Seeking rhythmic attunement: Teaching to dance; dancing to teach

References

• Aoki, T. T. (2005a). Curriculum implementation as instrumental action and as situational praxis. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted A. Aoki (pp. 111–123). Mahwah: Lawrence Erlbaum. (Original work published 1984)
   Google Scholar
• Aoki, T. T. (2005b). Teaching as indwelling between two curriculum worlds. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted T. Aoki (pp. 159–165). Mahwah: Lawrence Erlbaum. (Original work published 1986)
   Google Scholar
• Aoki, T. T. (2005c). Sonare and videre: A story, three echoes and a lingering note. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted T. Aoki (pp. 367–376). Mahwah: Lawrence Erlbaum. (Original work published 1990)
   Google Scholar
• Aoki, T. T. (2005d). Layered voices of teaching: The uncannily correct and the elusively true. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted A. Aoki (pp. 187–197). Mahwah: Lawrence Erlbaum. (Original work published 1992)
   Google Scholar
• Biesta, G. (2007). Why ‘what works’ won’t work: Evidence-based practice and the democratic deficit in educational research. Educational Theory, 57(1), 1–22. doi:10.1111/j.1741-5446.2006.00241.x
   Google Scholar
• Bingham, R. (2018). Improvising meaning in the age of humans. In S. Fraleigh (Ed.), Back to the dance itself: Phenomenologies of the body in performance (pp. 38–56). Urbana: University of Illinois Press.
   Google Scholar
• Brown, T. L., & Kopano (Eds.). (2014). Soul thieves: The appropriation and misrepresentation of African American popular culture. New York: Palgrave MacMillan.
   Google Scholar
• Dewey, J. (1910). How we think. Boston: D. C. Heath & Company.
   Google Scholar
• Dewey, J. (1922). Human nature and conduct. New York: Henry Holt and Company.
   Google Scholar
• Dewey, J. (1934). Art as experience. New York: Penguin Group.
   Google Scholar
• Fraleigh, S. H. (2004). Dancing identity: Metaphysics in motion. Pittsburgh: University of Pittsburgh Press.
   Google Scholar
• Giarelli, J. M. (2016). Maxine Greene on progressive education: Toward a public philosophy of education. Education and Culture, 32(1), 5–14.
   Google Scholar
• Greene, M. (1995). Releasing the imagination: Essays on education, the arts, and social change. San Francisco: Jossey-Bass.
   Google Scholar
• Hailey, D., Miller, A., & Yenawine, P. (2015). Understanding visual literacy: The Visual Thinking Strategies approach. In D. M. Baylen & A. D’Alba (Eds.), Essentials of teaching and integrating visual and media literacy: Visualizing learning (pp. 49–74). Cham: Springer.
   Google Scholar
• Hancock, B. H. (2013). American allegory: Lindy Hop and the racial imagination. Chicago: University of Chicago Press.
   Google Scholar
• Hill, C. V. (2003). Stepping, stealing, sharing and daring: Improvisation and the tap dance challenge. In A. C. Albright & D. Gere. (Eds.), Taken by surprise: A dance improvisation reader (pp. 89–102). Middletown: Wesleyan University Press.
   Google Scholar
• Hillis, V. (1999). The lure of the transcendent: Collected essays by Dwayne E. Huebner. Mahwah: Lawrence Erlbaum.
   Google Scholar
• Holman Jones, S. (2016). Living bodies of thought: The “critical” in critical autoethnography. Qualitative Inquiry, 22, 228–237. doi:10.1177/1077800415622509
   Web of Science ®Google Scholar
• Jackson, P. W. (1998). John Dewey and the lessons of art. New Haven: Yale University Press. doi:10.1086/ahr/107.1.266
   Google Scholar
• Jacobowitz, D. (2016). The commodification and appropriation of African-American vernacular dances (Unpublished master’s thesis). University of Washington, Seattle.
