Opportunity Language

Use opportunity language. It is hard not to get defensive when you hear what you are doing wrong in your job. Often we know our weak points, so hearing them just compounds our self-criticism. Or on the flip side, it is rough to hear that you are struggling with something you thought you’d mastered. Defensiveness closes down the opportunity to learn. Arguing with defensiveness is a downward spiral. When you are giving feedback, a few tweaks to the language frame can often help you avoid getting a defensive response. Sometimes you’ll still get defensiveness, but approaching feedback as a conversation can mitigate it.

Instead of:

You should…

[Oh yeah? Well, you should….]

You don’t…

[I do all the time, just not the day you watched!]

You have to…

[I don’t have to do anything.]

You had better…

[I’d better what? Go find a new job with a boss who can give feedback?]

Try:

I wonder if you could…

[Mmmm, maybe I could try that…]

I might try…

[That’s an interesting idea.]

Have you ever…

[I do sometimes and it does work.]

I see ___ and I’d try to…

[That’s super helpful. I’m so grateful for your mentorship.]


Using reflective practice for dance teachers

 
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The third principle of Moving Mentoring is Curiosity. Curiosity is about questioning ourselves, our peers, and our world. It is about being interested in the lived experiences of others and learning from our life experiences. Curiosity is exploring how our bodies can move (way more ways than we think) and how to see the world and describe what we see.

As dance teachers, getting curious also means taking a look at our careers periodically and digging in to what is working for us and what might be working against our best interests.

Reflective practice is a process of continuously learning. We can employ reflective practice in most settings. Today I have a few ways you can apply it to your career.

But first, I’m excited to offer you the 2019 Dance Journal. This product is a digital download. If you choose to buy it it will come by email and you can print out as many as you need and even add your studio logo to the cover. The journal includes two prompts per month—one writing and one drawing. Each month, you will get an email with ideas on how to use the journal in dance classes. It's a great gift for your tween and teen dancers!

Incorporating some writing into your dance classes or rehearsals can increase connection, thoughtfulness, and integrate learning.It’s written for grades 6-12, but I’m going to journal in one in 2019 and Instagram it—so you may even want to print one out for yourself too.

Reflecting on 2018 and Preparing for 2019

Do you ever feel as a dance educator that there’s little time for reflection? You are just plowing forward, trying to strike things from your To Do list, meeting deadlines only to be met with a new project (or crisis). I get it. Plus you have a personal life!

December is a lovely time to look back on your year and look forward to the next. IF you stop and take the time to do so. Take a look ahead at your month and see if you can find a 3-4 hour block—Just. For. You. If you have kids (or parents) at home, you absolutely must get out of the house.

You can use the process outlined below to facilitate your reflection.

Step 1--Treat yo' self

Go to your favorite shop and order a coffee or tea or hot cocoa.

Step 2--Document your work

Make a list of ALL the work projects you did last year: classes, performances, consulting, fundraising, costume design--whatever you did in your professional realm. Include work that you got paid for, work that you paid into (for instance self-producing a piece or attending a training), work you broke even on, everything you consider professional. You can put each one on a tiny post it note or write a list.

Step 3--Appreciate your work

Appreciate your work. Don’t skip this step. As dancers, we often learn that criticism is the highest praise but that can get exhausting. Take a look at everything you have done this year. Good job! Congratulate yourself.

Step 4--Sort it out

Graph what you did last year in this matrix:

X Axis: Draining—Joyful

Y Axis: Lucrative—Costly

(Who says dancers don't do maths!)

So the quadrants are Draining but Lucrative, Draining and Costly, Joyful and Lucrative, and Joyful but Costly.

If these dimensions don’t speak to you, make your own. It’s a play on the Eisenhower Matrix of Urgent/Important, Urgent/Not Important, Not Urgent/Important, Not Urgent/Not Important. For instance time might be a critical element for you so one of your dimensions might be Time Efficient—Time Consuming.

