psycho motor domain

8/14/2019 Psycho Motor Domain

1/16


2/16

Dallce is an inherently social activity during skill acquisition as wduring conlposition. Within the dance class, the student engages with ofor feedback , sharing of ideas, and non-verbally moving i n unison. must be negotiation of shared space, and developing comfort in being vto others. All of this occurs in multiple domains and not just thecholnotor domain although the psychornotor development is what drivepractice. While socializing toward adulthood during adolescence, the stis attempting to develop the adult persona and identity. This can becoaspect of the mediated exchange that is inherent in the dance class.In addition. the body is going through puberty during adolescencthis period of life the body is developing some of its greatest changeachieving maximal growth in order to emerge as the adult body. Eamovement that might have been present prior to puberty is subtly alterthe proportions of the body change. The adolescent may assume the Ouappearance o f an adu lt, but the inner persona o f a child. There is incon flict in these chan ges. T wo sub-issues to be a ware o f are that the chdo not all happen at the same time and at the same rate for the populatia homo genous ch ronological age, and the changes are happening in a arena, which is heightened by the fact that the body is the mediuexpression within the dance class.

The instructional issues that occur w ithin the context o f the adoleissues are that the students:May have difficulty coo perating with the opposite sexMay be uncomfortable with the attire requiremen ts for the dan ce claMay resist physical contact with other studentsMay resist physical contact tiom the instructor (an instructional meandMay be uncomfortable demonstrating for their peers.All these issues can be mediated by the instructor who slowly intro

the concepts of movement with others. perfomlance in front of description of attire and the use of physical contact within the dance clall are introduced with sensitivity and perception, they will become a naaspect of the dance class, and ultinlately, help support this period oflescent developm ent.For further claritication of various dance terlns, refer to A p p e i ~ d i

1 . PK.4CTlCAL EXERCISESThc pr;~ctical exercises are structured to mv \,e thro i~g h the s:35Accluisition. Automaticity, Near Term and Far Ten11 Transfer indifferent, scqucnti;ll dance settings:


3/16

S.R. KOFFTlie start of a beginning technique dance classThe el id of a beginning te chn iqi~ e ance classApplication o f a style to teclinicl~~cC'o~nl)osiition ased o n t c c l ~ n i q ~ ~ cnd st \ , lci:acli le\'cl is designed to be a c o ~ i ~ . s ecngtll (on e xc~iicstcr) nd \ \ . i l l'.I,,.? fl,,>c,c,!y. ~ ..,. !!ceded to prc>y!-~,sko !I?c !]ex! course. I-:ncll c.cju!-.-e bt ~ il d s

11 the rools ncq~r~r-cdll rile prc \ in l~ s ourse alld introciuccs:-..-I. Ic':.;.!:i:ig objecti\.c 11::1t \ { . i l l be ac!:ic\,ed tl,rc~uyli5ignificant practice in

10 acliie\ 'e the goal of ' Acq~~isitiorl.A t~ to~na t i c i t y ,ea r Term. a id Far3ni ice ins tn~c t io n akes place i n a class o r group sctting. O\,eral l . any

y ho ~no gen eou s, \ 'en if grouped by age. S o, t lie progress

stages, \vhere the student \v3\c'rs hack and fo~- th . rogress i~~go the1101 a clear cut and finished moment, but a process that is

o\ er t ime.Acquisit ion

(2005) ~ c q u i s i t i o n s "learning basic procedures"

Conipletion of acquisition is whendent when the mo veme nt patterns d o not need correction in order to be

ed. The tr icky par t o f identifying t lie deve lop ~ne ntal earning state isat the student ma y be able to make som e movelnents f luidly t \~li i le thersge \vllcre they can be perform ed autom atically upon c om ma nd. Therefo re,

e instructor needs to be a n w e of ' these differences when adjusting t lieuctional strategy.A secondary aspect of Acquisition is learning the procedures for being in a

i t is acculturation to the process of a dan ce class. Thiswithin a group environment,

The stage of acquisition is focused on t lie beginning nio dem dance class.I t de\,elop s al l the


4/16

b e s t r u c t ~ ~ r e do begin fro111 a basic in trodu ction to m ovem ent obody within the dance genre, then to basic modem dance skills. Thejective of the course will be:

The student wil l acquire and be able to demonstrate the basicskil ls of a beginning m ode m dan cer by the end of the semester ,and in the next course be able to build upon those skills.

