Please read description carefullly! this is a 3 page paper that is


Choose a curriculum guide to read and critique in a 3-4 page paper. To ensure active reading and questioning, highlight sections that speak to you and/or confuse you. Take notes in the margins. Your paper (APA format) should include:

  • a brief summary of the curriculum guide (1 paragraph)
  • identification of instructional approaches (about 1 page)
  • analysis of learning goals (about 1 page)
  • explanation of whether you think the curriculum is effective or not (at least 1 page)
  • use at least 4 articles from this class’ readings to reference in your paper and support your arguments.

You don’t have to like and/or agree with the style or methods of this curriculum! Don’t be afraid to be critical of what you are reading by explaining what you think works, what needs revising, and what may be missing.

Choose one of the following curriculum guides:

▪ L. Jessie. “Graffiti: The Use of the Familiar”. Art Education, Vol. 57, No. 6 (2004): pg. 25-32.

▪ Zander, Mary Jane. “Murals as Documents of Social History”. Art Education, Vol. 57, No. 5 (2004): pg. 25-31

▪ Christine Ballengee-Morris. “You Can Hide But You Can’t Run: Interdisciplinary and Culturally Sensitive Approaches to Mask-Making”. Art Education, Vol. 58, No. 5 (2005) pg. 12-17.

▪ Hutton and Urbanska. “Examining Prejudice through Art: Reynolda House of American Art”. Art Education, Vol. 50, No. 5 (1997): pg. 25-28.

Due in 6 hours…… 1 paragraph …… please read

this is due in 6 hours…… must have done in 6 hours….. 

1 paragraph on the following: 

 Minstrel shows, vaudeville and the early musicals of Harlem set the standard for dance entertainment in the 1800’s and early 1900’s. Variety shows were and extension of saloon entertainment. Vaudeville was a culmination of specialty acts! These dance styles were entertainment oriented with little or no artistic merit! Entertain us! Give some specific examples! You may want to find a youtube video to show an example of your dance movement? Or describe it to us.! 

No reference page and no cover page needed

Due tomorrow….. please read first….

this assignment is due tomorrow….. must have done on time….. 

Watch the following video: 

Do the following based on the video and use the attachment 

Response to a Children’s BookLet’s Talk About Race, by Julius LesterDirections: Please type your responses to the following questions.

1.    What is your initial reaction to this book? What feelings did it stir up in you? 

2.    What parts did you agree with? Disagree with?  

3.    Were there any parts that were difficult to understand? Please be specific.

4.    How could a book like this be used with children to address the topic of diversity, more specifically, the concept that words can hurt? 

5.    In what situations would you consider reading it?  

6.    What activities could you do with the children before, during, and after the reading of the book to explore these concepts further?

7.    How does the content of the book relate to the characteristics of children’s development as described in Chapter 2 powerpoint attacment,  Be specific in  naming  the  characteristics  and  the  specific  parts  of  the  powerpoint they  relate  to and the number of the powerpoint slide.

Read instructions | Education homework help

Read the two articles Dr. Baker′s “Thinking Critically and Creatively” (pp. 21-22) and Christopher Hockey’s “Time Is on Your Side” in Foundation of Success to become more aware of time and energy management and the significance of critical and creative thinking. Hockey recommends looking into “three general themes that influence the development of personal time management plans: identifying priorities, managing time, and managing energy” (23). According to your reading of these articles, how do you manage resources such as your time and energy to complete the work for this course? How do you distinguish between creative thinking and critical thinking? Submit your initial response by Wednesday evening and your two responses to two of your classmates by Sunday evening.

Dance……. please read…. due in 12 hours…..

this is due in 12 hours….. must have done in 12 hours….. 

Please read all the info below: 


Modern Dance Techniques


Although modern dance was born out of rebellion against ballet, several modern dance artists and teachers codified their movement vocabulary much like ballet had hundred of years before. Codification means a group of movement exercises and phrases were to developed to teach in a class-like structure that had set choreography and counts in a progression that would prepare you for performance in that style of dance. Here are the major classical modern techniques to give you a clearer idea of what this means:

Duncan technique (Isadora Duncan)

Duncan dance actually has strong technique.  Much time is devoted to learning technique.  Duncan dancers are trained to move in a particular way.  As Julia Levien recalled of her own training, “Your knee must be turned out.  Your hips must be thrust forward.  Your breathing must be in certain cadence.  Nothing was left to chance.”  One must have strong and flexible ankles, mobility of the pelvis, and fluidity of the arms.

