By V. Bruce and P. Sebastian (Auth.)
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Extra resources for Dance and Dance Drama in Education
It may be that there are uneven qualities in the phrasing and rhythms which are not usual in our music but which become more usual in modern music. When young children move there is much less need for the stimulus or accompaniment of music and external rhythm. Time, space and effort rhythms in movement itself are more assertive immediately when movement is individual as it is with young children. Older people, senior girls and students, need to be secure and experienced in the art of movement before their movement rhythms emerge clearly without sound.
The beauty and interest of natural things are as constant stimuli to dance as they are to painting, music, poetry and prose. Natural form *Writing from fourth-year girls at Mary Linwood Girls' Secondary Modern School, Leicester, Nov. 1961. 42 DANCE AND DANCE DRAMA IN EDUCATION is rich in variety of shape, texture and colour, light and shadow. Design is abundant in nature, in flowers, in leaves, in a rainbow, in shells and feathers. Pattern can be perfect in precision in natural things. All this dance and literature share.
F A teacher must concern herself with the balance of the material ♦Huxley, quoted in Drama in Education, P. A. Coggin, p. 286. -[Drama in Education, P. A. Coggin, pp. 289-291. 32 DANCE AND DANCE DRAMA IN EDUCATION which is used as a stimulus for expressive work, ensuring that an undue accent does not lie with distortion and ugliness, that harmony does not predominate to the detriment of vital quality and that children are given some opportunity to resolve dramatic and dance situations in their way, coming to terms with ugliness by expressing it and working out in creative activity.