Latin Dance Curriculum Design Based on Fitts' Three-stage Theory Combined with the Teaching Concept of the 21st Century Teaching Method
Abstract
Background and Aim: As aesthetic education gains prominence in China’s educational reform, Latin dance—originally a European art form—has been increasingly adopted as a discipline that integrates sport and performance. However, current curriculum models often emphasize technical skill while neglecting emotional expression, critical thinking, and teamwork, which are crucial for 21st-century learners. This study aims to design a structured Latin dance curriculum for senior high school art students by combining Fitts’ Three-Stage Theory of Skill Acquisition with 21st-century educational competencies and Taylor’s curriculum development model. The goal is to enhance both students’ professional dance proficiency and their holistic development.
Materials and Methods: The study adopted a mixed-methods approach involving literature review, theoretical framework analysis, expert consultation, curriculum design, and classroom implementation. A 16-week stage-based curriculum was developed and applied to a sample of senior high school art students (ages 16–17) with prior dance experience. Instruction followed a progressive model—cognitive, associative, and autonomous—guided by weekly course plans, performance assessments, and reflection activities. The IOC (Index of Item-Objective Congruence) tool was used for expert evaluation, while data were collected through observations, pre- and post-assessments, and student feedback.
Results: The results indicated that the curriculum significantly improved students' technical abilities in rhythm control, coordination, and performance fluency. Simultaneously, students showed noticeable gains in non-technical areas such as communication, teamwork, self-confidence, and artistic expression. The IOC assessment values ranged from 0.6 to 1.0, validating the curriculum’s internal consistency and alignment with educational goals. The staged teaching model and its integration of 21st-century competencies provided an effective platform for both skill acquisition and holistic learner development.
Conclusion: This study confirms that a Latin dance curriculum built on cognitive psychology, structured curriculum theory, and modern pedagogical principles can effectively support high school students’ artistic and personal growth. The course model offers a replicable framework for other performance-based courses. Future research is recommended to apply the model to broader educational settings and to strengthen teacher training in interdisciplinary dance education. Ultimately, this work contributes theoretical and practical insight to the ongoing innovation in arts education in China and beyond.
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