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Reimagining the NCAS Standards (2024 NDEO CAN Presentation)

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2024 NDEO Session Catchall Sheet (Reimagining the NCAS) (1)

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Creating Anchor Standard 2: Organize and develop artistic ideas and work

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Creating Anchor Standard 2: Organize and develop artistic ideas and work

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Performing Anchor Standard 5: Develop and refine artistic technique and work for presentation.

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Performing Anchor Standard 5: Develop and refine artistic technique and work for presentation.

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Connected Arts Networks Teacher Tip Sheets & K12 ArtChat Podcasts

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Connected Arts Networks Teacher Tip Sheets & K12 ArtChat Podcasts

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NAEA, in partnership with the Educational Theatre Association, National Association for Music Education, National Dance Education Organization, and the NYC Department of Education Office of Arts and Special Projects has launched a nationwide initiative to create virtual Professional Learning Communities (PLCs).

The goal of Connected Arts Networks (CAN) is to build a sustainable model of professional learning to support teacher leaders in integrating social-emotional learning and equity, diversity, and inclusion practices into the arts classroom.
As part of the CAN project, teacher leaders participate in annual Quarterly Workshop Series. The resources developed as part of the series are free and open to all. Explore them below!

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CAN Resources created from quarterly workshops

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Zaretta Hammond Distinctions of Equity

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What are the National Arts Standards? A process that guides educators in providing a unified quality arts education for students in Pre-K through high school Read More

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What are the National Core Arts Standards?

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What are the National Core Arts Standards?

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Responding Anchor Standard 9: Apply criteria to evaluate artistic work.

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Responding Anchor Standard 9: Apply criteria to evaluate artistic work.

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NDEO > Learn > Dance Education Standards

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The National Dance Education Organization (NDEO) is a non-profit, membership organization dedicated to advancing dance education centered in the arts for people of all backgrounds. NDEO provides dance artists, educators, and administrators of all backgrounds a network of resources and support, a base for advocacy and research, and access to professional development opportunities that focus on the importance of dance in the human experience.

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3 Big Misconceptions in Culturally Responsive Work

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3 Big Misconceptions in Culturally Responsive Work

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Making Culturally Responsive Teaching Work_ Zaretta Hammond Corrects 3 Big Misconceptions (Opinion)

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About the IAT

The IAT measures the strength of associations between concepts (e.g., black people, gay people) and evaluations (e.g., good, bad) or stereotypes (e.g., athletic, clumsy). The main idea is that making a response is easier when closely related items share the same response key.

When doing an IAT you are asked to quickly sort words into categories that are on the left and right hand side of the computer screen by pressing the "e" key if the word belongs to the category on the left and the "i" key if the word belongs to the category on the right. The IAT has five main parts.

In the first part of the IAT you sort words relating to the concepts (e.g., fat people, thin people) into categories. So if the category "Fat People" was on the left, and a picture of a heavy person appeared on the screen, you would press the "e" key.

In the second part of the IAT you sort words relating to the evaluation (e.g., good, bad). So if the category "good" was on the left, and a pleasant word appeared on the screen, you would press the "e" key.

In the third part of the IAT the categories are combined and you are asked to sort both concept and evaluation words. So the categories on the left hand side would be Fat People/Good and the categories on the right hand side would be Thin People/Bad. It is important to note that the order in which the blocks are presented varies across participants, so some people will do the Fat People/Good, Thin People/Bad part first and other people will do the Fat People/Bad, Thin People/Good part first.

In the fourth part of the IAT the placement of the concepts switches. If the category "Fat People" was previously on the left, now it would be on the right. Importantly, the number of trials in this part of the IAT is increased in order to minimize the effects of practice.

In the final part of the IAT the categories are combined in a way that is opposite what they were before. If the category on the left was previously Fat People/Good, it would now be Fat People/Bad.

The IAT score is based on how long it takes a person, on average, to sort the words in the third part of the IAT versus the fifth part of the IAT. We would say that one has an implicit preference for thin people relative to fat people if they are faster to categorize words when Thin People and Good share a response key and Fat People and Bad share a response key, relative to the reverse.

See the Frequently Asked Questions for information about other explanations for IAT effects.

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The IAT measures the strength of associations between concepts (e.g., black people, gay people) and evaluations (e.g., good, bad) or stereotypes (e.g., athletic, clumsy). The main idea is that making a response is easier when closely related items share the same response key.

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The Connected Arts Networks. 127 likes. A five-year grant initiative to create nationwide virtual Professional Learning Communities (PLCs).

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Cultural Responsiveness in the Arts Classroom, Parts 1 & 2

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Explore resources from the K12ArtChat podcast episode, Cultural Responsiveness in the Arts Classroom, with Oral Historian Dr. Mi’Jan Celie Tho-Biaz.

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This book details how bias affects the brain, perception and decision-making--and identifies how these factors affect the field of dance. It applies social psychology to the events, communities, and teaching strategies in dance classrooms of all sizes and age ranges.

Using critical theory as a framework, chapters define implicit biases and explore the power dynamics on and off the dance floor. Various examples of bias in dance education are examined in detail, as are the ramifications of prejudice and inequity. The book sets out the mechanisms that both exacerbate and disrupt the effects of biases, ultimately exploring practiced solutions for addressing bias in the dance classroom. It is intended to inspire dance students, teachers, administrators and arts stakeholders to begin new conversations that will allow dance classrooms to become more welcoming, inclusive spaces.

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Dance and Belonging: Implicit Bias and Inclusion in Dance Education

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Dance and Belonging: Implicit Bias and Inclusion in Dance Education [Davis, Crystal U.] on Amazon.com. *FREE* shipping on qualifying offers. Dance and Belonging: Implicit Bias and Inclusion in Dance Education

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Dance Standards in Theory and Practices: A Critical Cultural Perspective  ~ J. Finkelstein

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Dance Standards in Theory and Practices: A Critical Cultural Perspective  ~ J. Finkelstein

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Dance Standards in Theory & Practice.  J. Finklestein

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Connecting Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.

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Connecting Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.