Step 5--Get Curious

Start with Draining and Costly. Take a look at each item. What in this category can you let go of? For items that you can’t release, imagine how you could continue doing them in a different way. Could you automate or delegate some of this? Could you downgrade your input somewhat?

Now go to Costly but Joyful. Dancers need items in this category. These fuel our creative spirits. Whether it’s producing a concert of your work or teaching in a community that can only afford to pay you enough for your gas money or writing an article for a scholarly journal—money is not our only driver. Now, of course, if this section is packed full and the others are empty, you need to take a look at your personal finances. If you need to maximize your earnings, take this section down to 3-4 projects or classes.

Next Lucrative but Draining. Do some detective work. Most of us will have some of these, I do. What is draining about these? Do you hate the work but it brings you money? Or is there something about the process that is draining? Is it net negative because of how you are approaching the work and could that change?

Now bring it home with Lucrative and Joyful! Good job here!! Take a look and see what in this category you can carry into 2019, what similar opportunities you should pursue, and what spinoff ideas can grow from this work? Also, look to see what it is about this work that is feeding you—literally and creatively! Get Curious about your strengths and start shouting those out to the world to attract more of these opportunities. And lastly, pay it forward. Do you know someone who could do this work with you? Is it time to take on an apprentice teacher or a research assistant?

Step 6--Look forward

Sit with this reflection for a few days. Notice what inspiration comes in to your mind and begin journaling, mind mapping, or collaging for the new year.

 

Gratitude

 
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Dance creates a community—but exists within a series of intersecting communities. November is a great time to think about how you are connecting with all the communities in your dance life: students, parents, and your greater community. (Don't worry, in December we'll be talking about self and family care, I just, um, need to figure out that work-life balance for myself first!)

In Moving Mentoring, the second principle of our curriculum is Support. Support is knowing: what you have, what you can offer, and what you need. In our bodies, Support means engaging core support, learning how to weight share, and utilizing gravity. In our minds, Support means clearly identifying structures and relationships. And in our hearts, Support means truly feeling open and connected to others: to give and receive.

One element of Support is gratitude. To me, gratitude means seeing the good in others and in myself. Perfection is not an element of gratitude! One important step of gratitude is naming specific things—and writing them down. For this month in your studio, create a Gratitude Tree. It’s simple and familiar but creates a major impact when you begin to see a tree full of thankfulness.

Gratitude Tree: Downloadable leaf template.

Create a gratitude tree in your lobby. This can be made from construction paper on a wall, or a million other ideas on Pinterest! (PS Follow me on Pinterest)

In the studio pass out leaves at the beginning of class and have student write one word that they want to embody in this class. For older students you can talk about setting an intention or focus for the class; for littles, you might give them 3 options and write the words for them. You can keep this general, or dig in to movement vocabulary and appreciation for our bodies. For instance, ask each dancer to write down a movement quality the dancer is grateful for.Sprinkle the leaves through the room and the dancers can move through and improvise each of these qualities as they pass them. Or they can get in small groups and use their leaves to make a gratitude phrase together. Once done, post them all to the studio gratitude tree. The downloadable has other options too.

November is a great time to show gratitude for your whole community. But I know you are busy, so let’s look at some simple, but meaningful options.

Easy gratitude to your teachers:

  1. Pop a chocolate bar tied with a ribbon in each teacher’s mailbox,

  2. Write a “top three” for each teacher on a sticky note: For instance “You are creative, hilarious, and dedicated. I appreciate you.”

  3. Make a Teacher Emergency Kit for your office with hair ties, tampons, chocolate, bandaids, and a phone charger and let your team know they can come grab anything, any time (but bring that charger back!)

Meaningful thanks to parents and volunteers:

  1. Saturday coffee—have coffee & tea& a basket of oranges in the lobby one busy day. Put up a sweet note.

  2. Handshakes. Seriously. After class, go shake hands with parents or caregivers in the lobby or in the pick up line and just say “Thank you,I know it’s a lot of work to get kids to and from dance.”