The difference between ballet and Duncan dance is that, in ballet, the audience is supposed to see the technique.  The technique and the style become one.  In Duncan dance — when performed properly — the technique is invisible.  As Isadora wrote, technique is a means rather than an end in itself.  Technique functions as a support for style.  Hortense Kooluris put it simply, “If you can see the technique, it is not Duncan dance.”  Duncan dance appears free flowing, natural, and spontaneous (a style based upon classical Greek art), but it is only long practice with the underlying technique that allows it to do so. 

Duncan Dance Principles: Duncan dance is free-flowing and appears spontaneous; has a sense of energy and grace that radiates from the solar plexus; reflects the rhythms of nature; is danced to the great classical music; and is a state of mind as much as a style of movement.

Humphrey technique (Doris Humphrey)

Doris Humphrey, like her contemporary Martha Graham, was interested in making dance more reflective of modern times. In collaboration with Charles Weidman, she developed the concept of fall and recovery—using the pattern of breath to inform movement. She was José Limón’s teacher and mentor, and though she wasn’t interested in creating a technique, her ideas became part of what is today known as Limón technique.

Community Dance Class, Limon/Humphrey Principles, 8-30-15 (Links to an external site.) from Rachel Carrico (Links to an external site.) on Vimeo (Links to an external site.).

Limon technique (Jose Limon)

The technique is based on principles of weight, fall, and recovery as established by Jose lemon and his mentors, Doris Humphrey and Charles Weidman. It focuses on the movement of breath through the body, the dynamic use of weight in each body part, and the fluid succession of one movement into the next.

Graham technique (Martha Graham)

Since the purpose of dance is to translate emotional experience in physical form, in the Graham technique, every movement must have a clear and perceivable meaning. This does not mean the movements must be realistic, only that the stylization must be meaningful and recognizable to the viewer as well as to the performer. Graham was clear on this principle: “Everything that a dancer does, even in the most lyrical thing, has a definite and prescribed meaning” (Mazo, 1977, p. 189). Further, she believed that the clear training of the dancer gave a freedom to the dancer’s ability to express the emotions and ideas of the choreographer. In Graham’s own words, training was the key to articulation: “If you have no form, after a certain length of time you become inarticulate. Your training only gives you freedom” (Mazo, 1977, p. 157). Thus the rigor of your training was all part of the purpose of the art form – and Graham believed in rigorous training! Her demand for total discipline and attention during class, and her anger when this was not accorded her, are well documented. While the movements in the technique itself are not natural gestures, they are artificial ones; the inner commitment to them and the emotional sincerity of the dancers presenting them are entirely real.

According to Martha Graham’s philosophy, movement is generated from three places: the action of contraction and release, the pelvis, and the emotional inner self. The contraction, or strong pulling back and curving of the torso, and the release of this movement by returning to a straight torso are symbolic of the dichotomies in life. It is the contrast between desire and duty, between fear and courage, between weakness and strength.

Horton technique (Lester Horton)

In the 1920s, ’30s and ’40s, dancer/choreographer Lester Horton developed a dance technique based on Native American dances, anatomical studies and other movement influences. Horton’s technique isn’t limited to a concept of one or two movements and their contrasts. The technique is dynamic and dramatic, develops both strength and flexibility, and works with an energy that is constantly in motion. The primary focus of many beginner-level Horton studies is creating length in the spine and hamstrings. There is also an emphasis throughout all levels on developing musicality and performance qualities. As students progress, exercises become longer and more complex. Horton uses flat backs and lateral stretches, tilt lines and lunges, all movements that could be found in a jazz warm-up. (Horton technique also incorporates lyrical, circular movements focusing on stretching in opposite directions.) 
Outside of the classroom, students can look to graphic design, typography and architecture for a sense of the clean, clear lines emphasized in Horton technique. For example, there is a body position titled ‘Lateral T’ that looks like a big, block letter T: Fernando-7-Latreral-T-Horton-tech.jpgEnjoy this video of a fellow dancer, Iquail, who I danced with in undergraduate school, talk about teaching Horton to any and every BODY.

Dunham technique (Katherine Dunham)

Katherine Dunham, anthropologist and dancer, was a pioneer in both the modern and jazz dance genres. Dunham was a rebel among rebels. Unlike other modern dance creators who eschewed classical ballet, Dunham embraced it as a foundation for her technique. But what set her work even further apart from Martha Graham and José Limón was her fusion of that foundation with Afro-Caribbean styles. This created an entirely original technique characterized by classical lines, a torso capable of both isolations and undulations, and utilization of a wider range of tempos and rhythmical styles than most other Western concert dance forms of the time. In addition, Dunham made great strides for African American entertainers and artists on the Hollywood film stage, which will be discussed in a later module.

The video below shows diverse dancing bodies practicing Dunham technique

Cunningham technique (Merce Cunningham)

This technique is rigorous, and is designed to create strength and flexibility—of both body and mind,” he says. “You have to be alert and focused in class.” Cunningham technique challenges a dancer’s ability to change direction within the body and in space, so explore your internal sense of direction as you move through a day. Observe the sensations that occur in the body as you round corners and make sudden changes of direction. Take note of how those changes impact your sense of self and your relationship to the space around you.

