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Sustainability at Missouri State
Why is sustainability important? What is Missouri State doing to be a sustainable campus? How can students be sustainable? Students and staff from environmental management, facilities management, dining services, residence life and services and the student government association answer these questions and discuss what sustainability means to the campus community.
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Studying the arts and humanities
This unit is an introduction to studying the arts and humanities. It takes you through a series of exercises designed to develop your approach to study and learning at a distance and improve your confidence as an independent learner.
Author(s): The Open University

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Except for third party materials and otherwise stated (see http://www.open.ac.uk/conditions terms and conditions), this content is made available under a http://creativecommons.org/licenses/by-nc-sa/2

Hokudai Network for Global Sustainability 「第4回環オホーツク海シンポジウム」の映
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Images to illustrate humanities resources
Images to illustrate humanities resources
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Performing Arts Theory
Performing Arts Theory
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Faculty of Humanities: Handbook on Citation and Related Matters
Students are often unsure of exactly what plagiarism is and how it affects them. Especially these days with the ease of cutting and pasting from the Internet, student plagiarism has become an issue of great concern in academic institutions and it is very important to realize that any accusation of plagiarism will be serious and could be dealt with very severely. This handbook has been designed to help you understand and appreciate the need for proper referencing, evaluate different resources, a
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The Art of Teaching the Arts: Principles of Artful Teaching
The program opens with teachers sharing passionate insights about why they teach the arts to young people. Then short classroom segments illustrate how arts teachers employ seven “principles of artful teaching” to meet the needs and imaginations of their students. Participants explore how these principles can affect their own teaching. Subsequent sessions will examine each principle in depth, with examples from dance, music, theatre, and visual art.
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Connecting With the Arts: Reflecting On Our Practice
This program explores methods for assessing instructional practice. Participants will see teachers reflecting alone and interacting with colleagues to evaluate and refine their planning and teaching. To conclude, the discussion group models a protocol that allows teachers to draw on the expertise of colleagues to refine their practice.
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Connecting With the Arts: Identifying What Students Are Learning
This program investigates ways to evaluate student learning in and through the arts. Participants will see teachers using arts-based performance tasks to assess student understanding.
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Connecting With the Arts: What's the Big Idea?
This program is about planning and teaching toward big ideas — important understandings that have lasting value. Participants will see  how arts-integrated instruction enables students to make deeply personal connections to what they are learning.
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Connecting With the Arts: What Roles Do Students Take On?
This program examines the artistic process of creating, performing, and responding. Participants will see students assuming the roles of researcher, writer, designer, director, performer, and critic.
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Connecting With the Arts: How Do We Collaborate?
This program illustrates a variety of teaching partnerships. Participants will see how teachers integrating the arts can benefit from collaborating with fellow teachers, partnering with visiting artists, and drawing on community resources.
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Connecting With the Arts: Why Integrate the Arts?
This program explores how integrating the arts with other subjects raises the level of student engagement, helps teachers address diverse learning styles, establishes the relevance of learning for students, and provides alternative ways to communicate.
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Connecting With the Arts: What is Arts Integration?
This program presents three instructional models for integrating the arts: independent instruction, team-teaching, and collaborations with community resources. Participants will also explore informal, complementary, and interdependent curricular connections, and see examples of what these different types of arts-integrated instruction look like in the classroom.
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The Arts in Every Classroom: The Role of Assessment in Curriculum Design
As the Learner Teams continue working on their own units, they examine strategies for determining how well students meet unit objectives. By revisiting the lessons in the first four programs, they discover how to build formative and summative assessments into the units that they are developing.
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The Arts in Every Classroom: Designing a Multi-Arts Curriculum Unit
Learner Team members are introduced to a curriculum design process that asks teachers and students to focus on why rather than what — sometimes called backwards design. The teams begin to construct their own arts-based units of study, identifying enduring ideas and constructing essential questions that lead to carefully planned unit objectives and performance tasks.
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The Arts in Every Classroom: Building on New Ideas
More documentary segments show further work by the team members with their students, among themselves, and with colleagues. The end-of-year discussions continue, with team members reflecting on how their new initiatives in the arts have affected them and their schools, and offering advice for other teachers who want to bring the arts into their own classrooms.
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The Arts in Every Classroom: Creating a Multi-Arts Performance Piece
Learner Team members and students examine the elements of the classic journey as identified by Joseph Campbell. They then create a multi-arts performance piece that represents a journey story. They apply what they have learned in previous lessons in order to rehearse, critique, revise, and perform their work.
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The Arts in Every Classroom: Historical References in the Arts
Learner Team members and students examine costume designs for Parade, focusing on how the designs help convey character. They interpret works by painter René Magritte and choreographer Alwin Nikolais, discovering influences on the creators of Quidam. They also conduct research into the history of street performance and report their findings, in the role of art historian.
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The Arts in Every Classroom: Responding to the Arts
Learner Team members and students compare two multi-arts performance pieces from different eras, Quidam (1996) and Parade (1917). They discover how our perception of a work of art is influenced by what we know about the time and place it was created. They also explore how music can establish a mood, create their own vaudeville acts, and learn a process of critical evaluation.
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