  3. If you have a small group of students, snap candid photos during class and email parents a photo of their child working hard. If you do this, do it for EVERYONE! So again, only if you have a small group of students. But it’s a lovely way for parents to know you are really seeing their child and caring about her or his growth in class.

Making an impact in your greater community:

November and December can be months that call us to service—to share with those less fortunate. For dance studios, schools, and college programs, November and December are also super busy times: end of the semester, winter weather, Nutcrackers, lots of holidays in many faith traditions.

Plan a February service project

But this is a great time to harness that generous, service energy and plan a service project. But plan it for your slow period. So if you know your February is going to be pretty slow, plan a service day now and use the holiday season to get people planning and generating excitement. Parents need a lot of warning and you know your community: would they like you to cancel Saturday company rehearsal so you can all go together and it's not one more thing on the schedule? Or would they be mad to miss a class they have paid for? Think it through!

Announce a creative giving drive

Or, instead of a service day do a creative drive. Announce the drive in November and put a fun bin in your lobby to start collecting. Gather items from November through January, giving families a long period to remember to bring something in. Here are some easy and meaningful ideas.

Dancewear Drive—you can donate new but excellent condition dance wear or costumes to an organization like Dance Peace.Or find a dance teacher in your area who perhaps teaches at a Title 1 school, and do something like a shoe drive. Many teachers who teach students without a lot of financial resources, keep a stock of shoes in their studio and students borrow them for the semester or for class. And, because people can be annoying, make sure you plan for 2 hours for yourself to sort thought the donation bin before sending to make sure you toss out the jazz pants with a hole in the crotch, etc.

Fresh Socks & Undies—Local homeless services are always connecting NEW socks and undies for people experiencing homelessness. This type of drive can be really fun and easy for families. Just grab an extra pack of socks next time you are at Walmart and voila, you are helping out. My church has a homeless ministry that I donate to, so you can see if anyone at the studio has a connection—or just research homeless shelters in your area.

Diaper Drive—In my area the DC Diaper Bank collects diapers for families in need. As the mother of two, I understand that disposable diapers are super expensive and cloth diapers can be too difficult for families without laundry facilities. I also know kids grow so quickly, so that brand new box of size 4 diapers that you just opened—poof no longer fits and can’t be returned. If you have big families in your studio, get a big bin and make a cute sign and collect diapers from November through January. If you don’t have a diaper specific charity in your area, check with a domestic violence shelter.

Lastly, try and squeeze in some time for you to connect with your WHY. How can you stay connected with your passion for dance, amidst all the giving and organizing and cleaning (pieces and studios)? Here’s an activity just for you. Take some time to connect with your values, with a Values Sort.

 

3-D Compliments

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Action is the first principle of Moving Mentoring. Action means focusing on doing things, trying things out, and getting stuff done! It's about bravery, joy, and choice-making.

3-D Compliments articulate the actions someone has taken--their dancing, speaking, and moving--not an outside image. Here's a PDF file you can download and use in your studio.

3-D Compliments

Growth Mindset

Why does this matter? In education you hear the term "growth mindset" this means that teachers and parents should focus on a student's hard work, not an intrinsic quality. In other words, you say to your daughter: "Great job taking notes from that research book so you could write a smart paragraph with citations." NOT: "Wow honey, you are so smart."

Same thing in dance!

If you say "Great work pushing off your back leg and bravely reaching into space then even landing with a smile!" Your dancer connects praise to her hard work and she works harder.

If you say: "Beautiful dancing" and leave it at that, then when things get too hard she things, "but I thought I was a beautiful dancer? I must not be any more." And she quits or goes into a negative spiral.

Likewise if you only say: "You need to reach your front foot more and stop scowling when you turn and you need to strengthen you rotators..." she'll connect your attention with negativity and lose the joy of dance.

I know you are already giving 3-D compliments and up next I'll have more teacher templates for you. But this week, I want you to get all your teens giving each other 3-D compliments. Use the attached tear sheet, cut into thirds, and have your students quickly articulate what they see their team, company, or class mates dancing. This helps them support their fellow dancers and develop their verbal skills describing dance.

