John “Crazy Legz” Pearson, founder of the Who Got Moves Battle League, is breathing life back into Beat Ya Feet -- the bouncy, fast-moving dance found in the streets, backyards and go-go clubs of Black D.C. At the heart of the dance style is the music: go-go, a blend of funk, call-and-response and Afro-Latin rhythms, ubiquitous in D.C.'s Black neighborhoods.

Honolulu is home to tourism hotspot Waikiki, and many of the city’s beachfront hotels host lavish luaus showcasing styles of hula influenced by Western music and instrumentation. But for Native Hawaiians, the origins of hula are deeply spiritual and rooted in Hawaii’s creation stories and the history and culture of their kūpuna or ancestors. Driven by the mele (poetry), hula marries movement with spoken word to express stories about specific deities, people, places and events.

Learn about force and motion through a song and dance by the amazing Gregory Brothers!

Ms. Grava T. is the host of the most incredible game show on the playground HOW THINGS MOVE! With a little help from her musical friends The Gregory Brothers, you’ll learn a song about force and motion that will help you win the game.

Learning Objective: demonstrate and observe how position and motion can be changed by pushing and pulling objects.

I’ve been doing a lot of thinking about how I could incorporate video into my own learning processes, and wondered, if I were to participate in the ISKME GoPro Learning Challenge, what would I want to create? I looked back to the very first time I really started using video in my daily life, and, surprise surprise, it was to create a teaching tool for myself.

I’m a dancer, and for years I’d practiced dancing in my bedroom, sometimes in front of a mirror. But I’d never recorded myself dancing. Once I did, I realized it could have a tremendous impact on my skill level as a dancer. Especially when preparing for a performance, the videos enabled me to see my weaknesses and memorize choreography more readily.

My great idea is to use GoPro to record myself and my fellow students as we learn new choreography, and to share those videos with each other and with our teacher so we can track and measure our progress, and receive personalized feedback.

This course is an introduction to diverse musical traditions of the world. Music from a wide range of geographical areas is studied in terms of structure, performance practice, social use, aesthetics, and cross-cultural contact. Course work includes hands-on music making, live demonstrations by guest artists, and ethnographic research projects.

J-Sette dancers bring energy, precision and stunts to the floor, and the Dance Champz of Atlanta are trying to take this underground LGBTQ+ art form to the next level. The roots of J-Setting are in Mississippi, at Jackson State University, where the Prancing J-Settes adapted majorette dancing, losing the batons and bringing in African American and jazz dance influences. Leland Thorpe and his team are on a mission to get the underground version of the dance form taken more seriously in the wider dance world. Thorpe is passionate about bringing more formal technique to the dance, and with his experience in Detroit studying jazz and ballet, he brings a faster pace and more sophistication to the Atlanta style.

Los Angeles Pro Roller Skater Alicia Reason breaks down some classic jam skate moves, including the crazy legs, moonwalk, electric slide, and spread eagle, then puts them together in a dance routine for you to follow.

This collection uses primary sources to explore the cultural impact of swing dancing. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

A curriculum unit of three lessons in which students explore Hopi place names, poetry, song, and traditional dance to better understand the ways Hopi people connect with the land and environment through language. The unit is centered on the practice of growing corn. Students make inferences about language, place, and culture and also look closely at their own home environment and landscape to understand the places, language, and songs that give meaning to cultures and communities

This lesson is the first one I use in my Line Dance Unit. It's a fun way to get kids moving and dancing. They're introduced to line dances and the elements of line dance.

In this lesson students perform a line dance to reinforce story telling through movement.

Looking at Light is an introductory text for theatre lighting designers. It is an appropriate resource for students at the college or university level who are interested in learning about lighting design at a fundamental level.

While the resource is designed as an introductory lighting design program for University students, it may also be useful to high school students who are interested in technical theatre, adults who are involved in community theatres, high school teachers who find themselves being responsible for lighting (even though they have little training in the area), or professionals and amateur theatre and dance practitioners from non-lighting areas.

This is a design-based course, and while there is some effort to explain the technology involved with theatrical lighting, it is not meant to be a resource to learn how to be an electrician or programmer.

From the brainstorming process to the stage, follow three University of Kentucky dance students as they create their own original choreography. Learn how movements are used to express ideas and emotions. Also witness the challenges of creating a dance as a soloist and as a group.

Music, Dance and the Archive reimagines records of performance cultures from the archive through collaborative and creative research. In this edited volume, Amanda Harris, Linda Barwick and Jakelin Troy bring together performing artists, cultural leaders and interdisciplinary scholars to highlight the limits of archival records of music and dance. Through artistic methods drawn from Indigenous methodologies, dance studies and song practices, the contributors explore modes of re-embodying archival records, renewing song practices, countering colonial narratives and re-presenting performance traditions. The book’s nine chapters are written by song and dance practitioners, curators, music and dance historians, anthropologists, linguists and musicologists, who explore music and dance by Indigenous people from the West, far north and southeast of the Australian continent, and from Aotearoa New Zealand, Taiwan and Turtle Island (North America).

How can we identify the expressive qualities of music through movement? Students demonstrate expressive qualities of music through movement.

This course is an introduction to selected musical traditions of West Africa. A variety of musical practices and their cultural contexts will be explored through listening, reading, and written assignments, with an emphasis on class discussion. The course includes in-class instruction in West African drumming, song and dance, as well as lecture-demonstrations by guest artists.
After an introductory unit, the course will be organized around four main geographical areas: Senegal, Mali, Ghana, and Nigeria. An in-depth study of music from these countries will be interspersed with brief overviews of Southern, Central, and East Africa.

Albuquerque’s thriving hip-hop and freestyle dance scene is influenced by Indigenous dancers from many tribes, Pueblos and other communities. A strong sense of solidarity holds it all together, say dancers Anne Pesata (Jicarilla Apache) and Raven Bright (Diné). The couple describes the scene as “Indigenous futurism.” Meet Randy L. Barton, or Randy Boogie, a dancer, DJ and artist (Navajo) who created The Sacred Cypher, an event that highlights how Indigenous art forms connect with hip-hop.