Relevant bibliographies by topics / Learning to Dance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Learning to Dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Learning to Dance"

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Supeni, Siti. "JAVANESE TRADITIONAL ART-DANCE AS THE IMPLEMENTATION OF CHARACTER EDUCATION OF CHILDREN TO SUPPORT CHILD FRIENDLY SCHOOL." RESEARCH FAIR UNISRI 4, no. 2 (August 15, 2020): 48. http://dx.doi.org/10.33061/rsfu.v4i2.4517.

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The purpose of the research is to: ( I) identify character education of children in various Javanese traditional dances, (2) to analyze the needs, output, problems. and learning objectives of child-friendly schools (CFS) in applying character education based on regional dance by interviewing a dancer trainer and a professional dancer who have experiences in creating and practicing the dances, and (3) to identify types of Javanese traditional dance values inside the dances. the types of research is through literary studies, interviews, surveys, observations, and documentation. To analyze the data, the researchers useResearch & Development. The findings show that (1) identification of charactereducation in various Javanese traditional dance, (2) there are the needs, output, problems, and learning objectives of child-friendly schools (CFS) in implementing character education based on regional dance, and (3) types of Javanese traditional dance values from. Keywords: Javanese Traditional Dance, Character Education, Child-Friendly School
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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (May 31, 2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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Nevile, Jennifer. "Learning the Bassadanza from a Wolf: Andrea Calmo and Dance." Dance Research 30, no. 1 (May 2012): 80–97. http://dx.doi.org/10.3366/drs.2012.0035.

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For Roberto Pettini Important information about dancing and social values is sometimes found in unexpected places, such as the letters of Andrea Calmo, a sixteenth-century Venetian actor and playwright. These letters not only provide corroboration of information and attitudes to dance contained in the sixteenth-century Italian dance treatises, but also highlight how dance was regarded by a member of the middle-classes in Venice. As well as having a general appreciation of dance, which he saw as an enjoyable and moral activity, Calmo was knowledgeable about dance specifics and accurate in his use of dance terminology. In fact, Calmo's knowledge of dance practices was extensive enough to enable him to use specific dance references as a tool in creating the humour in his letters. His references to dances and dance steps also look back to the fifteenth-century Italian practice, and these references provide further information on the unresolved question as to the length of time quattrocento dances continued to be popular in the succeeding century.
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Darmawan, Dominikus Reynard, Erdhi Widyarto Nugroho, and Ridwan Sanjaya. "Learning Traditional Denok Dance With Kinect Game." Journal of Business and Technology 1, no. 2 (August 9, 2021): 43. http://dx.doi.org/10.24167/jbt.v1i2.3511.

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Nowadays, culture exchange is so much easier, with the foreign culture walk in to Indonesia, our traditional culture start to be forgotten, one of them is our traditional dance. And also, studying our native culture is considered something outdated. That why its needed a new media to make our traditional culture more modern so not become forgotten. One of the media which can be used is a game and a technology called kinect, with both of it, can be made a simulation game of our traditional dance, so it can be a media for introducing our traditional dance or help to train the dancer.
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Georgios, Lykesas. "The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music - Movement Education and Creative Dance in the Preservation of Our Cultural Heritage." Journal of Education and Training Studies 6, no. 1 (December 22, 2017): 104. http://dx.doi.org/10.11114/jets.v6i1.2879.