To be sure everyone gets a compliment, I recommend you distribute them at a break in the middle of class--after barre in ballet or before across the floor in contemporary is a great time. Have the dancers grab a partner. Then explain the 3-D compliment. It's about ACTION not freeze frame! At some point in the rest of the class, dance in 2 groups so one group is watching and writing a 3-D compliment, while the other partner is dancing. Then swap!

If you think your dancers will struggle with this, come to class with a poster board full of great dance words so dancers can grab ideas. Or do the opposite: Bring a blank poster board and fill it with the awesomeness you have generated in the class!

Values Sort

 

what guides you?

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It’s time for a values sort.  This is a common exercise and that is part of why I'm including it: to remind you to use common, effective exercises in your teaching. You don't always need the most inventive thing you can imagine (save that for your choreographic research).  Today we’ll do a values sort specifically focused on your dance teaching values. You can do this 500 times in your life, this is just one instance. 

Your underlying values affect all aspects of your teaching. And your values will inform your actions: the choices you make when teaching. Think of it this way, what you think is important is what you look for in your students. If you don’t know what you value, your students will likely be confused. They'll feel like there are all these secret rules that they've never been privy to.  You may not realize you are drawn to some students because their movement patterns mimic your own or you might demean a student who values something different from you, without realizing that difference isn't a right--wrong continuum. 

In other words, sometimes we embody our values so much but don't articulate them, that we think they just are Right & Good. In a future post we’ll talk about implicit bias and not norming ourselves but this week we’ll dig into ourselves. We'll unpack why you might hold some values, eventually--but first you need to know what they are to get there. By knowing what matters to you, knowing why, and considering how others might feel--you are able to create a classroom that is values-driven and transparent. 

 

What do you care the most about in your teaching? In your dancing? And in your relationship to dance? 

Now wait, if you read last week, you know that this blog is all about adapting your teaching to different populations. Yes! There will be variation in emphasis with different populations. Think of the values this exercise as an overall, cumulative look at your teaching. If you value Fun with preschoolers and Seriousness with teenagers, then neither of those are your most central or top 5 values. They'll be in the middle, adaptable space for you.  Likewise if you value Comportment when you teach Ballet and Virtuosity when you teach West African class, keep looking until you find a value that transcends both those styles, perhaps Story-telling crosses all your disciplines. 

In addition, you might start thinking about all the things that are important to you in a dance class--specific skills or movement principles and components. Press pause on the elements of your class. I promise we'll get to these. For today, think about your overall values.

We won’t just work in a linear manner so I recommend that you write these on index cards or download and cut out our version and literally sort them in space. 

Disclaimer, these values reflect my values and what I see other teachers value. I did reach out to my brain trust on Facebook, but this isn't a comprehensive list. Of course if you see something missing, you can add yours. However, I encourage you not to totally create your own list, because part of the learning is to compare how you sorted to your classmates or teaching cohort.  You'll get to define your values for yourself, so you also may also grab the closest one to your value and add to it. 

