246 The Role of Dance Education for Personality Development of Upper Primary School Students Huidrom Rakesh Singh, Laimayum Subhadra Devi Manipur University, India Submitted: 2021-08-16. Revised: 2021-09-25. Accepted: 2021-12-26 Abstract This paper studies the history of dance education in Manipur and social value, psychomotor domain, and creative development of students at the school curriculum in Manipur (India). Dance education plays an essential role in molding a person into a perfect human being with good health and behaviour in society. It also furnishes the essential elements humans need to live in our society other than imparting knowledge and skills. In overall development, Manipuri dance plays the most crucial role in the school curriculum. The descriptive research method used in this study revealed the importance and the role of dance education for the four upper primary school students, i.e., class VI to class VIII of Imphal West District and Imphal East District, where dance class had been adopted as one of the subjects in these schools. The 915 students have been taken from the following four schools: Kendriya Vidyalaya-Lamphelpat, Tolchou Ibeton Memorial Academy-Hiyangthang, Rajkumari Sanatombi Devi Vidyalaya-Haotal Pangei, and SL Arena of Learning-Khurai Khaidem Leikai. The researcher collected 70% of students’ respondents, of which 287 are males and 343 are females out of 630 students. Finally, the investigator has found that the social value of students is significantly improving due to dance education. Dance education helped in realizing one’s own potential for self-enhancement, confidence, problem-solving, and creativity among the students. Moreover, it also developed and enhanced the psychomotor domain and the students’ creativity to a certain extent. Thus, dance education should be made compulsory as a curriculum subject at all levels of schools. Keywords: dance education, social value; psychomotor domain; creativity development How to Cite: Singh, H. R. & Devi, L. S. (2021). The Role of Dance Education for Personality Development of Upper Primary School Students. Harmonia: Journal of Arts Research And Education, 21(2), 246-255 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 246-255 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.31634 cessible, innovative thinkers to develop so- cial value, psychomotor domain, creativi- ty, and loyalist of the country. This article presents data from an investigation con- ducted with four upper primary schools where dance class has been adopted as one of the subjects in the schools. According to the National Curricu- lum Framework-2005, it is considered that art education is a compulsory subject in the teaching-learning process in school. It has INTRODUCTION Propose of providing dance educati- on in formal schooling is not a single unit to encourage creative minds to our stu- dents but also to retain our unique cultural diversity and richness. The dance educa- tion aims to impart a significant influence on our young generation to enable appre- ciation to the various art forms to maintain our traditional dance by making them ac- Corresponding author: E-mail: rakesh_huidrom@ymail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Huidrom Rakesh Singh & Laimayum Subhadra Devi, The Role of Dance Education for 247 been provided to facilitate this as a subject up to class X. Dance education must be in- tegrated into the school curriculum to pro- vide an aesthetically viable atmosphere for encouraging creativity in students. It is not only focusing on the dance but also sen- sitizing to acknowledge and expertise the need of arts for the entire development of an individual. The three previous National Curri- culum Frameworks (NCFs) of 1975, 1988, and 2000 emphasized art education by de- fining its aims and objectives in the school curriculum. The teaching of the different arts—dance, music, painting, etc.—should be based on the same fundamental prin- ciple of providing students opportunities for perfecting their capacities and helping and encouraging them in the process. The- re was a paradigm shift in the objective of art education from the dignity of labor by working on crafts to developing aesthe- tic sensibility and free expression. These NCFs recommended that the art education program should concentrate on exposing the learner to folk arts, local specific art, and other cultural components, leading to an awareness and appreciation of our na- tional heritage. Art education should not be fragmented. Therefore, it should adopt an integrative approach at all stages up to Class X. Iyengar Mukunda Kalpana (2015) explains the relationship between Bhara- tanatyam (a dance form) and Mathematics. The researcher was adopted mixed rese- arch methods. The study conducted that many Asian Indian students learn Bharata- natyam for cultural maintenance and pre- servation. Dance is also a beneficial me- dium of teaching basic geometric shapes to young children because dance is an en- gaging art curriculum. As a result, dance movement called adavus, cultural relevan- ce, integration of elements from dance and geometry, and alternative strategies such as dance instruction to teach and learn ba- sic geometric