1.1.1 ResourcesFor all dance classes discussed during this semester, the resources neare the same. These include a designated dance studio space that hproper (sprung) floor, mirrors on one wall of the studio, proper ventilaaccessible dr inking water , a com pact disc player and a collection o f comdiscs, assorted personal percussion instruments, and a live accompwhen available (with a piano). According to the National AssociatioScllools of Dance (2006), the studio must be "unobstructed space wm i n i m ~ l ~ nf 2600 square feet . . . ceiling h eight o f at least 15 fiet. .fwith the necessary resilience for dance (9.3., sprung or floating floorsw i th a s~~r f a c ingppropriate to the nature of the dan ce activity" (p. 18).1.1.2 Class Str uct ure

Within the dance studio the students are required to have appropriate(form fitting but flexible clothin g), bare feet, no chewing g umo b s t n ~ c t i v eewelry, and hair pulled off the face. They participate in thewithout casual talking, and follow instructions given them. using vresponse when requested and to ask questions. All other responses shounon-verbal. The students will participate fi~lly uring the entire class pand be physically present in the dance studio from the beginning to thof the class per iod. All o f these e le~ ne nt s f appropriate behavior are asof the acquisi t ion o f learning the culture of a dance class.

During the entire course, the students will be introduced to the as a veli icle of expression, and learn basic dance al ignment of the barticulation of body parts, and coordination of body parts, all oS whicexemplif ied in locomotor and non-locomotor movements with the ~mou movement flow and musicality. The sections of the class include a wup of tile boJy s tanJ i11g and se a~ cd t 1 the center o f t he s t uc i~ o, i ) c ~non-locomotor movement that may incl~ldt .pli6 :111d re lev@, eg hn-cbJ i t ' k r i ~ ~ y-;111gc~1 ' I I ~ O L ~ O I I .I I - L ~ C L I ~ ; I I I U I It '11ie spine . s trength move!i?c


5/16

S.K. K O F Fall major muscle groups, and stretches. The class will then progress tolocomotor mo\,ements that may include walking, n ~n nin g.umping. leaping,hopping. skipping and various combinations. Tlie class will culminate i nperfecting a sequence of a selection o f the mov eme nts that lia\,e bccnco\,er-ed ~ , i t l i n emphasis of the ~i i i ~s ica lhrasing of tlie sequence.

E:ich dan ce class foll o\\,s this basic structure. New exercises and ne\I. .I I I A I L ~ I L ~ >j i . p ~ ~ . i ~ ) r ~ i ~ ~ i i :1 L i i C , ~ \ ; t L A C I ~ ~ > C I C I I ~ I ~ J L I C C ~11id p:-xticcJsevei-:ii ti~nesn each class. The basic class st~-uc turcs a systematic series of'introduction and then practice of sequences of known mo\.ements, so thatthey become more familiar. Forms ol'practice can be continual performanceof the actual movement as well as mental practice, which is the thouglitprocess of the movement while beins still. Mental practice can occur \vhileimagining oneself performing the mo \-emen t and w hile observing the teacheror otlier student perform the movement. During the locomotor part of theclass, the student spends time in mental practice. as not all students aremo\zing simultaneously. Mental practice can be stimulated by the use ofimager!.. \rl iic li is a n important teaching tool in dance. Tlierefore in thisstruclure. the sh~dentmoL8es betujeen acqu iring new mo vem ents and repe-titive practice of ones already introduced. The automatic performance of allmovements is the goal. Tlie approach is a progressive part-task structure,where acquisition of new stepslaspects is occurring while with practice.other movements are achieving automaticity (see Chapter 3 of Part 1 forfurther discussion of this technique.)1.1.3 Skill Being TaughtA specific skill that is exemplary of modem dance is the full body roll downagainst straight legs in a standing parallel position. An aspect of modemdance is alignment of standing positions. Parallel is with the legs in theirnatural alignment, knees and feet facing forward. A parallel first positionrequires the feet to be a few inches apart so that the legs are stmight downfrom the hip sockets and the feet are pointed straight ahead. With the legsstraight, beginning with the top of the spine (the head) the student willSequentially roll down through each aspect of the spine until the upper bodyis hanging over from the hips. The finish of the exercise is to reversebeginning with the lower spine, a sequential roll up until standing in gooddance alignment. The feet never move in this exercise and the legs neverchange from their extended position. The entire exercise takes place in theupper body. I t is established to music so that the duration is a set number ofcounts in each phase. Tliough tlie legs do not mo ve, o ne of the objective s is astretch in the hamstring (back of thigh) muscles. The other objectives are


