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Facilitating Preschool Learning and Movement through Dance

Article  in  Early Childhood Education Journal · July 2007

DOI: 10.1007/s10643-007-0172-9

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Early Childhood Education Journal, Vol. 35, No. 1, August 2007 (
2007)
DOI: 10.1007/s10643-007-0172-9

Peer Reviewed

Facilitating Preschool Learning and Movement through Dance

Riolama Lorenzo-Lasa,1 Roger I Ideishi,1,2 and Siobhan K Ideishi1

A preschool movement through dance program is a way to open the door to numerous
cultural benefits and opportunities, and preschool skill facilitation. Creating new contexts for
learning enrich young children and offer them different opportunities to understand and
negotiate the world. Inclusive curricular integration and parent and community participation
are important components of a cultural arts experience that deepen the childrenÕs repertoire of
behavior and responses to the world. Early childhood education practitioners are encouraged
to creatively explore their community and develop rich cultural learning experiences for
children.

KEY WORDS: preschool cultural arts; childrenÕs movement programs; gross motor development; motor
development; creative preschool movement; preschool dance; childrenÕs imagination; creative expression;
preschool curricular integration.

INTRODUCTION concepts through rhythm and patterns of beat and

tempo (Shilling, 2002). In addition to cognitive
Young children sense, move and respond within
learning benefits, creative movement and dance can
the context of the moment. Reaching, jumping, bal-
be a transformative experience that develops body
ancing, and hopping are experiences that teach chil-
awareness as well as personal identity and control
dren how to understand and negotiate the world.
(Graham, 2002). Children can attain a greater range
Movement experiences that are layered with creative,
of emotional feelings and cues through movement.
cognitive, social and emotional experiences facilitate
Children who understand and attend to a range of
childrenÕs understanding that movement has mean-
emotional cues can develop sensitivity to basic emo-
ing, intention and expression. Preschool movement
tions and use this broader emotional repertoire for
and dance programming brings a multi-layered
responding in the world (Boone & Cunningham,
experience to inclusive preschool settings so children
1998). Cultural arts programs that integrate motor,
of all abilities can experience and benefit from crea-
cognitive, social and emotional skills provide children
tive and complex movement experiences.
with layered learning experiences that deepen their
Physical movement coupled with novel pretend
repertoire of behavior and responses to the world. A
imagery can help with attention, speed, retention, and
multi-layered cultural arts experience also serves as a
enjoyment of learning (Sacha & Ross, 2006). Move-
framework for creating adaptations for children with
ment and music experiences integrated within a pre-
different abilities and interests in movement.
school curriculum can also reinforce math and logic

PRESCHOOL MOVEMENT THROUGH DANCE

1
Occupational Therapy, University of the Sciences in Philadelphia,
600 S. 43rd St, Box 24Philadelphia, PA 19125, USA.
2
Correspondence should be directed to Roger I Ideishi, Occupa-
tional Therapy, University of the Sciences in Philadelphia, 600 S.
43rd St, Box 24Philadelphia, PA 19125, USA.,
e-mail: r.ideishi@usip.edu
A movement through dance program may in-
clude basic body awareness, counting and rhythm,
creative body movement, and language and emo-
tional expression. Integrating these experiences al-
lows children to learn at different levels and rates
depending on their level of ability and interest. These

