PRACTICAL IMPLEMENTATION OF EDUCATIONAL PROGRAMS IN MODERN SCHOOLS IN GREAT BRITAIN

The article considers the practical implementation of educational programs in modern schools in Great Britain. The main methodological approaches to the implementation of the content of educational subjects are studied. The peculiarities of the organization of the pedagogical process during the study of core and basic subjects in British schools are studied in detail, namely, English, mathematics, science, art and design, citizenship, technology and design, geography, history, ICT, modern foreign languages, music, physical education, personal, social, health education, religious education. The pedagogical process in terms of the educational component, organization of extracurricular work with students is also analyzed. It is noted that the involvement of students in extracurricular activities helps to improve their academic performance. Students are mainly involved in the following activities: Dance, Drama, Life-saving, Swimming, Gymnastics, Athletics, Volleyball, Netball, Football, Badminton, Aerobics, Basketball. They also have the opportunity to attend science and mathematics clubs, computer clubs, languages and technology clubs, additional Mathematics groups, participate in the choir and the School Orchestra. Leisure clubs allow students to unite in common interests, engage in music, dance, theater, scouting, sports, games, design, decorative jewelry, and more. In their free time, students visit other schools, industrial enterprises, and farms. Students also have trips to the sea, local churches, art galleries, museums, theaters, etc. In addition, students participate in sports competitions not only among students in the school but also students of other schools in the county. Keywords: educational programs; educational activity; methodological approaches; key stages of education; British schoolchildren; core subjects; basic subjects; extracurricular activities.

Judson Memorial Church and the intersections between happening and dancing

The article examines a short excerpt from the New York scene, namely the period around 1959–1963 in the context of the environment, happening, dance pieces and draws attention to the leading influences of Marcel Duchamp, John Cage, and Merce Cunningham. We are focusing on the gravitating artists’ circles around the Judson Memorial Church and some of their distinct practices and centers. Among the many, we consider the Reuben Gallery, Judson Gallery, Judson Dance Theater, and artists such as Allan Kaprow, Claes Oldenburg, Robert Morris, Simon Forti, Carolee Schneemann, Robert Rauschenberg. The text does not aim to provide a complete overview of Judson Dance Theater or the artists` practices, but rather to consider some of their common influences in their period of formation. We will bring the environment and the happening under their contradictions and variability and will consider the first generation of dance reformers at Judson Dance Theater as an influential force for involving visual artists in intermediate zones.

‘Don't educate them out of educating themselves’: A conversation with Al Wunder

Al Wunder's biography, in his own words: I had four lucky breaks that precipitated my becoming a teacher of improvised movement theatre. Between the ages of eight and fourteen I broke my right leg four different times. In 1962, I began modern dance classes with Alwin Nikolais as a physical therapy. His choreography and improvisation sections of class inspired me to teach and perform professionally. I spent eight years studying, teaching, choreographing, and performing with Nikolais.1970 saw me move to the San Francisco Bay area where I opened a dance studio teaching Nikolais dance technique and improvisation. In 1971, I joined forces with Terry Sendgraff and Ruth Zaporah creating The Berkeley Dance Theater & Gymnasium. My focus was to create a way to teach dance technique through improvisation. I met my Australian wife, Lynden Nicholls, in 1981 when she came to study Motivity at Terry’s studio in Berkeley. In 1982, I moved to Melbourne, Australia where Lynden and I set up a dance studio. My focus changed from teaching dance technique improvisationally to teaching improvised movement theatre performance.Over the next thirty years I developed a pedagogy that inspired professional and non-professional performers to create improvised movement theatre pieces. In 2006, I self-published a book, The Wonder of Improvisation. In 2017, a documentary was made by Michelle Dunn, The Wonder of Improvisation. In 2021, a book was written by Hilary Elliott and published by Routledge, The Motional Improvisation of Al Wunder.

The trilogy of `love` beyond beauty, truth and drama

The initial starting point in directing and choreographic process in developing the `Love`trilogy: the core and heart of the idea behind creating a performative trilogy concerning the theme of love has been the reflecting studies of the performers involved in the creational process. These spectacular and performative sequences begin with `Savage/Love`- the first part of the trilogy desgined in 2019. Starting from the desire in exploring the unfamiliar professional aspects of dance-theater and contemporary dance techniques, the personal experiences of the performers become the leading sources of inspiration in the directing and choreographic process. The middle part of the trilogy will be shaped as a performative show entitled `August Rush`. The last and third part will organically become a performative solo- `In/UnLoved bodies`.