6/16


7/16

S.R. K U F F1.2 Automaticity~u torn atic ity s discussed as "repetiti\,c or automated skills" (Seidel et al..2005, p. 7.5) .Automaticity is achicved in dance when the mover can perlbrmthe skill s u itllol~t ronlpts o ther tllan th e na mc o f the skill or \\.hen the move rcan ern;.!?!. !luarlce of the skill that is unique to the field o f dance.Autornatlcir!: is ach ~e \ 'e d orl ly through cigi~if icant practice so that thetransit i~n :'(>1?1 : lcql~is i tion o a l~ t~l mat ic i t ) .s searliless.

Autonlaticity focuses on the second half of the beginning modern danceclass. At this point. less new material is being introduced. Instead, thestudents zpend more time i n practicc and in ncw combin ations and r l lythmicvariations o f the material that they hav e m astered to this point. This as notedis an application of progressive part-task learning, in which case some newtasks can be acquired while others are being practiced to achieve auro-maticity. As they a re integrated , near-ten11 transfer is achie \.ed.The objecti1.e of the co urs e is:

The students \vill be prepared lbr the intermediate le\,eltechnique dance class.

This objective is intended to build upon the objectives of the basic course.which covers acquisition phase. au to~ na tici ty, nd the beginning o f integrationor near-term transfer.1.2.1 ResourcesThe sam e resources are needed in a11 the classes throug hout the sem ester thatWere discussed in Acquisition (app ropria te space, flooring, and music). A s inall the classes discussed in this chapter, the main material is actually thebody. At this point in the semester. when the comfort level in this movementform has increased, i t would be appropriate to introduce specif ic l iealt l~content related to nutrition and sel f-care, so that the body is recognized as avital material that can be cared for and protected. These resources caninclude anatomical charts, nutritional charts and materials, and materialsrelated to basic ph ysiological functions.

Once again the students are required to have appropriate attire (!om1fitting but flexible clothing), bare feet, no chewing gum, no obstructivejewelry, and hair pulled off the face. They participate in the class withoutcasual talking, and follow instructions given them, using verbal responsewhen requested and to ask questions. All other responses should be non-verbal. Th e students will participate fi~ ll y uring the entire class period an dbe physically present in the dance stud io from th e beginning to the end of theclass period.


8/16

1.2.2 Skill Being TaughtThe class continues with the same progression that was introducedfirst course. The changes here are introduction of tunied out (outrotation from the hip socket) leg postures, longer sequencing of moveand increased diff icul ty level with known mo vem ents. A specific skile~np hasizes hese de velop ~nen ts s a roll down through the spine and up to relev6 (stand ing on the balls of the fee t) with a balance. Tperformed against straight legs from a first position turnout (heels togeboth legs outwardly rotated so that the feet create a "V"). This builds the skill presented in Acquisition by adding an outward rotated leg posincreasing the difficulty with a finish in releve and balance, and increthe sequencing by performing i t in several different leg positions. (Thefive positions o f the feet; two that h ave even h ips and three that have uhips, increasing the difficulty of maintaining the standing posture.) builds upon Automaticity, as the initial skill needs to have been practicthe point that i t is automatic. Only then can this next phase be introduceThe skill (full body roll down) is important because i t incorpoalignment, articulation of body parts, integration of the w hole, and musicProper alignment also encourages the engagement of the abdominal muThe addition of the relev6 at the finish and performing i t in fir st poturnout, emphasizes the au tomaticity of alignmen t, as well as the advanceof alignment to the next level. The teacher controls the amount of diffithat is added. The changes from the initial skill to this variation can be aincrementally by the teacher, as the students demonstrate readiness to forward in the skill development.

