Allie Hunter

1. What is the basic structure of Weikart's approach? Describe it here in a way that someone
reading your post would easily understand how to do what Weikart is asking.
a. Weikart describes a system of how to teach any kind of movement in the most
beneficial way possible. The first important notion is that you must separate
directions. For instance, you should either explain the movement verbally or
physically demonstrate the movement but not do both at the same time. This helps to
keep instructions clear and focus on the task at hand. Next is suggested that you
simplify the movement. If it is a long or complex movement, break it into multiple
parts, or if it involves a prop or item do the movement at first without that item.
Lastly it is encouraged that you facilitate critical thinking and ask questions that
engage the learners in what they are doing. Asking a learner to describe the
movement they did with their arm and then encouraging descriptive words like fast,
slow, or smooth will help to better solidify these actions and engage the learner.
2. Let's problematize this reading. What are the affordances and constraints of Weikart's ideas?
In other words, what are the potential pros and cons of this approach? Is it inclusive for all
types of learners (inclusive of different abilities, backgrounds, means of communicating,
cultural perspectives, etc.). Is it adaptable? How so? Are there positive or negative
assumptions within this approach about the role of learners and the role of teachers (e.g. is it
teacher- or learner-centered, etc.)? Use your critical thinking there.
a. This approach allows for a way to easily teach movement that most students will be
able to follow. The model does not however account for students who may have more
difficulties in this area. Students who have special needs either cognitively or in their
motor skills may not be able to catch on quickly to movements that are only being
shown and not described or vice versa. They might also need more elaboration or
not have the ability to really describe their motion. It would be important to adapt this
approach in a way that could make it more hands on and student based. This model
has focus on the teacher and their ability to model and facilitate. Those who then
dont understand the teacher because of something as simple as not speaking the
language would then be left out of half the learning experience. I think if this model
was adapted towards a student view and worked to give assistance to students more
individually rather than just giving instructions and hoping everyone catches on it
would allow students to better learn to their abilities. To effectively teach this model I
think it needs to be adapted to a more hands on approach in which each student may
get more attention and a better approach for themselves. The chore concepts remain
valuable in their desire to engage students in the learning experience and pace them,
but it should be specific to what the student needs.

3. How might you adapt, change, or reframe this approach for use outside of teaching
movement and dance? What other applications can you imagine? Describe at least one
other use of this approach outside of teaching movement.
a. When reading I found especially that I was drawn to the idea of teaching a beginning
band, and how demonstrating and doing the movement of holding an instrument
before being given the instrument could be very beneficial to students and help
prevent accidents. I also thought of visual effect in marching band shows or even just
posture in any ensemble. There is a process of learning to put your instrument up or
your music for choir that has to be learned. Learning step by step in these situations
and then facilitating questions would help to better solidify the correct motions that
are integral in an ensemble being a cohesive unit. In general music teaching can be
approached this way as well. Particularly in an ensemble or sight reading setting it
would be easy to describe the music, or listen to it (separate), then go section by
section and start to play through the parts (simplify), and finally ask questions about
the music and the experience in performing it to help identify what was being
done(facilitate).