Betawi arts and culture center with the application of modern tropical architecture

Jakarta is a city with a wide variety of ethnicities, languages and customs. Likewise with the Betawi culture that grew in the city of Jakarta. Jakarta culture must be distinguished from Betawi culture, Betawi people create Betawi culture, while Betawi culture is an element and supporter of Jakarta culture, conveyed by various other cultural elements found in Jakarta. Some other cultures are the cultures of various ethnic groups residing in Jakarta or national and foreign cultures or international cultures. Traditional Betawi art elements that have been known since ancient times and still live among Betawi people to this day, especially in the outskirts of Jakarta include dance, theater, music, literature and puppetry. Seeing Betawi culture in DKI Jakarta that is increasingly fading, Betawi leaders and elders under an organization called the Betawi Consultative Body (Bamus), urged the DKI Jakarta city government to create a container for the preservation and development of Betawi culture on an ongoing basis. With the application of Modern Tropical Architecture which is expected to make the tourist attractions become more modern but does not eliminate the characteristics of the Betawi culture itself.

Breaking at the Edges: Carolee Schneemann's Desires for Dance

During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19).

Body and camera in motion — a dialogue between film and contemporary dance theater based on the experience gained in the making of the experimental art documentary Tensity

The paper presents the relationship between the worlds of film and dance theater, and the ways in which the medium of the performing body can be translated onto the screen by the director and cinematographer. By analyzing his own experiences and related artistic decisions made during the realization of the experimental documentary Tensity, the author looks at the clash of two different media and the relations that may result from the effort to translate dance theater performance into traditional film medium. Along with the change of medium, the nature of the work also changes and a completely new artistic value is created, enriched with elements unknown to theater, such as film editing, camera work and, finally, screen time. A film work based on the theatrical medium becomes a separate artistic creation, allowing the director and the cinematographer to build upon the foundation of the performative art of the actor/dancer.

MEANS AND METHODS OF PREVENTION AND CORRECTION OF DEVIANT BEHAVIOR OF ADOLESCENTS BY MEANS OF ART EDUCATION AND CULTURAL STUDIES

The article deals with the tasks of using art education in the process of organizing training. The research is devoted to the disclosure the pedagogical potential of art education. The research reveals the directions of art education and cultural studies based on theoretical analysis. The study reveals the effect of art education and cultural studies in the correction of deviant and delinquent behavior of young people and adolescents. The article summarizes the available means and techniques of art education, such as music, art, dance, theater and many others. The study analyzes the principles of choosing specific art forms in the educational process. The study demonstrates that book therapy techniques can be used not only as a preventive program, but also as an early intervention program and a program for correcting deviations. The article reveals the sequence of methodological steps when using the techniques of book therapy. The study of the use of techniques of art education and cultural studies in the correction of deviant and delinquent behavior reveals the effectiveness of the use of various genres of fine art. The creation of a work of art contributes to the socialization of the student, reveals the creative potential, contributes to the process of emotional and social comfort of the student. The analysis of the practices of educational organizations shows the importance of professional experience in the field of art education, demonstrates the discovery of the most effective in the aesthetic sense techniques of artistic processing of material Educational organizations make extensive use of dance art techniques. Musical activity allows adolescents to achieve a certain level of cheerfulness. This is recorded by experimental studies in various countries using music therapy techniques in the educational process. Dance practices are also used by educational organizations. Dance and movement therapy suppresses aggression, replaces destructive forms of behavior with socially adequate forms of expression and the development of alternative action strategies.

Ethnomusicology and the Meeting of Knowledges in Music

Universities in Latin America (and, to a certain extent, in the entire non-Western world) were created in the colonial and republican periods as replicas of modern European universities, which had stabilized criteria for the classification, organization, and hierarchy of knowledge and for the legitimation of truth following closely the Napoleonic and Humboldtian reforms in the 1800s. Traditional Latin American traditions of knowledge, both scientific and artistic, were discriminated against and totally excluded from the university curricula in the name of an exclusively eurocentric epistemic paradigm. As a consequence of this epistemicide, all the music schools today, both basic and superior, teach primarily the erudite European musical genres, whereas the popular, Indigenous and African-derived musical traditions, which are extremely rich in the entire continent, do not form part of the curriculum available for music students. In order to offer a positive alternative to this monothematic and historically limited musical environment, we have devised the methodology of the Meeting of Knowledges, through which masters of traditional music, most of them people with little or no formal literacy, are hired to teach regular courses in music, dance, theater, and correlated arts, in courses given equal relevance and prestige to those of the Western erudite musical tradition. Started in the University of Brasília in 2010, the Meeting of Knowledges has already expanded substantially. This chapter sums up the theoretical and methodological foundations of the Meeting of Knowledges and explore connections with other epistemic and political interventions in ethnomusicology and music education.