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Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society.Our culture is going through a constant process of mutation. Some traditional elements get lost, while others resist and survive or get transformed and readjust to new emerging circumstances.The aim of the present study is to investigate the learning process of Music/ Movement Education and Creative Dance within the context of the “second existence” of dance, and the way in which this learning process can effectively save and preserve the characteristic cultural traits of the "first existence" of the traditional dance.The experiential way of learning and transmitting dance from one generation to the other, is characterized as “the first existence” of dance. Changes in modern social, political and economic conditions have influenced the Greek traditional dance, which has acquired a more entertaining and tourist-commercial character, while its educational character has transformed going through teacher-centered educational processes. Having undergone this change, the traditional dance is now defined as “the second existence” of folk dance. The conversion of the traditional dance from its "first existence" into its "second existence" is supported and interpreted by the three components of the dancing process, the so-called “communication triangle”: the dancer, the dance and the viewer. The adoption of the particular approach of Music - Movement Education and Creative Dance in teaching Greek traditional dances can preserve and convey a large part of our cultural heritage to the new generation.Only by learning their country’s history and culture will the young generations be able to learn their own identity and make the best of the past in order to live more happily today and create a better future.
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Dania, Aspasia. "Analyzing the Aesthetics of Dance Instructional Design: An Example from Greek Traditional Dance Teaching." Congress on Research in Dance Conference Proceedings 2016 (2016): 116–26. http://dx.doi.org/10.1017/cor.2016.17.

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Within the context of dance education, the quality of students’ learning experiences during instruction affects their ability to coordinate body and mind effectively. The more these experiences are invested with emotionally motivated expectation, the more pervasive will students’ occupation with dance be. On this premise, the learning of dance is realized as a continuous process of aesthetic understanding, appreciation, and evaluation of the form of dance, as a learning object per se. Such a perspective upgrades instructional design to the level of art making, where every dancer can experience the aesthetically acceptable and “beautiful” while participating in dance lesson activities. The review of relevant literature shows that the application of solely reproductive practices in dance teaching cannot support the establishment of a learning environment that is rich in aesthetic experiences.The aim of this paper is to analyze those principles that should govern dance lesson design so that dance teaching can have the impact of an aesthetically elevated experience on every student dancer. With Greek traditional dance at the background and under the prism of modern socio-cognitive and aesthetic theories, the attributes of aesthetic teaching practices are reviewed. The design and implementation of a newly established method, the Laban Notation method for Teaching Dance, is used as an example. The author's objective is to add a new perspective to the design of dance teaching-a perspective that will balance student dancers' potential between passion for performance, conceptual appraising and personal identity.
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McCormick, John, Steph Hutchison, Adam Nash, Kim Vincs, Saeid Nahavandi, and Douglas Creighton. "Learning to replace a human: A virtual performing agent." International Journal of Virtual Reality 15, no. 1 (January 1, 2015): 18–22. http://dx.doi.org/10.20870/ijvr.2015.15.1.2865.

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In this paper we describe two artworks, Recognition, an outdoor interactive installation and Instrumental a live dance performance. In both works a performing agent has learnt sequences of movement from a dancer and uses these to stand in for a human performer. The agent uses an Artificial Neural Network to learn to dance from the human dancer and can perform in the human's stead. In Recognition the agent's movement is used when there are no humans present in order to keep continuity of the installation. In Instrumental the agent becomes a performing partner of a live human dancer, able to recognize the dancers movement and synthesize movement sequences based on the human dancer's movements.
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Indrayuda, Indrayuda. "TARI TRADISIONAL DALAM RANAH TARI POPULER: KONTRIBUSI, RELEVANSI, DAN KEBERLANJUTAN BUDAYA." Humanus 14, no. 2 (November 30, 2015): 144. http://dx.doi.org/10.24036/jh.v14i2.5680.

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Recent development of dance performance is not only esthetical and artistic; it has improved farther along with social cultural changes and economic development, which is supported by the scientific and technological changes that have encouraged the improvement of the art and knowledge about dances. In choreographic learning in academic environment, the arrangement pattern in choreography is not limited to the conventional that the consequence of movement, but also a media for criticism and expression of the artists. Currently dance does not belong to certain tradition of a community but to individuals. The individual belonging of the dance is widely known as popular dance, both monumental and contemporary dance. In Indonesia, both monumental and contemporary popular dances tend not to be detached from their traditional idiom or spirit in their cultural choreographic background, even all of their arrangement source stems from traditional kinesthetic dance. This phenomenon becomes a new trend in dance creation and dance choreographic learning in Indonesia, many of which are developed by art academicians, art studios and workshops.
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Carey, Michael. "Learning to Dance." Iowa Review 20, no. 1 (January 1990): 50–51. http://dx.doi.org/10.17077/0021-065x.3837.

