4dancers – Page 17

Advancing Students With Special Needs Through Movement

March 9, 2016 by 4dancers

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by Janet Rothwell

This past semester I had the opportunity to teach a high school dance class to students with special needs. From this experience, I have learned the value of movement to all bodies and seen the positive changes that can occur for students because of the opportunity to move. Dance educators need to be empowered to teach all kinds of minds and bodies that we might come across, and all too often this population can easily be left out of the dance field.

Working alongside special needs teachers, I created a structure that supports multiple behavior issues, adheres to NCAS, and offers students opportunities to practice social and emotional skill-building, such as staying on task, showing respect and care for peers, and more. Creative problem solving activities that foster accomplishments and growth in confidence and competency help to create an environment of respect and student engagement.

My personal creativity has been challenged and fulfilled through working with these students. My students have a wide range of physical disabilities from wheelchair-bound, to walking with assistance, to slight physical limitations. They also have a wide range of intellectual disabilities, ranging from low functioning autism to slight cognitive impairments. Their unique needs push my skills in new and enlightening ways. I learned how to craft an effect movement lesson so that each student is engaged the whole time and few behaviors arise. I kept activities short and varied to maintain student focus in the class. Freeze dance with creative shapes in the body was a great way to introduce levels while transitioning to a new activity. Lessons included the use of Laban efforts, creative choreography projects and props. Some examples of props used are spots on the floor so students know where their place is in the space, and creating an obstacle course with hula-hoops, ribbon sticks, and plastic cones.

whiteboard-accessories-69155_640 Every day I wrote the order of class on the whiteboard so students would know what to expect next. A consistent warm up helped my students get focused at the start of class each day. I used basic isolations throughout the body, followed by improvisation traveling across the floor. For example, “hop like a frog,” “travel low on the floor like a crab,” and “walk, kick legs across the floor,” etc. Constant positive encouragement made a big difference for my students. They really grew and took chances following my supportive feedback.

Creative Dance Project example: I will use the example of a scary Halloween dance that I did with my class to demonstrate what worked well for them. First, the students learned scary movements like spider fingers (wiggling fingers creepy), Frankenstein arms (walk like a Zombie), skeleton knees (knees shaking in and out), and ghost arms (arms floating at side). I wrote the names of the movements and the order we did them on the whiteboard. When the time came for them to create their own pattern, we had visual images of each movement on paper for students to use to assist in this process.

Students got a paper timeline and cut and pasted the movement images onto the timeline in the order in which they wanted to do them. Students practiced their sequence, some added a change of facing (walls had colored paper on them to help with this), then one by one each student performed their solo for the group. We talked about being a good audience member (watching, listening, applauding). Students also made scary paper masks that they could wear while they danced if they wanted to. This activity was great for students of all ranges of abilities. There were many ways to differentiate instruction and challenge those more advanced students like changing facings with movements. I also kept it easier for students with more severe disabilities by holding their timeline in front of them while they performed for the group.

After teaching this class I still have these lingering questions which I will continuously try to answer: How can we maintain a dance classroom of respect and safety with students with special needs? How can we utilize student aides in the most effective way? What is appropriate movement to expect from students within a large spectrum? How can we challenge creativity and performance with this group of students?

Have you taught this population before? Do you have any thoughts you’d like to share regarding your experience? We’d love to hear any comments you may have…

dancer posing upside down — **Janet Rothwell**

Contributor Janet (Neidhardt) Rothwell has been a dance educator for 10 years. She has taught modern, ballet, and jazz at various studios and schools on Chicago’s North Shore. She received her MA in Dance with an emphasis in Choreography from the University of North Carolina-Greensboro and her BA in Communications with a Dance Minor from the University of Wisconsin-Madison. Throughout her time in graduate school, Janet performed with Sidelong Dance Company based in Winston-Salem, NC.

Currently, Janet teaches dance at Adlai E. Stevenson H.S. in IL. She regularly seeks out professional development opportunities to continue her own artistic growth. Recently, Janet performed with Keigwin and Company in the Chicago Dancing Festival 2012 and attended the Bates Dance Festival.

When she isn’t dancing, Janet enjoys teaching Pilates, practicing yoga, and running races around the city of Chicago.

Preparing For Dance Competition Season

March 7, 2016 by 4dancers

by Karen Musey

It’s the beginning of the 2016 competition season! Emotions are running high and everyone is itching to get the season underway. Help your studio’s competition season start smoothly with these tips:

Dress Rehearsal With Costuming

Judges see it every year – a dancer is performing well, and then their costume malfunctions onstage and their confidence is shaken. Always do at least one dress rehearsal in costume! Costumes don’t always move or behave in the way you expect them to. Sometimes fabric stretches more than anticipated, sometimes not enough. Checking this ahead of time will allow for adjustments to be made (sewing, double sided tape, etc!) and get rid of that awkward tugging onstage.

