Adaptive Dance and Rhythms: For All Ages with Basic Lesson Plan, 2nd Edition
By Susan Kramer
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Adaptive Dance and Rhythms - Susan Kramer
Adaptive Dance and Rhythms for All Ages with Basic Lesson Plan, 2nd Edition
By Susan Kramer
adaptive28bAdaptive Dance and Rhythms For All Ages With Basic Lesson Plan, 2nd Edition
Copyright © 2020 Susan Kramer
ISBN: 978-1-4475-6164-4
Windward House Publishing
www.susankramer.com
susan@susankramer.com
Fitness and conditioning
Text and Illustrations by Susan Kramer
All rights reserved.
USA
Introduction
Spirited energy
Forming patterns, rhythms, movement in our lives
Searching
Until a way of expression is found.
rhythm39This rhythmic and expressive dance teaching text was created from my work as a dance specialist with children to seniors, including those challenged since 1965.
I observed that people of all ages are adaptable, expressing feelings and thoughts in alternative ways when faced with challenges: emotional, mental, physical, or in combination.
When movements are adapted they become accessible in some way to everyone.
Music and rhythms provide inspiration for structured and expressive movement.
The clapping, floor exercises, and moving on the floor exercises in this text develop coordination of body-mind through right-left brain development.
This theory of receiving input through the bodily senses, body to mind and then mind to body for action, powered by spirited, enthusiastic energy is a basis of somatic education.
All levels of mobility will find something useful. Practical hints are given for those confined to bed or wheelchairs or with limited range of motion. I like to call the participants dancers.
Music and rhythmic clapping or rhythm instruments provide the inspiration.
For example: Those that are hearing impaired can feel the vibrations of music in their hands by touching a piano being played, or from a sound speaker; even through their feet on a floor that is vibrating from an instrument being played in the room.
I. General Notes
General Adaptive Guidelines
1. Some exercises in the practice sections will not be suitable for every situation.
2. Each participant is called a dancer; the partner is the person helping the dancer with the exercises.
3. When possible use eye-to-eye contact with dancers to develop their attention span.
4. Participate with the