Independence Is a Force to Reckon With

"I saw it on TV..."

                  Nowadays, it is very hard to teach kids to be independent. Think about everything a student has to look forward to once they graduate...excessive student loans, the difficulties in finding a job, bills, life, and did I mention lots of student loans? Who wants to be independent when you can run home to Mommy and Daddy who will feed you and put a shelter over your head. Once, I had a student say they didn't want to grow up because they saw how hard life is on 'Teen Mom'. Now, this may not be the most realistic example, but surely there are other examples kids are seeing out there on media that may discourage them from being independent.

If being on your own is just so darn hard, why would you want to? More so, being on your own means that you have 'grown up'. You are an adult, right? Uh oh....

What if you could teach kids to be independent and actually enjoy being this way? Surely, being independent doesn't have to be all that bad! The easiest way to do this is through movement and dance. Voila!

When you teach someone how to choreograph, one places a lot of emphasis on taking ownership. Let's say you make an unique for 20 people with lots of special and unusual ingredients. The majority of people will probably ask you what is in it before taking a bite. The same applies for dance. You  wouldn't tell a dancer to create something, without asking them to explain why they created what they did. Being independent has a lot to do with ownership and understanding what you are capable of completing and/or doing in life....without Mommy and Daddy.

Usually kids feel proud of what they did after the creation has happened. Seeing your piece take shape on stages with all the production elements (i.e. lights, costumes, etc.) really does have a jaw-dropping effect. So, why not bring this to the traditional classroom setting! What also really helps is the use of group facilitation to help others who are not feeling so 'hot' about stepping up to the plate. If you have a few others in the class who have done it once, then usually more will gravitate to a positive attitude toward the assignment.

You may not be entirely sure how to get kids to gain their confidence in a traditional setting classroom. Just remember that it is through building, creating, and presenting something. In math class, a student could create a lesson plan on how to solve a problem and present it to the principal who comes to visit. The good old fashion science fair is another wonderful example on getting kids to gain independence. If you think about what causes ownership and implement the changes in your lessons, kids will benefit in a plethora of ways.

The Enlightened Path to Confidence

Yeah, I said it!

There is an enlightened path to confidence; a path where, if learned correctly, no one can take it away from you. Children with this enlightened sort of confidence do better in school and even seem to want to prove to naysayers that they can and will be successful. They may be slightly cocky, but with good reason. They always produce results that are just pretty, damn good. Did you catch the most important thing? The key phrase is you must learn it correctly.

How do we learn confidence correctly?

Think about it: Anybody can have a spark of confidence if they win a football game. Do you think that confidence will still be there if they lost the next game? What about the game after that?  Now apply this analogy to a student a teacher called on to answer math questions in class. He gets the first one right, but then the next two wrong. Do you think he will want to keep answering? Will he raise his hand in the future to answer? If he doesn't have 'enlightened confidence', then most likely, he will be quiet from then on out.

Getting kids to raise their hand or demonstrate in class can be quite the epidemic to some teachers. Getting questions answered in class is a way for any teacher to do a quick assessment on his/her students. How else would you know if it is appropriate to continue the next part of the lesson without a little verbal feedback from your students. A spark of confidence does not necessarily drive students to want to answer questions, it will only drive students to speak when they have to answer questions.

In a dance class, kids are forced into enlightened confidence because there is usually something at stake. In the school setting, their reputation is at stake. No one wants to 'look dumb' dancing in front of their friends. It doesn't matter what type of kid is put in a dance class, they almost always whip out a pretty decent product when they are about to perform in front of others. 

In the book 'Dancers Among Us' by Jordan Matter

Upping the ante is a great way to permanent confidence, but more so, it is actual visible results. When you create something and see it visually take shape, there is no better feeling in the world. You are reminded of the hard work, practice, and dedication you put in to it. Visible results in other classes usually just look like paper tests, but what if it was a dance routine, play, or music video?

An Israeli psychologist Dan Ariely did a study to see what influenced people to cheat. His studies showed that people were more likely to cheat when the person was somehow a part of their group (i.e went to the same college, play on the same team, etc). Cheating is incredible act of boldness because it is something many people know is against societal rules. Following the lead also seems to be the easiest action for people to do because it doesn't rock the boat. Surely, enlightened confidence can spread like poison ivy after one child shows such boldness in class... you, as a teacher, just have to make sure your projects can bring this out. Watch Dan Ariely Here

History class is an easy way to force kids into enlightened confidence. Upping the ante is simple: make them perform a play where they will act out a historical event in history. In Science, kids can build robots, paint/decorate them, and then have them race against other robots in class. Just the act of building one would be rewarding for the kid because it is tangible proof of understanding and accomplishment.

Dance teachers can attest to the fact that students pay attention more, work harder, and ask more questions when it is close t D-Day (also known as Due Day). Students will be more likely to answer questions, even if they may be wrong, because they want to understand the lesson. They will ask more questions with the class as a group instead of pulling you off to the side during individual class work time. This, in return, will help you assess students during the lesson!

                                                                    Win-Win!

Dance=Creativity, Creativity=Power

There is a huge secret that many dancers already know and all non-dancers fail to realize. Dancers have been trying their best to bring people in 'the light' for a very long time. If everyone knew this secret, it would change the shape of education as we know it.

How do we get students to learn? How do we get students to think outside the box and be resourceful? How do we help them develop their inner voice and express their opinions?

The secret is simple... make them choreograph a piece!

The book Educational Pyschology by Robert J. Sternberg discusses some learners having an entity view of thinking. This means believing that intelligence cannot be learned, but rather something you are born with. Imagine believing that your mind can only hold enough room for the math problem 1+1=2. This is a very unrealistic way of thinking, but now translate this to a person who may say 'I will always be a horrible dancer' or 'I could never be a scientist'.