25
1082-3301/07/0800-0025/0
2007 Springer Science+Business Media, LLC
26
elements can be organized in three phases: warm up,
dance techniques, and creative movement. For
example, warm up exercises prepare the body for
physical activity, dance techniques demonstrate how
to control the body, and creative movement demon-
strates how to modify movement with imagination.
The warm-up exercises should be a progressive
series of movements aimed at preparing the body for
physical activity. In learning the warm-up, children
can anticipate what comes next while realizing the
importance of stretching and warming up the muscles
prior to physical activity. Table 1 provides ten
examples of various warm up exercises on the floor
and in standing. Having children count out loud with
the music, while executing these exercises, might also
help with staying focused and involved. Many exer-
cises such as the ‘‘scissors’’, ‘‘butterfly’’, and ‘‘seal’’
incorporate imagery in attaining movement and
posture. For instance, before executing any move-
ment the children can be asked what scissors look
like. Once the children have the image in their head,
they are then asked to use their legs as ‘‘scissors’’.
During these repetitions they imagine cutting pieces
of paper with their ‘‘scissors’’. The same can be asked
before the ‘‘butterfly’’ and the ‘‘seal’’. This offers the
children something familiar to reference during the
recall process. Using creative representations during
‘‘butterfly’’ exercises helps to promote childrenÕs
imagination while using their legs as butterfly wings.
They are asked to flap their wings and at certain times
they can bring their head down towards the floor and
pretend to hide in their wings so as not be caught in
the butterfly net. These imaginary concepts help to
sustain the childÕs interest, and use of creative
thought. Another example is the ‘‘seal’’ exercise when
the children are asked to show their tails. Once the
position is achieved, the imagery of a seal going in
and out of the water dictates the movement. Using
the imaginary animal concepts demonstrates that
movement has intention.
Dance experiences extend the warm up move-
ment experience to the next level from body aware-
ness and intention to controlled movement. Dance
techniques such as ballet provide a framework for
learning how to control movement. Ballet technique
starts with the basic positions of the feet and incor-
porates such motions as bending of the knees,
jumping and turning. Table 2 describes various ballet
techniques achievable for preschoolers. Ballet tech-
nique can progress to further, more difficult move-
ments and can include arm positions and arm
movements. Children are especially engaged if they
Lorenzo-Lasa, Ideishi, and Ideishi
are able to execute their newly learned steps in a
performance at the end of each period. With props
such as ribbons and costumes, the children can take
turns performing for classmates. The benefits of
ballet technique are not simply physical. Although it
demands strength, coordination, and flexibility, it
also requires body awareness, constant thought and
concentration, and discipline. Ballet uses every major
muscle group with a strong emphasis on core strength
and posture. This complete form of exercise builds
stamina, tones muscle, and improves flexibility
through stretching. In ballet, children are forced to
create mind-body connections in order to execute the
appropriate steps and positions demanded. Learning
ballet involves dancing to a musical score; this as-
sumes that sensory processing, in which the child
must integrate learned movements with auditory in-
put, occurs in each child actively participating in
class. Ballet technique is also taught in a very regi-
mented, hierarchical and organized system. One
cannot jump to a certain level without having
accomplished lower level techniques. This instills in
the child a certain discipline of repetition and prac-
tice. Thus, ballet technique offers many benefits that
are not represented in a movement curriculum and
that many children would profit from attaining.
Extending the dance techniques with creative
movement experiences allows children to modify and
experiment with movement using imaginary thought
and creativity. Table 3 provides examples for using
animal movements for expressive movement.
Attaching an animal label to a movement using pre-
tend play allows the children to learn the movement,
making the exercise not only a physical exercise, but
also a mental activity. Depending on the animal, the
children may also be asked to make sounds associ-
ated with that animal. The types of movement exe-
cuted with each animal involve different energy levels
that elicit certain expressions or feelings. For the
‘‘rabbit’’, a child may be asked to wiggle his or her
bunny nose. Since rabbits do not produce a sound,
the feeling is very quiet. The ‘‘chicken’’ makes a loud
noise that children often find comical. The movement
itself is also comical because of its challenge to pre-
schoolers. Children experience laughter in falling off
balance, which adds to the emotion. The ‘‘pony’’
holds a strong and regal posture while happily
mimicking the sound of horseshoes on cobblestones.
The ‘‘frog’’ provides an energetic and excited ‘‘rib-
bit’’, as the child propels him or herself far into the
air. The ‘‘swan’’ exudes grace as it glides smoothly
and calmly. Each animal exhibits specific qualities of
Preschool Movement 27

Table 1. Warm Up Exercises

Floor and Seated Exercise

‘‘Point & Flex’’ 10 repetitions
‘‘Toe Reaches’’ 10 repetitions
‘‘Scissors’’ 10 repetitions
‘‘Seal’’ 10 repetitions
‘‘Butterflies’’
Standing Exercises
‘‘Body Bends’’ 4 repetitions of the series
‘‘Knee Raises’’ 5 times each leg
‘‘Arm Circles’’ 1 repetition of the entire series
‘‘Kicks’’
• Sitting position on the floor with the legs extended to the front.
• While keeping the legs together with knees straight, the feet are alternately pointed up
and down.
• Legs extended to the front and the legs maintained together.
• The arms reach for the ceiling followed by a forward bend to reach the toes without
allowing the knees to bend.
• Laying on oneÕs back with the legs up, pointing to the ceiling.
• The legs open to the side and close, crossing one leg in front and immediately changing
to cross the other leg.
• Sitting position in which both legs are balanced off the floor while holding the ankles.
• The knees are bent, heels are touching and feet are flexed. While balancing the legs up
without releasing the ankles, one will roll backwards then forwards and end in a
balance sitting position.
• Sitting position with the soles of the feet together, the knees bent and positioned
laterally. The knees will then be raised and lowered from the ground in a bouncing
‘‘flying’’ fashion.
• This movement should be repeated for ten counts followed by a forward body bend so
that the forehead touches the feet.
• 3 forehead touches with a 10 count ‘‘flying’’ knees between each touch.
• The first of the standing warm up exercise
• Standing with the feet apart and hands on the hips (neutral position).
• Bending from the waist as far forward, rightward, backward, and leftward as possible
coming back to neutral position before every change of direction.
• Standing with the hands on the hips.
• The right knee lifts to form a 90 degree angle with the body and is held for 3 seconds
making sure to alternate between left and right legs.
• Standing up with the arms at shoulder level elevated to the side.
• Make ten small circles in a clockwise fashion. Then reverse direction and make ten
small circles in a counter-clockwise fashion.
• Then begin to make ten large circles in a clockwise fashion. Make ten large circles in a
counter-clockwise fashion.
• Standing with the hands on the hips.
• Starting with the right leg, kick to the front, right, back, and right again.
• Bring the leg down between each direction.
• 4 repetitions of series with each leg