A benefit of this practice: while working with your costume in rehearsal, you might discover the costume moves in an interesting and unexpected way. Working with a costume in a compelling way really adds performance value to a piece. The more dancers treat their costumes as an extension of their work, the more strongly it shows up in their investment of character and artistic choices onstage.

Of course, always remember to pack a spare set of tights, a sewing kit, double sided tape, lots of hair pins and (an older pair of) shoes if available…even duct tape – you never know when it might be a lifesaver!

Prep Your Music

We’ve all been there – the dancers are in position, ready to strut their stuff and….music malfunction! Remind dancers to stay calm if this happens and to take a deep breath – they will be taken care of as quickly as possible. To help sidestep this scenario, make sure all music is burned properly, cued up, clearly marked and an extra copy is readily available.

Please be professional with cutting and editing music. Listen to the lyrics; do an online lyric search if necessary to clarify what is spoken and make appropriate cuts. Be highly cognizant of suggestive lyrics. Generally speaking, most competitions are family age-oriented and music choices should be reflective of that.

As technology progresses, studios are relying more and more on electronics. Backstage technicians are being handed more iPods and other music devices. It is not professional to expect the music technician to “fade” music at a specific moment if the time hasn’t been taken to cut it properly. Make their job easier with clear labeling, cuts and instructions – the dancers will thank you for it.

Look At The Stage

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Getting Emotional: Role Preparation In Ballet

March 3, 2016 by 4dancers

Ashley Ellis dances in Onegin — *Patrick Yocum and Ashley Ellis in John Cranko’s Onegin; photo by Gene Schiavone, courtesy of Boston Ballet*

by Ashley Ellis

As we prepare for Onegin, Boston Ballet’s first program of 2016, it seems like a perfect moment to talk about emotions in dance. This ballet by John Cranko is a masterpiece; the story, choreography, and music will take you to another place. In dramatic ballets like this one, dancers are required to reach beyond their technique and really bring out the personality of the characters to tell a story.

I must say that I think one of the reasons that this ballet is such a favorite is that people can really connect with the story, either in a literal or abstract sense. Unlike the more fairytale type stories, Onegin touches on the deep emotions of young love, mature love, heartbreak, death, weakness, strength, faith, and betrayal in a very raw, human manner.

A wonderful thing about living art is that each and every performance is unique to whoever is dancing it, how the music is played, as well as other natural elements surrounding what is happening. Different dancers may portray the same role but each will bring unique qualities to their character to make it their own. They use their own past experiences, relationships with partners, and what they’ve discovered about the role and character they’re playing.

Now, to speak on infusing emotion into a role. Personally, for a long time I thought myself to not be much of an “actress”, it took some time to realize that it’s not about pretending to be something but about doing your best to genuinely feel the emotions. I am continually discovering how to grow as an artist but what it comes down to is this: it won’t be convincing to an audience if you aren’t convinced yourself. I think that is why for some time I never felt quite comfortable, because I felt there was something phony about what I was doing. It’s more about becoming, and believing, who or what you intend to portray. It is quite magical, and extremely fulfilling artistically. Like an escape from reality.

In this production I’m dancing the role of Olga who is Tatiana’s light-hearted younger sister who simply wants to enjoy herself and live life to the fullest. She does have her dramatic moment, however, when she crosses the line by dancing a little too long (and enthusiastically) with Onegin at a party. Olga then has to face the consequences of her actions. This change in emotions happens quickly for her from having a ball to a frantic state of regret and sadness as she pleads to her fiancé, Lensky, not to engage in a duel with Onegin.

This does take preparation, especially if it is a role that I am dancing for the first time. What is your character thinking at each moment, and why? For Olga for instance, I will say to myself, “She may be happy but why is she happy?” I don’t want to just slap a smile on and call it a day. She may be cheery by nature, but she is happy because she’s dancing with her friends, and because she just met her fiancé-to-be, and then she is winning at a card game, then she’s been asked to dance with a handsome man at the party… there should always be something. Later, with the sudden change in events, Olga must react to Lenky’s rage. At first she is confused, not knowing quite why he is so upset, and when she realizes what is going on she has to be so desperate to fix the situation because of the fear of watching her fiancé get hurt, or killed.