dance values 

  1. Clarity

  2. Drive

  3. Rhythm

  4. Connection

  5. Resilience

  6. Line/Linearity

  7. Dynamics

  8. Expression

  9. Tradition

  10. Risk-taking

  11. Relationship to Gravity/Weight Studies

  12. Individuality

  13. Story-telling

  14. Uniformity

  15. Directionality

  16. Affect/Expression

  17. Freedom

  18. Bio-mechanics/kinesiology

  19. Choice-making

  20. Musicality

  21. Flow

  22. Polycentrism

  23. Intellect

  24. Challenge

  25. Time

  26. Virtuosity

  27. Memory

  28. Joy/Exhilaration

  29. Curves/Curvilinearity

  30. Mores

  31. Cultural heritage

  32. Space

  33. Challenging experiences

  34. Carriage/Comportment

  35. Seriousness

  36. Problem-solving

  37. Honoring the form

  38. Fun/Enjoyment

  39. Core support

  40. Shape

  41. Community

  42. Images

  43. Creativity

  44. Iterative learning cycles

  45. Body awareness

  46. Movement invention

  47. Momentum

  48. Dynamic range

  49. Communication

  50. Emotional support

  51. Self-control

  52. Morals

  53. Spiritual experiences

  54. Ecology

  55. Natural movement

  56. Athleticism

  57. Commitment  

method one-array

Step 1: Spread the cards out on a table or the floor and make sets of concentric circles that goes from most important in the center, to less important on the periphery. You can also make a second pile that includes values you reject—or if you think they are all important to some extent, you may use all. Take some time, arranging and re-arranging. If groupings emerge, place those nearer in space to one another. Once you are happy with the field, make visual spaces to create concentric  circles with at least, a center circle, a middle circle, and an outer circle. And, if you chose, a reject pile--but don't worry, we'll use those too. 

Then, take a picture. 

method two-line-up

Now reshuffle your cards and sort them into an order from what you value the absolute most to those you reject or value the least.  This can be hard so just notice where the ranking process gets difficult. 

As in the array, if you see logical groupings for yourself, you can combine or connect values. 

So for instance, if Time, Rhythm, and Musicality are numbers 3, 4, and 5, you could  combine these into one item, Time/Rhythm/Musicality and perhaps it would be your #1 (or maybe not).  

Now, write down your top 5 and last 5.

analysis

Look at these two ways of arranging your values and pick the one that best aligns with your thinking practice. Using that one (or both), complete the following tasks:

1) Define each value in your top 5 or center circle. Write a sentence or a sentence fragment, not a paragraph. 

2) Now, with your last 5/outer circle/or rejects--define what those mean to you. 

3) Ohhh, it's getting fun now. Next you take both these sets and write about their counterpoint/balance/polarity/dichotomy in a positive frame.  So, first you need to let go of right/wrong and instead go both/and.  For instance, if your top value is Emotional Support, you wouldn't make the counterpoint Emotional Abuse (or Physical Abuse). First look at how you defined Emotional Support, maybe it's a space where students feel comfortable sharing what's going on in their lives and you focus on the whole person. Maybe for you the counterpoint would be a space where students "leave everything at the door" and the class just focuses on formal dance vocabulary. So name that, is it Formalism or Physical Focus, or Uniformity?Come up with something that makes sense to you.  When you do this exercise regarding your last 5/outer circle/rejected values, you also might discover one that you want to put into your center circle--or you might not. Either is fine. The point is to find a deeper understanding of your values and to experience different perspectives.

3) Journal about how an observer would SEE your central values in your class. How do those values undergird the exercises you teach, the types of things you correct or emphasize, and your teaching tone and style?  This can be a paragraph or two with lots of movement and experiential description. While we created our values in general, for this exercise imagine observing a specific class and go ahead and imagine watching You teaching.  

4) Now, journal about how a participant would EXPERIENCE your values in your class.  What does it feel like to embody these values? How do they describe the class to their friends? What do they think they are learning from the class? What do they post on social media after class?

5) Lastly, take the values from your last 5/outer circle/rejected values and look at the balancing position of your top 5/center circle. Imagine a student for whom these are the most important values.  That student is required to take your class—what might you do in a class to honor her values and needs?  Write a list of ideas of how you could address these student needs, by expanding, not compromising your values. 

Phew, that's a lot of work. Save it to look back on over this year as a reference. 

special thanks today for some fellow values brainstormers: Ai Fujii Nelson/Ririe Woodbury Dance Company, Ashley Mott, Betsy Miller, Margot Electra Steinberg, Alana Hardison, Christina Providence/Providence Method, CoCo Loupe, & Peggy Hackney.

 

Getting to Know You

 
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Today we’ll talk about getting to know students from a movement perspective and a systems perspective.  Our image this week is a maze, for getting to know a community involves making your best choice and sometimes redirecting and trying another path. This is also the only illustration that required two lines to make. Fitting, because getting to know a student always involves two.

Learning about students happens in two overlapping phases:

1) Planning and expectations

2) Experience and re-learning

One key phrase in community work is:

Nothing about us, without us.