movement and mood that transforms the child into
that animal, while exposing him or her to a wide
range of emotions.
Using objects and props help to engage and fo-
cus the children. For example, placing a blue mat or
object in the center of the room to resemble a pond
during animal movement activities keeps the child
focused on the direction as well as changes of
movement. The child is told to jump over, step over,
or make some other contact with the pond depending
on the animal. Animal exercises can also be per-
formed traveling across the floor, or incorporated
into a game called ‘‘duck, duck, swan’’ similar to the
game: ‘‘duck, duck, goose’’. In ‘‘duck, duck, swan,’’
the child chooses any learned animal and executes the
movement around the circle, instead of running,
while the chosen child follows. This too can progress
as the child is taught more movements that imitate
different animals.
FACILITATING PRESCHOOL SKILLS
Movement is a basic form of experience and
communication (Koff, 2000). When movement be-
comes a dance form, the sensory, motor, cognitive,
social and emotional skills inherent in the experience
can be facilitated as isolated skills or a as a cohesive
integrated developmental experience. In inclusive
environments, a multi-dimensional movement expe-
rience offers learning to children of all ages and
abilities. Through these experiences, children connect
movement, sensation, and action to self-awareness,
emotional response, social interaction, and cognitive
focusing and attention. A preschool movement
28 Lorenzo-Lasa, Ideishi, and Ideishi

Table 2. Ballet Technique

‘‘First Position’’ • The basic position of the feet is ‘‘first position’’, where the heels are touching and the toes are pointing out.
• Every ballet step should start and finish in the same position.
‘‘Plie’’ • ’’Plie’’ (pronounced ‘‘plee-ae’’), where the knees bend and straighten, can be performed in first position.
‘‘Relevee’’ • ’’Relevee’’ (pronounced ‘‘re-le-vae’’), where the heels rise off the floor and one is balanced on the balls of the
feet, can be performed in first position.
‘‘Souttee’’ • ’’Souttee’’ (pronounced ‘‘so-tae’’), where one jumps into the air, can be performed in first position.
‘‘Pirouette’’ • ’’Pirouette’’ (pronounced ‘‘pir-oo-et’’) is where one picks one leg up and spins, while on the forward ball of
one foot. All of the ballet steps can be performed continuously, going from one step into another.

Table 3. Animal Movements

‘‘Rabbit’’ • The ‘‘rabbit’’ jumps on both feet with hands held tightly in front of the chest. At the ‘‘pond’’ the rabbit jumps over the
pond on two legs.
• Movement expression: Quiet
‘‘Chicken’’ • The ‘‘chicken’’ hops only on one leg while the arms flap like wings. At the ‘‘pond’’ the chicken hops over the pond on
one leg.
• Movement expression: Funny
‘‘Pony’’ • The ‘‘pony’’ alternates raising one knee then the other at 90 degree angles, similar to marching with the hands on the
hips. At the ‘‘pond’’, the pony extends the leg from that 90 degree angle to cross over the ‘‘pond’’ in one giant step
without ‘‘getting wet’’.
• Movement expression: Happy
‘‘Frog’’ • The ‘‘frog’’ starts in a squat position with hands on the floor. The frog leaps up into the air and finishes back on the
floor in the squat position with hands on the floor. At the ‘‘pond’’, the frog leaps over from one squat position to
another squat position.
• Movement expression: Excited
‘‘Swan’’ • The ‘‘swan’’ moves by walking on the balls of the feet with heels lifted off the floor (Relevee). The arms move gracefully
up and down as if moving a large wingspan. The swan gently glides over the ‘‘pond’’ on the balls of the feet.
• Movement expression: Graceful