For me, it is important to be in the right state of mind before beginning anything. When preparing to go on stage, or even for a rehearsal, I try to put myself in the state of mind of my character. It is not only about facial expressions or mime, the reactions and thoughts should be felt throughout the body. Think about when we’re angry, sad, or happy. When we feel these things people don’t just see it in our face, they see it in our posture, quickness of movement; and then of course facial expressions on top of all of this. Its funny because if you think about it, it’s quite simple, but it’s easy to think too much, which can have an adverse effect.

Another element I’d like to mention that resonates with me, and adds depth to feeling emotions in dance, is the music. It feels so natural to give in to the melodies and the feelings that they evoke. So, even if I am not playing an obvious character, simply the music and energy of the choreography will arouse some sort of emotion internally.

In the end the key is to believe. Believe in what you are doing, and believe in who you are as a unique artist.

Boston Ballet performs Onegin through Sunday, March 6th, 2016. Tickets are still available.

Contributing writer Ashley Ellis is a principal dancer at Boston Ballet. Ellis hails from Torrance, California and she received her dance training at the South Bay Ballet under the direction of Diane Lauridsen. Other instruction included Alicia Head, Mario Nugara, Charles Maple, and Kimberly Olmos.

She began her professional career with American Ballet Theatre’s Studio Company and later joined American Ballet Theatre as a company dancer. In 1999, Ellis won the first prize at the Los Angeles Music Center Spotlight Award, and went on to become the recipient of the Coca Cola scholarship award in 2000 and 2001. She has performed in Spain with Angel Corella’s touring group and joined Corella Ballet in 2008 as a soloist. In 2011, Ellis joined Boston Ballet as a second soloist. She was promoted to soloist in 2012 and principal dancer in 2013.

Her repertoire includes Marius Petipa’s The Sleeping Beauty; Mikko Nissinen’s The Nutcracker; Natalia Makarova’s La Bayadère; Marius Petipa’s Swan Lake; Christopher Wheeldon’s DGV: Danse à Grande Vitesse, VIII and Polyphonia; Harald Lander’s Études; Michel Fokine’s Les Sylphides; Rudolf Nureyev’s Don Quixote; Christopher Bruce’s Rooster; George Balanchine’s Serenade, Coppélia, Symphony in Three Movements, Symphony in C, and Tchaikovsky Pas de Deux; Clark Tippet’s Bruch Violin Concerto; Twyla Tharp’s In the Upper Room; Stanton Welch’s Clear; Angel Corella’s String Sextet; Wayne McGregor’s Chroma; Jorma Elo’s Awake Only; Jerome Robbins’ Fancy Free; Jiří Kylián’s Wings of Wax, Symphony of Psalms, and Petite Mort.

What Alan Rickman Taught Me About Dance

February 27, 2016 by 4dancers

by Ashley Werhun

The recent death of Alan Rickman sent me on a YouTube “runaway train” – watching interview after interview of him speaking about the craft of acting.

Lessons about dance aren’t always (or even, usually) learned from dancers.

Some of my best growth as a dancer has happened while learning from different artists, and this is no exception. The lesson that Alan Rickman was taught over and over again at acting school was “less is more”. The most important thing to find in the work was – clarity. “Truth” was the word that seemed to roll off of every teacher’s tongue. These complex ideas required many years of training to trickle down and really settle into Alan’s mind.

He spoke of being taught the humble lesson that he may “never be as good as the play,” in fact, that no actors really are. The intent was to be a servant to the craft. It was this level of depth in training that made him a director’s dream when he moved to Hollywood. After over a decade of acting in the theater he moved to Los Angeles, and because of his deep understanding of the art form – which was required in the theater setting – he could easily slip into a script.

He was cast in Die Hard just two days after arriving in Hollywood.

Alan has said, “Anything involved in telling stories is not just worthy. It is crucial. Otherwise – how the hell do we find out who we are – unless we explain ourselves to each other via books, cinema, theater, documentary….”

This is a reminder to all that art is a reflection of life occurring around us. It is a look into humanity’s current state – the political climate, the condition of nature, social change; society as a whole. When looking at history we read about wars, leaders, business, and technology. But where learn about the feeling, the essence of the era, is the music, books, films, painting…and dance.

Recently Old Navy produced a shirt crossing off aspiring artists and put “astronaut” or “president”. If Alan taught me one thing- it is that the arts are indeed a worthy path and profession. Alan was formerly a trained graphic designer – but he knew that his greater purpose to reach the world was being an actor. In a society that is changing as rapidly as it is – if we don’t have actors, musicians, photographers, poets, film makers, dancers and writers to document this era…what will we have? All progress, and no reflection of it?

When Alan speaks of his artistic process – it is universal to all creative endeavors. “I think there’s some connection between absolute discipline and absolute freedom,” he has said.