I , Roll 0 1 I T I ( / ~ I I I I I I I ,Il0;i


9/16

S.K. KOFF 315The appropriate studen t belia\, ior contin ues to be the s am e as in the basic

course. It is to ob serve the de~ non strat ion acquisi t ion) , practice and receivefeedback repeti t ively (autom atici ty) , and then pe rfo r~ n o the d esignatedm u s i c a l a c c o ~ ~ ~ p a n i m e n t .he student needs to co ~n ple te suff icier i t amou ntof practice in orde r to successf'illly exe cut e the exe rcise .

The in~ tru cto r irst nlakcs the connection to the pr ior skill (con tinuing theprogres>i\,e part-task app roach noted ea rlier) and then notes the chan ges tothis n e w skill.

The instructor demonstrates t iom the front and the side so that thealignment is seen by tlie students from two dimensions.Thei.e can be so me reciprocal ~ , o r k i th t lie students placed in pairs tofocus on the al ignment of their par tner and pro\ , ide specif ic feedbnck totheir par tner . At this point in the semester , the students sl~ ou ld e readyfor these instructional strategies, as well as the strategy of touch.The teacher can use appropriate touch to help the student feel thesequential nature of the movement or to help the student becol-ne awareof body segm ents that are moving and body segments that are stable.

1.3 Near Term TransferNear term transfer in dance is achieved when the dancer can apply the basicskil ls , which have reached the stage of automatici ty, to new variat ions ofthose skills. As defined in Seidel et al. for all domains it is "developingability to generalize-apply principles and strategies" (2005, p. 75) . In nearterm transfer the skill does not become diminished, but rather enhancedthrough this process. Clear near term transfer implies that the dancer iscapable of succeeding in mult iple \miations of the skil ls that have reachedautomaticity. The dancer is capable of those variations that are demonstratedas well as creating ne w variations on her ow n.

Near tenn transfer wil l be accomplished when the basic mo de m danc eskills mastered at this point are then combined and integrated into a specificmodem da nce style , or "generalized" to a style. For this example the style ofJose Lim6n modem dance will be used. This is a style, not a technique. Thetechnique required i~lcludeshe basic fon n that has been developed u p to thispoint . The specif ic form of the technique, dictated by the stylist ic dem andsof Limon ulill be covere d in this section. Th e objective of this lesson will be:

The student wil l apply the basic m od em dance technique skil ls tothe style of Jose Lirnbn m odern dance.


10/16

Jose Lirnon (1908-1972) was part of what is considered the secogeneration o f American mo dem dance. Born in Mexico, he moved toUnited States as a young adult and studied and performed with ~~Humphrey and Charles Weidman, pioneers of modem dance in this countKnown as a teacher and choreographer . he continued the developmentHumphrey's exploration of " the arc between two deaths" developingstyle of movem ent that focused on fall and recovery with the implementatof breath and weight of the body to support the movement (Lewis, 1984).1.3.1 ResourcesThe resources for this class will be the same as needed for the prior bsections (appropriate space, flooring and music). The recorded or limusical se lection s sho uld focu s on mu sic organized in 314 and 618 timeorder to emphasize the uneven quality in the fall and recovery dynamAdditionally, pictures and videos of Lirnon choreography can be brouginto the class in order to provide clear examples of the movement styLimon's writ ings can also help to support learning this style of movement1.3.2 Skill Bein g Tau ghtThe class will progress with the same structure with a change to the dynamand rhythm structure of the movements in order to emphasize the style fall and recovery with suspension while also focusing on breath and weigThis will also shit t the mov emen t quality focus of the class.

Traditionally the Limon class does not spend very much time in flowork, but this can be chosen at the discretion of the instructor.Th e develop ment of the sam e skill will lead to the roll down and rolljust half way using the fall and recove ry rhyth m o f the JosC Lirnmodem dance s tyle .Specifically, the student will progress through the roll down. going onhalfway through the spinal articulation.The finish point is so that the curve ends at the waist rather than all tway to the hip joint .Th e studen t "falls" through this initial range o f mo tion, then a rebouprovides the impetus for the return to vertical of the upper bod y. before, the standing legs are straiglit and there is no mo\emci : ; k j ffeet.,.\ \.ariation can include a plik ( h ~ i i . ~ .end ) with the til l pliase.The recovery phase, the roll up, is aided by an inhalatiun.