through dance program has the potential to facilitate
various skills areas simultaneously. Therefore, chil-
dren with different abilities can participate at a level
that meets their needs yet still engage in a social
group experience.
Movement through dance obviously facilitates
motor skills. Using dance as an expression of move-
ment offers a tangible and goal directed movement
outcome easily identified to children. Goal directed
familiar and enjoyable tasks facilitate gross motor
skills greater than merely the movement itself (Duff,
Shumway-Cook & Woollacott, 2007). Participating
in a group format also provides opportunities for
social modeling and repetitive practice promoting
motor planning and sequencing skills (p. 554). Dance
technique challenge children with new motor plans
and sequences increasing their repertoire of move-
ments facilitating developmental motor skills. The
warm-up exercises and animal movements can facil-
itate a greater acuity to balance, body awareness, and
motor sequencing. For example, Child D. had diffi-
culty with initiation of movement requiring physical
prompts to follow through with the warm-up exercise
and animal movements. Through vicarious observa-
tional learning, animal imagery, and motor practice,
D. required less physical prompts for initiation and
was able to repeat movements independently using
the animal images. As demonstrated above, using a
variety of modes for motor learning such as the
warm-ups, animal movement and games facilitate
childrenÕs problem solving and generalization for
effective movement strategies (Shumway-Cook &
Woollacott, 2007a).
Movement is a sensory experience. Visual,
auditory and kinesthetic senses are key sensations in
movement through dance. These sensory skills facil-
itate awareness of response and reactivity to different
conditions for the participant (Dunn, 2001). Move-
ment through dance can be an organizing tool for
some children. For example, Child A. was initially
hyper-reactive to visual and auditory stimuli. He was
distracted by any new visual or auditory information
present in the immediate environment. With the
routine of the movement through dance activities,
Child A. associated piano music and animal move-
ment themes to the point where he was able to
Preschool Movement
exclude other sensory inputs and participate in the
animal movement games.
Creative movement and music experiences have
been found to enhance cognitive flexibility, ideation,
and spatial temporal reasoning (Hetland, 2000;
Holmes & Geiger, 2002). These are important pre-
school skills for children to learn how to negotiate a
playground, build structures out of objects, and play
games. Dance provides opportunities for children to
create movements as an expression of idea or thought
thereby expanding their imagination and ideation of
their body in space. The ballet technique and animal
movements challenge children to recall and connect
movement patterns with visual and auditory infor-
mation, animal images, or spatial planning. Trans-
forming French ballet words into actions challenge
the child to connect verbal cues to movement patterns
such as plie and souttee. Movement through dance
also integrates these experiences with music, count-
ing, memory and problem solving. Through repeated
reinforcement, children associate different modes or
tempos of music to particular movement styles and
count body movements to keep rhythm with the
music. For Child A., who was initially hyper-reactive
to sensory stimuli, movement through dance helped
with associational recall learning and creative
expansion of thought. After two months of partici-
pation, Child A. was able to anticipate ideas based
merely on the movements he was shown. For exam-
ple, Child A. would create the requisite arm move-
ments when he would hear certain ballet music
demonstrating his recall and desire to participate in
the ‘‘duck, duck, swan’’ game. The creation of ideas is
an important cognitive skill for preschoolers to
interact and engage with others to form common
understanding of experience and social participation.
Social participation is a core element of move-
ment through dance. A child expressing his ideas and
connecting with others facilitates a childÕs ability to
engage in social problem solving (Nikitina, 2003).
Referring to Child A., initially he had difficulty
staying with the group, minimally engaging with
other children, and repeatedly leaving the group
requiring adults to constantly redirect him. Through
the predictable dance routine and reinforcement of
movement and music ideas he could relate to, Child
A. began to tentatively wait for the next ballet tech-
nique or wait his turn during the ‘‘duck, duck, swan’’
game.
Integrating learning within the family unit is a
major objective of many preschool curricula. The
ballet theme provides a spring board for carrying
29
over preschool activities into family and home inter-
actions. After a few weeks of participation in move-
ment through dance, Child N. came to preschool with
a picture of herself dancing at home in a ballet tutu.
Her mother reported Child N. showing an interest in
dance so her mother purchased a childÕs play tutu as
well as taking her to a ballet performance of The
Nutcracker. Connecting movement through dance
activities within family routines is another example of
how preschool curricula facilitate social skills.
As stated above, movement through dance
facilitate motor, sensory, cognitive and social skills.
Movement through dance can teach children how to
manage different situations whether it is motor
planning, problem solving or social interactions.
Using movement as a basis for situational problem
solving is a less intimidating method to introduce low
stress experiences and help a child develop a reper-