This describes dance perfectly. The physical ownership of the form – and the emotional release of that control. The lessons he learned about being a “channel for the writer” sound exactly what it feels like to be the channel for a choreographer – to be a part of the process of creating something larger than yourself. Something that connects to universal themes. To know that the impact of a performance is far greater than just your muscles and bones – that it is a culmination of the creation process with a choreographer, the dancers around you, the lighting design, the score and the audience as a participating collective. Alan stated that an audience responds when “you can tell there is truth happening in the theater…when there is a real connection between the actors”.

In remembering the life of Alan Rickman let us remember that as artists, we are part of a bigger process. We are truly being asked to be a part of nurturing creativity in our society. And, as Rickman reminds us, this task is not “just worthy, but crucial”.

Ashley Werhun, Photo by Christopher Peddecord

Contributing writer Ashley Werhun began her formal training Edmonton, Alberta. Her training was supplemented by attending The National Ballet of Canada, Royal Winnipeg Ballet, The Banff Center, and The Juilliard School during the summers. Werhun later studied at The Alberta Ballet School and Alonzo King’s LINES Ballet. Ashley is currently dancing with Les Ballet Jazz de Montreal for the 2014/ 2015 season, where she will be performing the works of Barack Marshall, Adonis Foniadakis Cayetano Soto, Wen Wei Wang, and Rodrigo Pederneiras.

Prior to joining BJM Werhun was a guest artist with Ballet British Columbia and was a founding member of Trey McIntyre Project. In six seasons with Trey McIntyre Project, she has been featured in world premieres including: Ladies and Gentlemen, The Sweeter End, Pass Away, and Ten Pin Episodes. Her performances have been acclaimed in publications such as the Los Angeles Times, New York Times, Seattle Times, and Chicago Tribune. Her work has been described as “simultaneously grand and cozy”, and with her partners she creates what has been called a “beautiful, melancholy duet… intertwining bodies in interesting ways; their movements growing with desperation as the work culminates in tragic climax.”

She has toured North America, South America, Asia and Europe performing, teaching master classes, and engaging through outreach with schools and hospitals. During her time as an Artist in Residence at St. Luke’s Children Hospital, she used dance as therapy to promote joy and healing. She cherishes these experiences and finds inspiration in each moment. She has spent her last two summers on faculty at The Sitka Fine Arts Camp in Alaska. Ashley is so happy to have returned to her native country of Canada and to and be part of this group of extraordinary artists.

A Ballerina’s 8 Top Tips For Dancers

February 25, 2016 by 4dancers

Alice in Wonderland ballet, leap — Sharon Wehner and artists of Colorado Ballet. Photo by Mike Watson.

One of our goals at 4dancers is to provide you with solid advice that you can put to use in your dance life. We asked Colorado Ballet ballerina Sharon Wehner if she would share some of her best advice for dancers, and she compiled a great list for us to share with you here…enjoy!

by Sharon Wehner

Listen to your teachers, but use your brains too!

This might seem like an obvious piece of advice, but because dance, particularly some techniques like Graham or classical ballet come steeped in tradition, there is always an aspect of “shut-up and dance” when it comes to being in the studio. This is both good, and bad.

As a student of anything, whether math, Spanish, or dance, it’s crucial that you be able to trust your teachers. Once this trust is established, a student’s job is to listen and absorb the teacher’s information, and then apply it. The more trust and respect established, the more a dancer can get past their own limits, fears or hesitations and improve technically and artistically. But unlike your academic teachers, there are no standards set for who can teach dance. Anybody can open a dance studio. Of course there are a myriad of training courses and degrees with testing and accreditation, which certainly lends credibility to a teacher’s qualifications, but a piece of paper does not necessarily guarantee a great teacher. There are amazing teachers who have no degrees. On the other hand, there are also amazing former professional dancers with years of experience who are not the greatest teachers.

So as a young dancer goes through his or her training years, it is a good idea for both parents and students to evaluate teachers based not only on their experience and credentials, but also on what makes sense for that student. As mentioned above, the best teacher-student relationship consists of inherent trust and respect. Because dancers are often asked to work through feelings of discomfort and fatigue, both emotionally and physically, it falls upon the shoulders of a teacher to gauge when this push is necessary for a dancer to improve, and when it crosses the line into “too much.” And again…every dancer and student is different. Some people thrive on stern discipline, while others need a softer hand. But either way, it is important that a dancer be able to balance listening to their teachers with complete trust, while simultaneously being able to think for themselves, and pay attention if they feel that a teacher is crossing that line.

Know your learning style.