dance teacher

Teaching Students to Teach Dance

March 9, 2015 by Rachel Hellwig

"IMG_8440" by Jo. Licensed under CC Attribution 2.0 Generic. — “IMG_8440” by Jo. Licensed under CC Attribution 2.0 Generic.

We all know the saying “if you can teach it then you know you know it.” I often have my students teach or help each other with movement they are learning in class to empower them and allow them time to know they know the material without constantly watching me demonstrate. One of my favorite assignments is when I have my students create and teach and full lesson plan to the whole class.

I put my students into pairs and they pick a theme for their lesson. Some theme examples are: movement initiated from certain body parts, extremes in timing or playing with rhythms, and moving into and out of the floor with smooth transitions. Once my students pick their theme they start to create a movement phrase that demonstrates their theme. They also have to create movement that travels across the floor and a warm up, all of which must be centered on their chosen theme. [Read more…]

Process Focused Thinking In The Dance Classroom

November 10, 2014 by 4dancers

by Janet Rothwell

As a choreographer and dance educator, process is very important to me. It is through my creative process that I problem solve and create various products. My process can vary depending on the task at hand or even on how I feel in the moment. Any changes in my process are usually reflected in the product outcome as well. One example of how changing my process can be helpful is when I am choreographing a work and I do not want it to look or feel like the last piece I created. Changing my process can help me to create new movement and fresh ideas.

In order to teach my students about the value of process I give them many assignments where they have built in time to explore and play. I also have them reflect on their process answering questions like: How did you go about learning a movement sequence? How did you work within your group on a project? How did you approach the creation of your movement?

I often have students work in small groups on various choreography assignments. The most recent project I gave them was to create a short choreographic study based on initiating movement from certain bones in their body. The main goals were for students to learn the names of the bones, where they were located, and how it feels to move from those bones in their body.

The assignment included a rubric which required students to use specific choreography tools and a required length of counts for the whole dance. Often time when I give an assignment like this with a clear rubric of expectations, students look at the list of what the dance must include and work towards this end goal first instead of taking the time to experiment and play with movement ideas. I have to remind them that I’m giving them many days to work on the project to include the process of discovering the movement they want to use and they have time to change their minds and let the dance evolve. I use many analogies like when you create movement and choreography with your group you are writing in pencil not pen so as you go on if you don’t like something simply erase it and make a change.

The majority of the classes that my high school students take are very product focused and students can either be right or wrong with their product. It can be very challenging for students to shift their perspective in my class and linger in the process focused perspective as a means to create and problem solve. In dance class with a creative assignment there is not one way to do anything right so there are many right answers and what I try to teach my students is that I want them to discover what they feel is the best and right answer for them. They discover this through their process.

Having an emphasis on the process rather than the product does not mean that I do not care about the end product. On the contrary, I think that when the process is more fulfilled the end product is also more likely to be fulfilled and realized in a deeper way. The way we go about getting to an end product is through various paths and that we honor the paths we try out and discover what each one has to offer. Students edit and revise more while focusing on process in order to create the product.

As students embrace this mind set I see a shift in the quality of their work and their work ethic. In a world of instant gratification and product focused thinking it is becoming more and more important that we teach young people to value the process, the how we get to an end goal. Teaching students to be process focused can have great implications in many areas of their lives and help them to problem solve in creative ways. I hope to help my students become creative problem solvers and leaders in the world they live in.

dancer posing upside down — Janet Neidhardt

Contributor Janet 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 Loyola Academy High School in Wilmette, IL. She is the Director of Loyola Academy Dance Company B and the Brother Small Arts Guild, and choreographs for the Spring Dance Concert and school musical each year. Janet is very active within the Loyola Academy community leading student retreats and summer service trips. 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.

Mirror, Mirror on the Wall: A Dance Teacher’s Perspective

March 10, 2014 by 4dancers

Happy March! I hope spring is making a welcome appearance in your part of the country / world!

We recently had an article on Mirrors in the Classroom, by Sally Radell, of Emory University in Atlanta, GA. The first
article was written more for the dancer — Sally has now written one for us which focuses on mirror use from
the teacher’s perspective.

It’s so important for teachers to understand the effect mirrors can have – both positive and negative – and how to best integrate them into classroom teaching, for the students’ best interests. As I mentioned in my intro for Sally’s
first article, I always remember the great Betty Jones (Jose Limon Company dancer and world-famous Limon teacher) saying, “mirrors put you outside your body, not in it” — good words to take to heart, and now we have recent research, such as Sally Radell’s, to give scientific support to them!

Happy Spring 🙂

Jan

______________________________________

by Sally A. Radell, MFA, MA

It’s easy to develop a “mirror addiction” when teaching dance. This is particularly evident when teaching beginning level technique classes. I primarily use the mirror as a classroom management tool to visually “bring all of us together” in the learning of new phrases. I usually have the whole class face the mirror. I stand in front, also facing the mirror, as I demonstrate the new material with the dancers behind me following along. This enables me to watch the students as I guide them through the phrase while simultaneously calling out movement cues to help them through the challenging portions of the material. This can be a particularly efficient use of time in short dance classes where I am always pushing myself to make it through my lesson. However, I have noticed a certain level of dependence on using the mirror in my teaching; too much reliance on the mirror can create problems that are detrimental to students’ technical development and body image.

What are the drawbacks of mirror use in the dance classroom?

Especially when I work with beginning dancers, I see that the visual reflection of their bodies in the mirror is a more powerful experience than the proprioceptive muscular sensation of performing a movement. Under these circumstances, a dancer “removes herself from her body” to the point where she cannot learn to fully trust her proprioceptive self. Yet without full access to this movement information, a dancer’s growth can be impeded.