   Google Scholar
• Jardine, D. W. (1998). To dwell with a boundless heart: Essays in curriculum theory, hermeneutics, and the ecological imagination. New York: Peter Lang.
   Google Scholar
• Lee, K. H. (2008). Badareul baraboneun se sahram [Three People Looking at the Ocean][Painting]. Retrieved from https://neolook.com/archives/2009010701b.jpg
   Google Scholar
• Macintyre Latta, M. (2001). The possibilities of play in the classroom: On the power of aesthetic experience in teaching, learning, and researching. New York: Peter Lang.
   Google Scholar
• Malneck, M. (Composer) & Mercer, J. (Lyricist). (1959). Goody goody [Recorded by E. Fitzgerald]. On Get Happy [CD]. Santa Monica: Verve Records.
   Google Scholar
• Manning, F., & Millman, C. R. (2007). Frankie Manning: Ambassador of Lindy Hop. Philadelphia: Temple University Press.
   Google Scholar
• McCarthy-Brown, N. (2018). Owners of dance: How dance is controlled and whitewashed in the teaching of dance forms. In A. M. Kraehe, R. Gaztambide-Fernández, & B. S. Carpenter II (Eds.), The Palgrave handbook of race and the arts in education (pp. 469–487). Cham: Palgrave Macmillan.
   Google Scholar
• Midgelow, V. L. (2018). Improvisation as paradigm for phenomenologies. In S. Fraleigh (Ed.), Back to the dance itself: Phenomenologies of the body in performance (pp. 59–77). Urbana: University of Illinois Press.
   Google Scholar
• Pinar, W. F. (1994). Working from within. In W. F. Pinar, Autobiography, politics, and sexuality: Essays in curriculum theory 1972-1992 (pp. 7–12). New York: Peter Lang. (Original work published 1972)
   Google Scholar
• Pinar, W. F. (2005). “A lingering note”: An introduction to the collected works of Ted T. Aoki. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted A. Aoki (pp. 1–85). Mahwah: Lawrence Erlbaum.
   Google Scholar
• Pinar, W. F. (2012). What is curriculum theory? (2nd ed.). New York: Routledge.
   Google Scholar
• Pinar, W. F., & Irwin, R. L. (Eds.). (2005). Curriculum in a new key: The collected works of Ted T. Aoki. Mahwah: Lawrence Erlbaum.
   Google Scholar
• Stinson, S. W. (2016a). Body of knowledge. In S. W. Stinson (Ed.), Embodied curriculum theory and research in arts education: A dance scholar’s search for meaning (pp. 155–167). Cham: Springer. (Original work published 1995)
   Google Scholar
• Stinson, S. W. (2016b). My body/myself: Lessons from dance education. In S. W. Stinson (Ed.), Embodied curriculum theory and research in arts education: A dance scholar’s search for meaning (pp. 79–94). Cham: Springer. (Original work published 2004)
   Google Scholar
• Stinson, S. W. (2016c). Dance/teaching/research: The practice of living. In S. W. Stinson (Ed.), Embodied curriculum theory and research in arts education: A dance scholar’s search for meaning (pp. 299–310). Cham: Springer. (Original work published 2015)
   Google Scholar
• Swungover (2018, January 31). What’s it like being black in the Lindy Hop scene? [Video podcast]. Retrieved from https://www.youtube.com/watch?v=66-WUmlGdTk
   Google Scholar
• Trout, L. M. (2008). Attunement to the invisible: Applying Paulo Freire’s problem-posing education to “invisibility. The Pluralist, 3, 63–78.
   Web of Science ®Google Scholar
• Wade, L. (2011). The emancipatory promise of the habitus: Lindy Hop, the body, and social change. Ethnography, 12, 224–246. doi:10.1177/1466138111398231
   Web of Science ®Google Scholar
• Yehoodi Swings. (2017, April 28). SwingNation # 83: Black inclusion in Lindy Hop [Video File]. Retrieved from https://www.youtube.com/watch?v=z7wDXhmRa1w
   Google Scholar