shapes. Regarding, National Education Po- licy (2020) ECCE (Early Childhood Care and Education) ideally consists of flexible, multi-faceted, multi-level, play-based, ac- tivity-based, and inquiry-based learning, comprising of alphabets, languages, num- bers, counting, colors, shapes, indoor and outdoor play, puzzles and logical thinking, problem-solving, drawing, painting, and other visual art, craft, drama and puppet- ry, music and movement. It also focuses on developing social capacities, sensitivi- ty, good behavior, courtesy, ethics, perso- nal and public cleanliness, teamwork, and cooperation. The overall aim of ECCE will be to attain optimal outcomes in the do- mains of physical and motor development, cognitive development, socio-emotional- ethical development, cultural/artistic de- velopment, and the development of com- munication and early language, literacy, and numeracy. Therefore, the implemen- tation of this Policy will be led by various bodies, including MHRD, CABE, Union and State Governments, education-related Ministries, State Departments of Educa- tion, Boards, NTA, the regulatory bodies of school and higher education, NCERT, SCERTs, schools, and HEIs along with timelines and a plan for review, in order to ensure that the Policy implement in its spirit and intent, through the coherence in planning and synergy across all these bo- dies involved in education. The historical stages of dance edu- cation in Manipur (India) are elaborating as follows. The 1st official order to teach ‘Manipuri Dance’ was issued by the Govt. of Manipur on December 5, 1972. The or- der indicated four teachers as appointed dance teachers temporarily. They are Smt. (Mrs.) Rajkumari Sabitri Devi, Shri. (Mr.) Haobam Ibochouba Singh, Smt. (Mrs.) Pe- bam Rasmani Devi and Shri. (Mr.) Ireng- bam Nupamacha Singh. The order consists of particular instructions to be followed by the four teachers. The appointed teachers were giving three government schools un- der his/her jurisdiction. Further, the four selected teachers were sub-divided into senior and junior for the proper impar- tation of the dance education. The order was issued and signed by Mr. L. Tomcha Singh and Mr. Th. Gouro, respectively as Harmonia: Journal of Arts Research and Education 21 (2) (2021): 246-255248 the Director of Education (s), and the De- puty Director of the Education(s), Govt. of Manipur, (order no. 40/2/10- S.E. dated 4/4/72). One of the female senior dance teachers had served in many government schools such as Tamphasana Girls (T.G.) Higher Secondary School, Ibotonsana Girls Higher Secondary School, and Sa- golband M.E. School are all in Imphal city. She joined as a dance teacher in 1972 un- der the Education (S) Government of Ma- nipur. Her salary started from Rs. 175.00 rupees per month as a senior dance teach- er. During her service, she taught many important religious dance activities, name- ly ‘Chali Jagoi’ (basic steps of dance) and ‘Lai-Haraoba’ (merry-making of the Gods in Meetei communities), to her beloved school students. She addressed and pro- pagated the detailed lesson of mutual un- derstanding, cooperation, love, peace, the spirit of brotherhood, a sense of good mo- rals, and discipline. Another senior dance teacher from the male also served in many government schools during his working period. Here is the list of the government schools that Singjamei Girls M.E. School, Singjamei Girls Higher Secondary School, and Sainik School, Imphal. He firmly be- lieves that he needs to actively promote Manipuri dance and music worldwide as much as possible. Notably, there were no prescribed books and syllabus recom- mended by Education (S), Government of Manipur to instruct the students in those days. To fill the void for proper and formal teaching of dance in Manipur, he authored “Meitei Jagoi Lamjing Lairik” (name of the book) in 1983. The book was the first and foremost book on Manipuri Dance that was taught to students till-date. It is one of the marvelous works in Manipuri dance in the history of Manipur. The remaining two junior dance teachers, the female dance te- acher served in Khurai Girls High School, Wangkhei Girls Junior High School, Yais- kul Girls Junior High School, and the male dance teacher served in Kwaikeithel Girls High School, Thangmeiband Girls Junior High School, Keishamthong Girls Junior High School respectively. The duration of the dance classes was 40-50 minutes for all four teachers, as mentioned earlier. Among the four appointed dance teachers, three of them were the first batch of J.N.M.D.A (Jawaharlal Nehru Manipuri Dance Aca- demy) in 1972 with diploma holder. The J.N.M.D.A is a constituent unit of the San- geet Natak Akademi, New Delhi (India) is the foremost academy for teaching Mani- puri dance, music and Thang-ta (martial art of Manipur) established in 1954. Whe- reas, (Mrs.) Pebam Rasmani Devi was not an alumnus of this institute. Further, out of four teachers, two teachers, namely (Mr.) Irengbam Nupa- macha Singh and (Mrs.) Pebam Rashma- ni Devi was expired, unfortunately in the years 1994 and 2008. However, (Mr.) Ha- obam Ibochouba Singh and (Mrs.) Rajku- mari Sabitri Devi was teaching Manipuri dance to the Govt. Schools more than 30 years above and retired in the year 