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Jackson, Fleda Brown. "Learning to Dance." Iowa Review 21, no. 1 (January 1991): 101. http://dx.doi.org/10.17077/0021-065x.3966.

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Dissertations / Theses on the topic "Learning to Dance"

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Howard, Suzanne, and suzieholidayhoward@hotmail com. "Learning to Dance." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080215.163153.

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This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.
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Sukel, Katherine E. "Representations for learning dance in a computational dance tutor." Thesis, Georgia Institute of Technology, 1999. http://hdl.handle.net/1853/29347.

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Potter, Caroline M. Parler. "Learning to Dance: Sensory Experience in British Contemporary Dance Training." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487239.

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This thesis addresses the social process of bodily learning and the cultural shaping of sensory experience. It draws on literature from the anthropology ofdance, the anthropology ofthe body, and the anthropology of the senses in order to explore the socially constituted practices by which dancing bodies are created in present-day London. Based on heavily participatory fieldwork undertaken at a nationally recognized school for professional contemporary dance, it explores issues of social access, identity, bodily transfonnation, and institutionalized bodily control as they relate to the process of becoming a professional dancing body within the British context. A central theoretical premise underpinning this investigation is that the heretofore unresolved division between concepts of 'mind' and 'body' (and its related dyad of 'subject' and 'object') is not merely a philosophical construct but has its roots in actual bodily experience. As such ethnographic material is presented within a dualstrand framework that highlights varying experiences of body-as-object and body-assubject among British contemporary dance students.
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Rowe, Andrew D. "Exploring the dance of team learning." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327121.

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Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.

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Riviere, Jean-Philippe. "Capturing traces of the dance learning process." Electronic Thesis or Diss., université Paris-Saclay, 2020. http://www.theses.fr/2020UPASG054.

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Cette thèse porte sur la conception d’outils interactifs pour comprendre et faciliter l’apprentissage de la danse à partir de vidéos. Les processus d’apprentissage des danseurs représentent une source d’informations riches pour les chercheurs qui s’intéressent à la conception de systèmes soutenant l’apprentissage moteur. En effet, les danseurs experts réutilisent un large éventail de compétences qu’ils ont appris. Cependant, ces compétences sont en partie le résultat de connaissances implicites et incarnées,qui sont difficilement exprimables et verbalisables par un individu.Dans cette thèse, je soutiens que nous pouvons capturer et sauvegarder une trace des connaissances implicites des danseurs et les utiliser pour concevoir des outils interactifs qui soutiennent l’apprentissage de la danse. Mon approche consiste à étudier différentes sessions d’apprentissage de danse dans des contextes réels, aussi bien individuels que collaboratifs.Sur la base des résultats apportés par ces études, je contribue à une meilleure compréhension des processus implicites qui sous-tendent l’apprentissage de la danse dans des contextes individuels et collectifs. Je présente plusieurs stratégies d’apprentissage utilisées par des danseurs et j’affirme que l’on peut documenter ces stratégies en sauvegardant une trace de l’apprentissage. Je discute de l’opportunité que représente la capture de ces connaissances incarnées et j’apporte de nouvelles perspectives pour la conception d’outils d’aide à l’apprentissage du mouvement par la vidéo
This thesis focuses on designing interactive tools to understand and support dance learning from videos. Dancers' learning practice represents a rich source of information for researchers interested in designing systems that support motor learning. Indeed, dancers embody a wide range of skills that they reuse during new dance sequences learning. However, these skills are in part the result of embodied implicit knowledge. In this thesis, I argue that we can capture and save traces of dancers' embodied knowledge and use them to design interactive tools that support dance learning. My approach is to study real-life dance learning tasks in individual and collaborative settings. Based on the findings from all the studies, I discuss the challenge of capturing embodied knowledge to support dancers’ learning practice. My thesis highlights that although dancers’ learning processes are diverse, similar strategies emerge to structure their learning process. Finally, I bring and discuss new perspectives to the design of movement-based learning tools
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Regan, Jeanette. "The dance of learning on encounters in adult second-language learning." Bern Berlin Bruxelles Frankfurt, M. New York, NY Oxford Wien Lang, 2008. http://d-nb.info/996091572/04.