11/16

S.K. KOFF 317The suspension at the end is complemented by the releve. In the priortwo sections, this movement had an even rhythm. The rhythm now is adrop (the fall) on one co unt, and the recovery on tn.o counts. Theautomaticity of the previously practiced skill f3cilitatcs the addition ofthis dynam ic and timing.T l l c , ~ o n o sep;lr;ltion ht.r\jc.cn ~ l i c .011 down a n d roll u p : they areperrc)rrneu a s one nlo\elllcrlt.Anrc can be added a? n \,ariariot1 ar~d o support fi~l ling \,eight \vith thedropping of the arms.This is a foundational skill in the Jose Limon modern dance slyle. Many

movements are built 11po11 these principles of body articulation in asequential manner. fall, recovery and suspension while fbcusing on weightand breath. During this skill, all of these qualities are practiced while thedancer is stationary . On ce the quality is mastered, then the quality of fal 1 andrecoven can be applied to many other movements, stat ionary and traveling,as well as can be p erfonned by in man y parts of the body.As with all the other classes. within the dance stiidio the students haveappropriate attire (fo nn fitting but flexible c loth ing), bare feet, no chewin ggum, o obstructive jewelry, and hair pulled of f the face. These requirem entsbecome even Inore critical in this style as hair and jewelry will gainmomentum through the fall and recovery dynamic and can cause obstructionto the movement. The stud ents participate in the class w ithout casual talking,and follow instructions given them, using verbal response when requestedand to ask questions. All other responses should be non-verbal. The stude~ltswill participate fully durin g the entire class period and be physically presentin the dance studio from the beg inning to the end o f the class period. For thespecific skill, the roll do wn , they will perfo rm i t to the appropriate musicalaccompaniment with the uneven timing that is indicative of fall and


12/16

recovery. The movement can be practiced as taught, and the style can bepracticed by m oving the quality to oth er parts of the body. Practice in thismodem danc e style can also include breathing practice.1.3.3 Instructional Strategies

The instructor begins by making the connection to the skill accomplishedthrough acquisition and automaticity, and then discusses how the skillhas developed to this point.The instructor needs to demonstrate so the students can observe themovement from the front and the side views SO that the alignment is seenby the students from two d imensions.There can be some reciprocal work with the students placed in pairs tofocus on the alignment of their partner and provide specific feedback totheir partner.The instructor can layer the instructions with imagery in order to promotethe rhythm of fall, recovery and susp ensio n, with the use o f weight andbreath.The introduction of imagery should also promote more mental practice.Additionally, the instructor can have the students experience the weightof different body segments in order to initiate a true fall into gravity.

1.4 Far Term T ransferThe critical element of far tenn transfer is higher order thinking skills. Seidelet al. defines i t as "learning to discover new principles in a domain" andspecifically in the psychomotor domain "inventing a new strategy or skill"(2005, p. 75). In this stage, all accumulated skill and applications of thoseskills can be used in the service of new movement creation and applicationof movement in new combinations and forms. The creative process is adriving focus.

In order to achieve Far Term Transfer, the movement skill developedthus far will be used in a composition course. They will begin with all thatthey have practiced to this point and try to develop new and interestingmovement phrases and combinations. The basic skill development in thiscourse will be continued practice of modem dance, instruction in classicalchoreographic forms (theme and variation, motif and development. cannon,. .A B 4 ) that are deribed from musica! forms, and i~r.pro~!sat!cr!'Clr thepurpose of movement exp loration). The objective is:The students will be able to colnpose new dances based on themovement concept of fall, recovery and suspension with the useof weisht and breath.


13/16

\

S.R. KOFF1.4.1 ResourcesThe sa111c esources are still needed (appropriare sp ace, floorin g and nu sic).The addition o f dances that are a\zailable on i~ id eo hould he aug me nted toincludt. ~ i d e o s f othcr ch ~)reo grap hers. n addit ion, the students shouldbegin !\:ploring wrlrce ~natt 'rir~l i ~ . l~o~.eograpl i icnspiration. This canincluclt. ticid trip5 10 \ i c ~ + i,iilcc pc.r-i.or-rn:ilicc~, niLlsic jicrt'i~r-;~:;i~;ccs,museu:;:c :~ n d rchit ectu ~.e.1.4.2 Skill Being TaughtThe class every day will begin ~ . i t hhe practiced wann-up. For the specificmovement creation aspect of the course, the students will first improvise onthe energy of fall, recovery, and suspension learning to create i t in differentparts of the ir bodies , and ~ i t hifferent tempos. Then they will create a shortcomposition on the movement they have discovered during this impro-visational exploration. This actii~ity 1 1 1 e developed conlinuously, until thestudents are ready to take short com positions and develop them into a longercornposit ion.