2006 and 2008 respectively. Statement of the Problem Dance is the body’s movement in a rhythmic way, usually to music and wit- hin a given in space, to express an idea or feeling, release energy, or take delight in the movement itself. If the Manipur Dan- ce is implemented on the school curricu- lum, there is high hope of having a better chance in the social status of the state. There is an alarming degradation in morals, cul- ture, tradition, and lifestyle of youth which can have a harsh impact in the future. It can be prevented if students are exposed to the performing arts (dance) and Physi- cal fitness, where they can find a platform to bring out their hidden talents. Students will also learn to regard the culture and tradition of their fellow beings, which will ultimately help in the vast development of Art and Culture at significant. Every school should be implementing curriculum sub- jects, e.g., dance, music, theatre, etc., and organize some workshops to improve the art activities. Thus, dance Education as a curriculum subject should be compulsory at all levels of schools. Based on the background above, the Huidrom Rakesh Singh & Laimayum Subhadra Devi, The Role of Dance Education for 249 objectives of this study are (1) to study the effect of Manipuri Dance on the social va- lue in the teaching-learning process, (2) to examine the benefits of Manipuri dance on the performance of psychomotor domains in the teaching-learning process, and (3) to find out the creative development of Ma- nipuri dance in the teaching-learning pro- cess. METHOD Descriptive research studies are the studies to achieve pertinent and precise in- formation concerning the correct status of phenomena and, whenever feasible, draw a valid conclusion from the facts discove- red. They are restricted not only to fact fin- dings. However, they may obtain results in the formulation of essential principles of knowledge and solve significant problems concerning local, state, national, and inter- national concerns. It investigates pheno- mena in their natural setting, and it varies significantly in complexities. The investi- gator had adopted the descriptive research method and find out the Role of Dance Education for Personality Development of Upper Primary School Students of Class VI to Class VIII in Imphal West District and Imphal East District at Schools. Population and Sampling Technique For the present study, all the 915 stu- dents of Class VI to Class VIII (2020-2021) session of Kendriya Vidyalaya-Lamphel- pat, Tolchou Ibeton Memorial Academy- Hiyangthang, Rajkumari Sanatombi Devi Vidyalaya-Haotal Pangei, and SL Arena of Learning-Khurai Khaidem Leikai, Imphal West District, and Imphal East District, and affiliated to BOSEM (Board of Secon- dary Education Manipur) and CBSE (Cent- ral Board of Secondary Education), were taken as the population of the study. For the present study, the researcher collected 70% of students’ respondents, of which 287 are males, and 343 are females out of 630 students. A study sample was collecting from different schools such as Kendriya Vidyalaya-Lamphelpat, Tolchou Ibeton Memorial Academy-Hiyangthang, Rajku- mari Sanatombi Devi Vidyalaya-Haotal Pangei, and SL Arena of Learning-Khurai Khaidem Leikai, Imphal West District, and Imphal East District. The investigator took due care in selecting the appropriate samp- le technique. A simple random sampling technique was adopted from the target po- pulation (Students) for the present study. Procedure and Data Collection The investigator took appointment from the School’s Principal of Kendriya Vidyalaya-Lamphelpat, Tolchou Ibeton Memorial Academy-Hiyangthang, Rajku- mari Sanatombi Devi Vidyalaya-Haotal Pangei, and SL Arena of Learning-Khurai Khaidem Leikai, Imphal West District and Imphal East District of the Schools and ex- plained the purpose of the visit. The teach- er of the concerned subject was consulted and explained the visit. The researcher collected the list of the students and their email addresses, contact number of guar- dians from the office on the appointed day after getting approval from the school’s principal. The questionnaire was sent through a Google form link to all the stu- dents’ email and WhatsApp with proper instructions and requested all the students to fill up the necessary entries. They are assuring that their responses would be kept strictly confidential and used for rese- arch purposes only. The respondents give three and half-month to fill up and submit the forms, and there were few mortalities in the questionnaire. Finally completed the filled questionnaire were 630 students. The sampling technique in this rese- arch uses simple random sampling. It me- ans that every member of the sample is se- lected from the total population so that all members of the population have essential- ly the same probability of being selected. This is the most popular, basic method of sampling. It is considered the most trust- worthy method of securing the represen- tativeness of the whole population. But it is neither arbitrary nor careless or hapha- zard. Instead, the random method of selec- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 246-255250 tion provides an unbiased cross-section of the