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Boeh, Sarah Marshall. "The effectiveness of labanotation in learning ballroom dance /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487777901658673.

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Shindler, Nicholas. "Feature Assessment for the Analysis of Latin Dance Modeling Two-Person Dance with Machine Learning." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-84466.

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Lallathin, Jayma R. "Skill acquisition and learning in dance : a traditional vs. biofeedback approach." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371848.

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Practice and modeling are common approaches to teaching motor skills. Qualitative and quantitative feedback have also been used to improve complex skill learning. The purpose of this study is to determine if providing real-time kinematic feedback in addition to traditional training will enhance skill acquisition of unskilled dancers when compared to traditional dance instruction alone. Two groups of dancers participate in testing and training protocols including a traditional group and a biofeedback training group to examine differences between the two teaching methods. Significant differences were found due to time for knee flexion and hip rotation. Significant differences due to training group were found at one time point for knee flexion. The main finding of this study was that the addition of biofeedback had a limited effect on skill acquisition on beginning level dancers.
School of Physical Education, Sport, and Exercise Science
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Books on the topic "Learning to Dance"

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Aarnes, William. Learning to dance. Greenville, S.C. (P.O. Box 30882, Furman University, Greenville 29613): Ninety-six Press, 1991.

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School, Philly Free, ed. Learning to Dance. Conshohocken, Pa: As/Is group poetry blog, 2017.

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Sallis, Susan. Learning to dance. London: Bantam, 2013.

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Taylor, Keith. Learning to dance: Poems. Ann Arbor, MI: Falling Water Press, 1985.

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Learning about dance: Dance as an art form and entertainment. 3rd ed. Dubuque, Iowa: Kendall/Hunt, 2003.

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Humphrey, James H. Child development and learning through dance. New York: AMS Press, 1987.

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Humphrey, James Harry. Child development and learning through dance. New York: AMS Press, 1987.

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Warner, Sharon Oard. Learning to dance, and other stories. Minneapolis, MN: New Rivers Press, 1992.

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Pica, Rae. Upper elementary children moving & learning. Champaign, IL: Human Kinetics Publishers, 1993.

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Lynne, McNett, ed. Creative dance for learning: The kinesthetic link. Boston: McGraw-Hill, 2008.

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Book chapters on the topic "Learning to Dance"

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Hodson, John. "Learning to Dance." In Self-Study and Diversity II, 27–38. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-534-0_3.

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MisirHiralall, Sabrina D. "Basics of Learning Devotional Hindu Dance." In Devotional Hindu Dance, 95–115. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70619-7_4.

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Nakajima, Nanako. "Dance Dramaturgy as a Process of Learning: koosil-ja’s mech[a] OUTPUT." In Dance Dramaturgy, 163–79. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137373229_9.

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Quennerstedt, Mikael, Béatrice Gibbs, Jonas Almqvist, Johnny Nilsson, and Helle Winther. "Beatrice: Dance Video Games as a Resource For Teaching Dance." In Digital Technologies and Learning in Physical Education, 69–85. Abingdon, Oxon ; New York, NY : Routledge, 2016. |: Routledge, 2016. http://dx.doi.org/10.4324/9781315670164-5.

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Koff, Susan R. "Psychomotor Domain: Dance." In From Principles of Learning to Strategies for Instruction with Workbook Companion, 307–21. Boston, MA: Springer US, 2007. http://dx.doi.org/10.1007/978-0-387-71086-0_10.

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Martin, Rose, and Ruohan Chen. "The Collective, the Virtual, and the Chance: Teaching and Learning Guangchang Wu." In The People’s Dance, 49–64. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9166-2_5.