Research shows that mirrors in dance classes can contribute to the development of a poor body image for dancers. Often more advanced students will be more critical of their body in the mirror because they have a more highly developed eye for identifying technical weaknesses. They struggle to negotiate between the two-dimensional reflection of their body in the mirror and their three-dimensional body in motion. This heightened self-consciousness may cause a dancer to see her body as an object to compare to others in the room. This whole dehumanizing process can cause stress, negative self-evaluation, and ultimately a poor body image.

Teaching with mirrors can slow down the development of a dancer’s technical skills, especially in the slower adagio phrase where students find plenty of time for mirror-gazing. The more they focus on individual positions, the less likely they are to learn the flow of movement and the muscular connections a dancer needs for smooth technical advancement.

Remember that not all students have the maturity and objectivity to use the mirror constructively. Dance counselor Julia Buckroyd, who is an emeritus professor from the University of Hertfordshire in the UK, reports that most teenage students are unable to see an accurate image of themselves in the mirror. They cannot detach themselves from their reflection in order to benefit fully from the information the mirror provides.

So what’s a dance teacher to do? [Read more…]

5 Great Teaching Phrases For Tots Dance Class

April 19, 2013 by 4dancers

by Maria Hanley

When I tell people I teach 25 classes of preschoolers and toddlers a week, their eyes pop out of their head! Even though they think I’m crazy, I’m over the moon about it. Teaching that many classes can take a toll, but for me, the way to get through each week is to have clear expectations. I show my expectations for my “littles” by using specific catch phrases. I say them frequently and as the weeks go on, they catch on.

If you are a teacher with a lot of experience you probably have your favorite phrases that work to manage the classroom. If you are a new teacher just starting out, you will develop what works for you. I thought I would share mine that have developed over the years. Feel free to use them!

“Happy Dance Day!”

This is my standard greeting when I meet them at the door. If it’s ballet class I will say “Happy Ballet Day!” It’s just a little happiness to greet them before class and to let them know that they have my full attention. They say it back and they get so excited to dance. Do you meet your dancers at the door? Do you go with them outside after class to give an extra goodbye? I always do. I think that’s one of the most important touches, like two exclaimation points at the beginning and end of class!

“Watching eyes on, Listening ears up, and Marshmallows in.”

I do the motions for this one. I make glasses for eyes, and use my hands to turn up my listening ears. Eating marshmallows makes their cheeks puffy and therefore no noise can come out. It’s a fun little trick to get their attention instead of just saying “be quiet!” like a broken record.

“When I see it, I will say it.” OR “My eyes are open.”

Many times when we are exploring movement, they want me to see what they are doing. They will call out “Look at me, Miss Maria!” or “Like this?” This would be fine, except when they all do that at the same time, it gets really rowdy. Instead, I tell them that when I see it, I will say it out loud. This encourages them to continue to explore the movement while still getting the attention of their name and movement called out.

I have gathered that as attentive as I am to my dancers, they still want to know that I’m watching. Reassuring that you are is important.

“I love the way…”

Goes along with the one above. This is a phrase of praise. When you see an interesting movement or a student thinking outside the box, instead of saying “great job” say “I love the way… you are making that shape with your arms up high and your legs twisted down low.” Be specific so that the other students can hear what you like about what that student is doing with their body.

I must admit, this one takes a while to get used to. It’s important to put it in your vocabulary for added clarity and encouragement to your dance room.

“I’m looking for the quietest and most still dancer”

I use this one for picking students to go across the floor or for turning on the music. Of course once you say this phrase they want to please you. I use it mostly for management of the next exercise. Then I call out names – “Maddie looks ready” “Jessica looks ready” “Emily looks ready” and so on. It works like a charm…unless it’s Halloween! 😉

What are your favorite “work like a charm” catch phrases to use with your preschool dancers? I would love to hear and exchange!

BIO: A passionate advocate for early childhood dance education, Maria Hanley specializes in teaching ages 5 months to 6 years. She currently designs and implements creative ballet programs for the young families and after school division at the Jewish Community Center in Manhattan. Maria teaches a variety of creative dance and infant/toddler programs throughout New York City, including The Mark Morris Dance Group, Dancewave Center and 92Y Parenting Center.

Maria authors the blog Maria’s Movers (http://www.mariasmovers.com) where she shares creative ideas and strategies for teaching young dancers. The blog unites a community of teachers who are inspiring our youngest dancers every day. Maria holds a Master’s degree in Dance Education from New York University and a Bachelor’s degree in dance from Slippery Rock University in Pennsylvania. Maria served on the Dance/NYC Junior Committee for 2 years and presented at the 2012 Dance USA Conference.

On Leaving…

July 30, 2012 by 4dancers

by Lucy Vurusic Riner

I have been teaching dance at a high school right outside of Chicago’s city limits for 15 years. As in any other job, I have developed my role here and have become part of the fabric that is this institution. And as in many other teaching jobs, I have seen my share of students come and go. As a creature of habit my assumption was that I would build a dance program that I could live in for all of my career.

In reality, the average person changes jobs at least three times in a lifetime….and I had already left my first teaching job 15 years ago. Teaching philosophies change, students have different needs and administrations come and go. Being a creature of habit in a school system is not always easy. And so I decided to explore change.

Change is good right? It pushes us, especially as artists, to stretch ourselves and our abilities.

For me leaving was hard for several reasons. I love my colleagues and the people I had grown to know as my second family. Let’s be honest, I spent more time in that building than the one I still have a huge mortgage on. As a teacher, this family helps you live out your philosophies, develop and redirect your curriculums, and when you teach in the right school or studio your department can really make or break whether you want to get up for work each day. [Read more…]

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