Having students choreograph a piece, or even just a phrase of movement, forces students to delve in to their minds for movement they have seen or learned in the past. As they connect the steps together, it is important as a teacher to challenge them further and give them positive feedback. Saying something like "Oh! I like that move. What if you repeated it or slowed it down?" can give a wide range of ideas to a amateur choreographer.

Do not think choreography is something that can only happen in the dance classroom. Kids can make shapes with their bodies that express geometrical shapes and/or their functions. How would a student's dance look if they were to represent an obtuse angle? Possibly really big jumps and large hand motions could display this, but then again, it is up to the student.

In history class, students could create a skit acting out the events of a historical event. Let them be the directors! Make it a lot of fun by videotaping them and showing them off in class as a mini-movie. The possibilities are endless!

Students will always take pride in something they can physically see put to life. The stress of performing in front of peers will automatically up the ante and push kids to want to do their best. Nothing beats the sound of applause after it is over and the positive feedback from others so make sure you train students on being a good audience.

Dance has been proven to increase test scores and learning in other subject matters. Just look at the Evidence: A Report on the Impact of Dance in the K-12 Setting by the National Dance Education Organization for proof. It is time to create students who are not afraid to create! Do it NOW!

One Quick laugh!

Even dancers must laugh! Take a look at this video and reminisce about the dancer you use to be. In case you do not remember, First position is the beginning position in ballet where the heels are touching and the whole entire leg all the way up into the inner thigh is turned out (See picture below):

So now, let's take a look at this little dancer having a hard time learning first position in her ballet class.....

Syllabus and Class Planning

The common belief is that dancers do not teach, they dance around all day. WRONG! We create a curriculum and a syllabus just like any other subject matter. The below is an example of a syllabus created by me for a previous class. Use this as a model to plan your syllabi for dance classes when teaching movement:

Advanced Jazz (MASTER CLASS)

Ages:  14-17 (10 girls and 1 boy)

Wednesday s, 7:15-8:45 pm

                                             

Objective:  Students will learn how transitions between movements help add flair and style to one’s performance.  Students will be able to connect movement in an almost seamless manner by the end of session or have deep understanding of subject.

Warm Up (approx. 30 minutes):

Isolations- starting with the head and moving down to shoulders/arms *helps bring awareness to separate body parts that can be isolated*

Sagittal stretches- basic Horton stretches from sagittal plane all the way to floor and back up to opposite  side, 2^nd set done with plié in between *will be done slightly at moderate speed to raise heart rate*

Continue Isolations- starting with the torso and moving to the hips

Feet Treads- will start with slow speed and work its way up to half time and turn into prances in circles around oneself *continuing to raise heart rate*

Tendu- parallel and turned out en croix with a plié in between to switch sides *opening up the hips and stretching Achilles*

Sit-ups/push-ups- Duration of one full song approximately 4 minutes in length switching different ways to do them, end with a upward dog stretch. Continue with 20 push-ups and child’s pose to end*helps strengthen the core

Floor stretches- legs open and together in front of oneself, reaches done in moderate speed  to half time to give the brain a workout *opens the hips and keeps students from ‘zoning’ out

Across the Floor (approx. 20-30 minutes):

Pirouettes- small connecting movements into a ball change pirouette, done multiple times from holding relevé to triple (or four if can be done) *movement before turn will start the awareness of transitions*

Battements- small connecting phrase involving chainés and battements as well as sharp movement *helps one practice the turning techniques they just used on other types of turns; helps one to experiment with different kinds of transitioning techniques*

Leaps- Turn leaps and calypsos going to the ground *helps one become comfortable with the floor*

Side Leap- small phrase that combines previous movements done across the floor and ends with a side leap *Seals the muscle memory for all techniques used and learned*

Phrase (the rest of class duration):

Phrase will combine technique done across the floor with stylized movement. Students will not only practice their visual learning skills, but will also learn how to transition movement within their own body to develop a personal style and performance. Phrase will be approximately 6 to 10 eight counts; length determined on how well students are picking the material up. Students will demonstrate in groups and conclude class with one final round altogether.

Cool Down:

If there is time, cool down will consist of the sagittal stretches and feet treads done earlier in class done at a slow and leisurely speed. If there is no time for a cool down, it is my job to remind students to take time on their own to cool down.

Attention All Serious Dancers...READ!

DanceUSA is a wonderful resource for finding out the latest news in the dance world. Dancers can come become a member of the website and reap all the benefits of the organization and its website. One can find job opportunities all over the world in their database, connect with other dance professional, attend conferences, and even receive discounts on classes at certain studios around the country who are members as well.

There are many dance alliances and councils out there that are strictly for supporting artists. Organizations like the National Endownment for the Arts even provides funding and grant opportunities for dancers. Check out your local county and state to find the arts council or dance alliance. They probably are connected to other organizations. For example, the Tucson-Pima Arts Council loves connecting artists with other practicing artists. In the past, TPAC has provided grants to dancers who use their art to improve and/or enhance the community.

Speaking of finding opportunity, here is a great article written by a dancer for dancers in the E-magazine of DanceUSA. It is really great lesson for all serious dancers to learn. See the link below:

Letter and Apology to Dancers About To Enter the Dance World — FROM THE GREEN ROOM: Dance/USA's e-Journal

Introduction

This blog is an unofficial dictionary of terms, movement, people, and all things dance that may be important in your educational dance endeavors. Resources for these post are pulled from books, textbooks, articles, online, video, photos, and personal experience in the dance classroom. The book seen in the photo is Gayle Grant's Technical Manual and Dictionary of Classical Ballet. This is one of the best dance dictionary's on the market if you want to define terms, see rudimentary positions, and learn the correct French spelling for dance terms. This is a MUST for all serious dancers!