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Educational Psychology—Limitations and Possibilities

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238 The Praeger H<strong>and</strong>book of Education <strong>and</strong> Psychology<br />

more meaningful knowledge or underst<strong>and</strong>ing can emerge <strong>and</strong> add to the already rich body of<br />

knowledge that has been established.<br />

Because the educator’s/teacher’s/instructor’s approach to teaching will effectively influence<br />

what will be taught, <strong>and</strong>, consequently, learned, as well as how this learning will take place, it<br />

would be important to address the ways in which dance can or may be taught in educational<br />

settings by critically examining the language used in dance education. By doing this, we open up<br />

the possibilities of multiple approaches <strong>and</strong> thwart the perpetuation of the status quo through one<br />

approach to learning in dance. This links with a critical <strong>and</strong> postmodern approach to knowing<br />

where there is the need to look beyond a Westernized, Eurocentric perspective as the only<br />

epistemology to draw upon.<br />

The language mainly used for the educational elements of dance carry one predominant<br />

view of “knowing” as opposed to exploring other languages <strong>and</strong> art forms, which can provide<br />

multidimensional underst<strong>and</strong>ings. We need to be aware of how the use of one predominant<br />

language for dance education can hinder as well as enhance what we come to know as dance<br />

<strong>and</strong> look at whether this raises issues of universalizing or generalizing, <strong>and</strong> provides, at best,<br />

somewhat abstract concepts/approaches to teaching dance. From a pluralistic <strong>and</strong> multicultural<br />

perspective, we need to promote the interrelationship between other cultural art forms <strong>and</strong> the<br />

Eurocentric/Westernized language <strong>and</strong> methodology used primarily in dance education today<br />

considering the students/children we teach <strong>and</strong> the diverse cultures they embody.<br />

Ultimately, this leaves me with some questions that I think are worthy for all of us to consider<br />

from a postmodern <strong>and</strong> postformal perspective. Can these abstract <strong>and</strong> somewhat universalized<br />

concepts transfer across different dance styles/processes from other cultures/countries? Is this language<br />

still relevant in a multinational, multicultural society? Is it meaningful to children/students<br />

as a language for dance? Does it connect to students’/children’s lives today? Is there still a place<br />

for a commonly accepted vocabulary for dance education that can be used universally <strong>and</strong> applied<br />

to any/all cultures?<br />

CONCLUSION<br />

In many ways Laban’s theories were the antithesis of what ailed society, yet, as with many things<br />

in society, those who inherit such legacies fail to adequately apply the same visionary foresight<br />

to the ongoing sustenance of such legacies. Of course, I do not want to be misunderstood here,<br />

because I truly believe that Laban’s theories <strong>and</strong> contribution to education have been mammoth,<br />

<strong>and</strong> for this reason, have been given worthy consideration in many fields (although in some fields<br />

concerning the body more than in others). Nevertheless, as with any visionary, we must continue<br />

to envision the possibilities, as well as the limitations, for the generations that follow.<br />

Ultimately, I want to continue to honor the legacy Laban left us related to his theories of<br />

movement <strong>and</strong> its application to the field of dance education, but even more so I want to see it<br />

develop <strong>and</strong> grow as our world <strong>and</strong> people change <strong>and</strong> exchange different ways of being in the<br />

world. What can be more worthy of consideration than underst<strong>and</strong>ing ourselves as human beings<br />

<strong>and</strong>, thus, underst<strong>and</strong>ing others <strong>and</strong> the world we live in? Movement, or the way the body moves,<br />

is vital to this quest, especially where, in dance, the body <strong>and</strong> the person become one in a way<br />

that provides a means of celebrating who we are as human beings. Coming to know ourselves <strong>and</strong><br />

answering the age-old question “Who am I?” is something that one begins to discover through<br />

being in touch with what makes us tick, namely the movement of the body <strong>and</strong> its interrelation<br />

with the mind <strong>and</strong> spirit. It is through the body that we experience the sensations of life, the pulse<br />

of our heartbeat, the weight <strong>and</strong> balance of bodily matter, the force of gravity, the tension <strong>and</strong><br />

relaxation of everyday events, <strong>and</strong> the energy of life itself.

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