toire of emotional and coping responses (Boone &
Cunningham, 1998; Nikitina, 2003; Pica, 1997). For
example, initially Child C. did not show any interest
or affective response to the warm up or animal
exercises. He needed physical and verbal prompting
to initiate engagement in any of the exercises. Using
contrasting emotional cues with the animal exercises
such as the feelings of a ‘‘free and happy’’ versus a
‘‘hidden and scared’’ butterfly helped Child C. con-
nect with the movements. Using a consistent routine
with the animal emotions, Child C. would anticipate
hiding from the butterfly net and make different
sounds when hiding versus being free. The change in
expression and sound is an indicator of his under-
standing of emotional range.
Other curricular activities can emerge from a
movement through dance experience. For example,
reading time can involve looking at books related to
dance and children making connections to their past
experiences. Creative activities where children express
an associated emotion through drawing and music
tempo can extend and generalize the experience to
other aspects of their life. Children can be encouraged
to explore new and creative uses of familiar objects
such as dress-up costumes, balls, hoops or free
flowing fabrics. Children using familiar objects in
new, creative and imaginary ways facilitate their ab-
stract thinking of the physical world through devel-
oping multiple perspectives of a single concept. Other
structured art activities can include designing, draw-
ing and making stage backgrounds for a perfor-
mance.
Other considerations for a movement through
dance program include: physical space, teacher
30
training, and community integration. The use of
space is inherently embedded in the nature of move-
ment and dance. Therefore, identifying an appropri-
ate space for movement is critical. Large open space
can facilitate movement direction and exploration
whereas small spaces can facilitate isolated movement
and specific patterns. Indoor versus outdoor space
creates different images and can be used to explore
creative movement patterns and emotions.
Teacher preparation and collaboration with
other professionals with movement expertise, such as
dance, physical and occupational therapists, helps to
reinforce and extend the purpose, objectives and se-
quence of movement techniques into curricular and
therapeutic planning. Creating curricular linkages is
important for developing an integrated experience
rather than merely having isolated classroom events
and experiences. An integrated experience across the
curriculum allows children to develop different per-
spectives of a single idea through repeated exposure
of inventing and experimenting with knowledge.
Routine schedules for movement experiences
create predictable and repeated learning opportuni-
ties. Anticipated and repeated experiences allow
children to reinforce mastered movements and ex-
plore new movements. Children develop awareness of
the perceptual and motor cues of movement so when
a variation occurs, the children can adapt more
readily to a situation based on their prior knowledge
(Shumway-Cook & Woollacott, 2007b). Therefore,
routine schedules help to build knowledge for
extending learning into new areas. Children can
participate in increasingly complex movement pat-
terns when the experience is repeated and predictable
within the curriculum.
Parent involvement increases the possibilities and
opportunities for childrenÕs exposure and practice of
new experiences in the home and community. Invite
parents to participate in the program and ask the
children to show their parents what they have learned
in dance. Resources such as flyers with information
for dance classes in the community can easily be
copied and made available for those interested in
pursuing dance outside the preschool. Developing
and committing to a cultural arts program in a pre-
school provides numerous opportunities for parent
and child interactions. Community outings focused
on cultural arts might include going to a theater to see
a ballet or music performance, or attending a chil-
drenÕs program at an art museum. Many cities have
museums that focus on cultural and ethnic groups.
For example, a visit to a museum dedicated to the
Lorenzo-Lasa, Ideishi, and Ideishi
African, Latino or Asian American experience can
extend the movement/dance program to other forms
of dance and reinforce the childrenÕs connection to
their family and cultural heritage. Many cultural arts
organizations and centers have outreach programs
for children at reduced or nominal fees. Pursuing
grant funding is a cost effective use of resources to
support the above described movement, dance and
cultural arts programming. Community and cultural
arts programs encourage and empower parents to
explore community outings on their own.
CONCLUSION
A preschool movement through dance program is
a way to open the door to numerous benefits and
opportunities. Creating new contexts for learning en-
rich young children and offer them different oppor-
tunities to understand and negotiate the world. These
opportunities should be layered to facilitate childrenÕs
meaning, intention and expression. Movement
through dance can accomplish this intent. Inclusive
curricular integration, and parent and community
participation are important components of a cultural
arts experience that deepen the childrenÕs repertoire of
behavior and responses to the world. Early childhood
education practitioners are encouraged to creatively
explore their community and develop rich cultural
learning experiences for children. A cultural arts
program not only facilitates childrenÕs skills but also
enriches the preschool teaching experience.
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