population. Ideally, this would require each population member to be assigned a number; then the sample would be se- lected from a table of random numbers or other random selection. For example, if we wished to draw a sample of 50 individu- als from a population of 600 students, we could place the 600 names in a container and blindfolded, draw one name at a time until the sample of 50 was selected. This approach is also known as sampling from a sequential list or sampling by a lottery system (SIDHU, K.S; 2011). Tool Used In the present study, for collecting the pertinent data, the investigator used for the development of a questionnaire with the ability to measure the aspects specifi- cally aimed for (such as the effect of social value in the teaching-learning process of Manipuri dance; benefits of psychomotor domains in the teaching-learning process of Manipuri dance; and creativity develop- ment of Manipuri dance in the teaching- learning process), the starting point was the scales developed by Dr.Vishal Sood, Dr. (Mrs.) Arti Anand, Suresh Kumar on Social Skills (2019), Dr. Chandra Kumari, Ayushi Tripathi on life skills (2019), Dr. Alpana Sen Gupta, Dr. Arun Kumar Singh on moral value (2019), Dr. Rajiv Kumar on Children’s Curiosity Scale (2019) and referring NCERT book on Training Packa- ge on Art Education for Primary Teachers Volume-I, Volume-II and Arts Education (Resource Book for Teachers), “National Focus Group on Arts, Music, Dance and Theatre” (NCF-2005). The questionnaire is three-dimensional. It comprised 60 items, and each dimension has 20 items each con- sisting of: Social value in the teaching-lear- ning process of Manipuri dance; Benefits of psychomotor domains in the teaching- learning process of Manipuri dance and; Creativity development of Manipuri dan- ce in the teaching-learning process. Scoring Procedure The prepared questionnaire con- sisted of 60 items. The three parameters are social value, psychomotor domains, and creative development of the teaching- learning process of Manipuri dance. Social Value on Manipuri dance in the teaching- learning process has 20 items (4 items for Negative Statements and 16 items for Posi- tive Statements), Psychomotor domains on Manipuri dance in the teaching-learning process has 20 items, (5 items for Negati- ve Statement and 15 items for Positive Sta- tements) and Creativity development on Manipuri dance in the teaching-learning process has 20 items, (7 items for Negati- ve Statements) and (13 items for Positive Statements). In scoring the statements, this rese- arch uses the Likert scale. In addition, the questionnaire has a 5-point scale for the positive statement and negative. Thus, each respondent can score 250 at the ma- ximum, and they can also score 50 at the minimum. RESULT AND DISCUSSION Sources: Research Data 2021 Figure 1. Effect of Manipuri dance education on the social value in the teaching-learning process of school in Imphal west-district and Imphal east district, Manipur Table 1. Effect of Manipuri dance educa- Huidrom Rakesh Singh & Laimayum Subhadra Devi, The Role of Dance Education for 251 tion on the social value in teaching-learning process of school in Imphal west-district and Imphal east district, Manipur G en d er N o. o f S tu d en ts M ea n S. D . S. E . M . S. E . D . Si g. (2 -t ai le d ) d f t Male 287 74.70 6.6 0.375 0.50 0.103 628 -1.633 Female 343 75.52 6.31 0.340 Sources: Research Data 2021 From table 1, it can be seen the va- lue of df 628 at a .05 level of significance is 1.96 (two-tailed). Since our calculated t va- lue of 1.633 is below the table value, so it is not significant at a .05 level of significance. Hence, the null hypothesis is retained. Therefore, it can be considered that there is no significant difference in the ef- fect of Manipuri dance on the social value in the teaching-learning process of male and female students. Figure 2. The benefits of Manipuri dance education on the performance of psychomotor domain of school in Imphal west-district and Imphal east district, Manipur Table 2. Benefits of Manipuri dance education on the performance of psychomotor domain of school in Imphal west-district and Imphal east district, Manipur. G en de r N o. o f st ud en ts M ea n S. D . S. E .M . S. E .D . Si g. (2 -t ai le d) df t Male 287 69.42 6.54 0.38 0.53 0.231 628 -1.199 Female 343 70.05 6.71 0.36 Sources: Research Data 2021 From table 2, it can be seen the va- lue of df 628 at a .05 level of significance is 1.96 (two-tailed). Since our calculated t value of 1.199 is below the table value, it is not significant at a .05 level of significance. Hence, the null hypothesis is accepted. Therefore, it can be considered that there is no significant difference of benefit of Manipuri dance on the performance of the psychomotor domain in the teaching- learning process between male and female students. Figure 3. The creativity development of Mani- puri dance education in the teaching-learning process of school in Imphal west-district and Imphal east district, Manipur Table 3. The creativity development of Mani- puri dance education in the teaching-learning process of school in Imphal west-district and Imphal east district, Manipur G en de r N o. o f St ud en ts M ea n S. D . S. E . M . S. E .D . Si g. (2 -t ai le d) df t Male 287 69.45 6.30 0.52 0.73 0.001 628 -3.625 Female 343 72.12 6.71 0.51 Sources: Research Data 2021 From table 3, it can be seen the value of df 628 at a .05 level of significance is 1.96 (two-tailed). Since our calculated t value of 3.625 is higher than the table value, so it is significant at a .05 level of significance. Hence, the null hypothesis is rejected. Therefore, it can be considered that there is a significant difference in the crea- tive development of Manipuri dance in the teaching-learning process between male and female students. And thus, female stu- dents have more creativity development than male students. Social value for Manipuri dance in the Harmonia: Journal of Arts Research and Education 21 (2) (2021): 246-255252 teaching-learning process Research results show the effect of Manipuri dance education on the social value in the teaching-learning process of school students at Imphal West district and Imphal East district, Manipur (India). Therefore, it is essential to implement and direct the curriculum containing dance as a subject. It is related to the previous sta- tement delivered by Mangal (n.d., p.124) that children’s social development is most significantly by the schools’ social environ- ment and functioning. The human com- panionship maintained by the school, the kinds of programs and activities achieved, its tradition, values, principles, the social qualities, and behaviour of the teachers and schoolmates all influenced the child’s social development. Students can flou- rish basic skills of the art forms through hands-on experience and implementation of dance as a pedagogy subject. They can also use these skills during school any fun- ction. These courses provide a chance for self-analysis, self-conception, and inter- personal relations while observing schools as sites for societal change, developing so- cial awareness, and the scope to listen and empathize. Performance of psychomotor domain for Manipuri dance in the teaching-learning process Results show the benefits of Mani- puri dance education on the performan- ce of the psychomotor domain of schools in Imphal west district and Imphal east district, Manipur. Students might be get- ting valuable life benefits and personal development, gaining holistic knowledge, and making aesthetical life. This includes the cognitive domain (thinking ability), the affective domain (emotions or feelings), and the psychomotor domain (physical or kinesthetic). Further explained by Uppal Shve- ta. (2006, p. 26) The performing arts have different types in nature. They are- theat- re, narrative, music, dance, puppetry, Etc. It helps give immense flexibility to the students’ psychomotor (physical or kina- esthetic) and affective domain (thinking skill)—the performing need to become an essential component of learning in the curriculum subject. Dance teaching as part of the formal curriculum provides several distinct advantages, which are probably encouraged only in the Indian system of dance practice. Creativity development of Manipuri dance education in the teaching-learn- ing process This study shows the creative deve- lopment of Manipuri dance education in the teaching-learning process of schools in Imphal west district and Imphal east district, Manipur. Dance education is the art form that student uses their own body, face, and presence as a medium of expres- sing their performances. According to Ra- bindranath Tagore, “Literature, music and the arts, and all are necessary for the deve- lopment and flowering of a student to form a total integrated personality.” The NEP- 2020 (New Education Policy) also men- tions the importance of Arts and Culture of several creativity to nourish language, arts, and culture in school children. The prominence of music, arts, and crafts all over school levels. “In the 4.7. part of the policy, Art-integration is a cross-curricular pedagogical approach that utilizes various aspects and forms of art and culture as the basis for learning concepts across subjects. As part of the thrust on experiential lear- ning, art-integrated education will be em- bedded in classroom transactions to crea- te joyful classrooms but also for imbibing the Indian ethos by integrating Indian art and culture in the teaching and learning process at every level. This art-integrated approach will strengthen the linkages bet- ween education and culture” (NEP, 2020, p. 12). Further, Kala Vidya’s articles deal with arts published in the year 1918. Many Shantiniketan (name of the place) and Vis- va Bharti did not support the inclusion of music and art as the main subject. Howe- ver, they were ready to accept music and art as an item of entertainment, but not as Huidrom Rakesh Singh & Laimayum Subhadra Devi, The Role of Dance Education for 253 subjects like literature, grammar, philo- sophy, science, and history, which were deemed suitable for higher studies at the university level. Gurudev Rabindranath Tagore said that man expressed his perso- nality through the quality of mind, which might be developing with the help of art. In all the countries, civilized or uncivilized people have sympathy for art. 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