A strong sense of one’s spine is an integral part of Cunningham technique, which explores the way that the back works either in opposition to the legs or in unison with them. Space is also an important factor, as is a sense of direction. In his choreography and class exercises, Cunningham developed a way of referencing “front” so that dancers don’t think about movement in terms of moving toward a point in space (most often, facing the audience), but rather in terms of where each individual body is facing.

(Watch as much as you’d like)


Assignment from the above info and info from the web 

   Briefly describe the key concepts/principles of each of the techniques listed in the lecture. 

Choose two technique creators (Duncan, Humphrey, Limon, Horton, Dunham, or Cunningham) and, via a YouTube search, find a piece choreographed by each of them (i.e: “Mother” choreographed by Duncan” and “The Beloved” by Lester Horton). Name the choreographers, title of the pieces, and the year in which they were choreographed in your writing. You will discuss how the creation of their techniques are reflected in their creative work. Are the defining principles of the technique obvious in their choreography? Do these technical concepts aid in the emotional quality of the performance or no? Compare and contrast the two choreographies/pioneers.

*Please use movement analysis support from watching the videos along with the lecture information.

Summarize 3 chapters….. due today…… please read first!!!!

this assignment is due today……. please if you bid and assigned to you this has to be done in 11 hours…… no late work!!

Summarize chapters 1, 3 and 4 from the attachment. 

Choose ONE way to respond to the chapter from the following list (A – D).  You must use a different type of response for each reading response (for example, don’t do the outlining for all 3 responses.  If you do the outline for the first reading response, choose a different response type for #2 and then again a different response type for #3)

A.  Outline the chapter.   I expect to see not just titles/subtitles but short descriptions to help you organize and understand the material.  Please see me if you have questions.  You can use Roman Numerals or just bullet points.  The most important thing is to show the big ideas, the medium sized ideas and the little ideas.  Here is what a sample outline should look like:

          I.  Understanding How And Why

               A.  The Need for Science:  to understand how and why all people change over time.       

                1.   The Scientific Method

                2.  Begins with Curiosity

B.  Describe at least 3 concepts and the understanding that you now have based on your own childhood experiences.

C.  Choose 6 questions from the “What Have you Learned” section throughout each chapter.  Type the question and your response.  

D.  What do you value and appreciate from this chapter? What concept/idea could you personally apply as a parent or teacher?  What concept/idea is still unclear or fuzzy?

For Chapter 1, 3 and 4 pick either  a,b,c, or d from above and summarize chapter. Each chapter summary has to be different.

Child development….due today….. please read …… due in 9 hours

this assignment is due in 9 hours…… must have done in 9 hours….. no late work…..   Child Development……  

Fill out the attachment….. based on California USA …..

Fill out the attachment DRDP 

You can make up a child name and date of birth must be 11/08/2016 on form 

Watch video which has more information on how to fill out DRDP 


2.  Print and complete one measure from each domain.  From your observations, work samples, interactions with the child, how would you assess them?  

(7 measures x 3 points = 21 points)  The following measures are off the Preschool Instrument.  If you choose infant/toddler or school-age the numbers of the measures may be different, but you still need to choose a variety of measures from across the domains to have 7 total.

Domain #1:   Approaches to Learning:  Self-Regulation  (7 Measures)

Domain #2:  Social and Emotional Development (5 Measures)

Domain #3: Language and Literacy Development (10 Measures)

You can skip Domain #4:  English Language Development as it may not apply to the child you are observing.

Domain #5: Cognition, including Math and Science (11 Measures)

Domain #6: Physical Development:  Health (10 Measures)

Domain #7: History – Social Science  (5 Measures)

Domain #8:  Visual and Performing Arts (4 Measures)

Domain #4:  English Language Development is for children whose home language is something other than English. Therefore, you do not have to do this domain (unless you choose a child who is a non-English speaker – then you can do it for your own information!) 

You must record evidence for each measure (an anecdotal record.)  The DRDP is so nice because it gives you so many examples of what to look for as evidence.  It can be a brief comment that the child made, a conversation you had with the child, etc. 


Write a one paragraph conclusion (typed, double-spaced = 5 points): 

What did you discover about this child (what are the child’s strengths and weaknesses)?

What action steps will you take to assist the child in their developmental progression (including adding materials to your classroom; scheduling, space, supervision)

What is one way that the DRDP will be useful for you in providing a quality program for the children in your care?

What is one challenge you see in using the DRDP? What is one question you still have about using the DRDP?

Look at “sample” attachment for example