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Cross, Emily S., and Richard Ramsey. "Neurophysiological Correlates of Learning to Dance." In Encyclopedia of the Sciences of Learning, 2452–54. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-1428-6_77.

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Dubbin, Greg A., and Kenneth O. Stanley. "Learning to Dance through Interactive Evolution." In Applications of Evolutionary Computation, 331–40. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-12242-2_34.

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Johnson, Elizabeth. "A Mother/Daughter Distance Dance." In Working the Margins of Community-Based Adult Learning, 169–79. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-483-1_14.

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Presmeg, Norma. "A Dance of Instruction with Construction in Mathematics Education." In Early Mathematics Learning, 9–17. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-4678-1_2.

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Conference papers on the topic "Learning to Dance"

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Samanta, Soumitra, Pulak Purkait, and Bhabatosh Chanda. "Indian Classical Dance classification by learning dance pose bases." In 2012 IEEE Workshop on Applications of Computer Vision (WACV). IEEE, 2012. http://dx.doi.org/10.1109/wacv.2012.6163050.

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Choi, Jong-Hyeok, Jae-Jun Lee, and Aziz Nasridinov. "Dance self-learning application and its dance pose evaluations." In SAC '21: The 36th ACM/SIGAPP Symposium on Applied Computing. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3412841.3441980.

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Habsary, Dwiyana, Indra Bulan, and Afizal Setiawan. "Learning Environment Through Dance Movement." In Proceedings of the 2nd International Conference on Progressive Education, ICOPE 2020, 16-17 October 2020, Universitas Lampung, Bandar Lampung, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.16-10-2020.2305243.

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Kusnadi and Supriyadi Hasta Nugraha. "Classical Javanese Dance Learning with Blended Learning." In 2nd International Conference on Technology and Educational Science (ICTES 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210407.223.

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Díaz, Bárbara, and José Ignacio Lorente. "IDENTITIES IN DANCE. AN EDUCATIONAL INNOVATION PROJECT APPLIED TO PROJECT-BASED LEARNING IN DANCE." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.0069.

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Davcev, D., V. Trajkovic, S. Kalajdziski, and S. Celakoski. "Augmented reality environment for dance learning." In International Conference on Information Technology: Research and Education, 2003. Proceedings. ITRE2003. IEEE, 2003. http://dx.doi.org/10.1109/itre.2003.1270600.

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Suprihono, Arif Eko. "Instructional Cine-Dance: Discovering the Learning Video Model of Yogyakarta Classical Dance." In 1st International Conference on Intermedia Arts and Creative. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008560601310135.

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Rahmah, Sitti. "Pakpak Dairi Dance Innovation Learning by E-Learning Schoology in FBS UNIMED Dance Education Product Students." In Proceedings of The 5th Annual International Seminar on Trends in Science and Science Education, AISTSSE 2018, 18-19 October 2018, Medan, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.18-10-2018.2287413.

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Mitchell, Kenny, Babis Koniaris, Monica Tamariz, Jessie Kennedy, Noshaba Cheema, Elisa Mekler, Pieter van der Linden, et al. "Embodied online dance learning objectives of CAROUSEL+." In 2021 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2021. http://dx.doi.org/10.1109/vrw52623.2021.00062.

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Anbarsanti, Nurfitri, and Ary S. Prihatmanto. "Dance modelling, learning and recognition system of aceh traditional dance based on hidden Markov model." In 2014 International Conference on Information Technology Systems and Innovation (ICITSI). IEEE, 2014. http://dx.doi.org/10.1109/icitsi.2014.7048243.

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Reports on the topic "Learning to Dance"

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Stuart, Joshua, and Elizabeth Bradley. Learning the Grammar of Dance. Fort Belvoir, VA: Defense Technical Information Center, January 1998. http://dx.doi.org/10.21236/ada452050.

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You might also be interested in the extended bibliographies on the topic 'Learning to Dance' for particular source types:
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