During the improvisation and composition aspect of the class the studentswill work individually in a focused manner and will be able to makedecisions and organize their movements into a cohesive composition. Thiscan be an individual or group process. I f it is a group, the students still willimprovise as a class, and then break into small groups for the compositionaspect.Through higher order thinking skills, improvisation and compositiontransfers dance skill learning into new and explored material. This isincremental development and the student is continuously returned to thebasic skills to ensure the sense of accomplishment that can be lost whengoing in this new direction. The starkest change is that there are nowmultiple choices for the student to m ake, rather than a clear correct fo nn thatwas emp hasized in earlier le\,els of this learning pro cess.

? 1.4.3 Instructional Strat egies3 Instructional strategies are always important, but they are critical for this//Id change of focus. The overall app roach is to shift to guided disco very.i$ During the i~np rovisation and composit ion aspects of this s tage thet ib : students will be provided with imagery (qualities that exist in nature, real

1 !. life and imagination that promote movement) and will be encouraged to''S create images for movement invention.-- They will be instructed \.erbally u~i tho ut emonstration from the instructor.


14/16

. The y will be encou raged to find n~u lti ple olutions and will be continuremin ded that there is not on e "right answer" to the tasks. Th estrategy will shift to guided discovery (Mosston, 1992).

2. SUMMARYWithin the teaching of dance, as an example of the psychomotor domamoving through the four stages of acquisition, automaticity, near ttransfer, and far term transfer presents an excellent model for the holisdevelopment of the dancer. The important element that will create progrthrough each stage is the amount and quality of practice. In dance practthe movement might take a slight variation of the same form. Slivariations of form (which could include body shape, rhythm and facingspace) actually help to propel the dancer to the next stage by moving frs imple to complex dance skill and context, in combination (KimmerleCde-Laurence, 2003). So, it is not only the practice that supports acquisitto automaticity, automaticity to near term transfer, and near term transferfar term transfer; but it is the variations or multiple contexts withinprogressive part-task practice approach that actually helps to movedancer to the next level and to mov e through different s tages of learningMoving through the four stages within the dance domain will also assthe adolescent student to move through the issues of adolescence includsocialization toward adulthood and accommodation to the changing boThis developmental stage is assisted by the social nature of the dance cland by the focus that is placed on the body. Th e respect for others as welrespect for oneself is critical in moving through adolescence. In developrespect, the student also develops comfort in working with others acomfort with the adult physical self that the student has become. These important contributions to the development of the adolescent, makworking within the psychomotor domain during adolescence an essendevelopmental tool.

The next step in this taxonom y of learning is to look for transfer betwthe domains of learning. It seems clear that the domains are not experiencin isolation. However, psychomotor is used less in the other domains ththey are used within the psychom otor dom ain. For a further developme nthe application of this taxonomy, extension of a11 four dnmains ir?tn eother should be both enco uraged and tested.


15/16


16/16

A p p e n d i x A - Definition of Dance Terms

Full: The complete release of the muscles, as tlie body. gj \ i11g into gravity.drops" (Le wis, 1984, p. 43).F i ~ vo.r. irions qf t /~e,f ieral l it1 /u r.r~ ur) :First Position-heels and kn ees touching.Second Position-heels separated, directly under the shouldersThird Position-one food directly in front of tlie otlier, with tlie heel of onetouching the instep of the other.Fourth position-one foot directly forward of th e otherFifth position-"one foot directly in Sront of tlie other, with the heel o f thefront foot at the joint or at the tip of the toe of the back foot" (Ha mm ond ,2004, p. 16).ln~pr.o\~i.surion:nplanned movement.

Loconloror.: Movement that travels through space.Non-loc,ornorot.:Mov eme nt that stays in on e space and does not travel.PI;;: A bending of the knees.

: Reco\

psycho motor domain

Documents