MUSCLE ENDURANCESIT-UPS (N)FemalesMales

FLEXIBILITYSIT AND REACH (cm)FemalesMales

PHYSICAL FITNESSRATING (overall)FemalesMales

JOPERD-November-Decemher t988

26.7 5.317.2 5.7

40.3 10.433.6 13.9

42.9 25.456.7 36.4

28.6 9.926.4 6.1

22-25 Above Average12-15 Above Average

34-38 Good/Average41-45 Poor

25-35 Good30-39 Good

37-38 Poor33-36 Poor

Low AverageBelow Average

73

Dow

nloa

ded

by [

Uni

vers

ity o

f W

aika

to]

at 1

1:12

14

July

201

4