We’ve seen that phrase come up in the profile of Artistic Ensemble. You’ll read it again and again. What this means is that community members have a say in the planning and implementation of programs. 

To embody this, you recognize the knowledge inherent to the community. You may know a few things about dance but you aren't the expert. 

Planning and expectations

For teachers, rather than starting by speaking for a community, start by listening to a community. That said, you also have the responsibility to learn what you can before you join or visit a community. It’s not their responsibility to educate you on the basics. Before you start working with a group, create a preview portfolio for yourself. Your research might include blog posts, videos, books, journal articles, personal essays, economic analyses, any resource you can think of will help you get started.  The process is similar to preparing for a job interview: you learn everything you can in advance, so that when the interviewer asks "Do you have any questions for us" you are prepared with a thoughtful, incisive inquiry showing that you've done your homework and have thought about the company. 

Below are some questions to ask yourself in your research process and as you get to work in a community:

Systems questions:

  • Who are these folks? How do they identify themselves?

  • What competencies to they bring into the room?

  • What might make them comfortable?

  • What might be scary/inappropriate?

  • Time sensitivity, e.g. what are they doing before and after your class? 

  • Are the students there by choice? 

  • Are they wary? 

  • What are they wearing? Jeans and sneakers? Leotards and tights? Dresses and clogs?

  • Who are you in relation to them? 

  • Have they had a lot of teachers coming and going?

  • Are you a part of the community or a visitor? 

Movement questions:

  • Do they hold specialized dance knowledge that differs from yours?

  • Are they used to moving, dancing, exercising?

  • Can they get on and off the floor or chairs?

  • What will their energy levels be?

  • Will this class be less athletic than they are used to?

  • How much do they move in their daily lives?

  • Are there movements that a contra-indicated?

  • Do they need a doctors clearance before coming to class?

  • Will they use any assistance--cane? aide? wheelchair? dog?

Once you know all this, you also know nothing. The real knowledge comes from meeting the students.

When you first meet any group of students you have two responsibilities:

  1. to hold the space of the teacher

  2. to respect the community. 

holding the space of the teacher

This means taking on the responsibility for the room. You'll start and end class. You'll keep the class on task. You'll intervene if there is an issue. You'll take the complaints when they arise. It doesn't mean that you'll control every moment, but instead that you will set the tone for the class. You are a safety valve for the group. Students won't feel comfortable if you give up this responsibility. Sometimes I see new teachers give up too much leadership and ask the students too many questions: Do you want to begin? Should we warm-up? Do you want to do it again? How are your legs feeling?  Some questions are great, but students also want to see that you have planned class and that you are watching them. 

respecting the community

Think of yourself as an invited guest. You are present, with your ideas and knowledge. Even if a group of students have come to you--approach the class as if you are a guest in someone's home. There is so much to learn from students, about their lives, their movement qualities, and their stories. This learning emerges over time. 

toolkit

Going forward we'll look at specific exercises and skills to add to your teaching repertoire. 

Getting-to-know-you toolkit:

  • Learning Names  

  • Low-Stakes Example: The Name Game

  • Bird-by-bird philosophy

names

Using names is an important way to build connection and community. You don’t have to learn them immediately  if learning names isn’t your strong suit, but you should use them.  Have students wear name-tags for a few classes or always. If you have a different group each time, invest in some sticky name tags and sharpies and just make it normal that students arrive, stick on their name-tag and get to class. If students struggle with writing, maybe you pre-print these or you write them as another learning tool. If you really struggle with a few names in the class, at the end of the first day, ask each student to say his or her name and favorite food/color/place in the word/etc into your phone mic and record them to listen back. Another sneaky skill is do to name based exercises throughout the class. In addition to the name game you can have students do exercises where they tell a story or say their name while dancing, they can write their names in space, they can introduce each other or call out the names of others to pass on an improvisation. Knowing and saying someone’s name is a way of saying “I see you and you matter.” Think of it this way, which sounds better: “Nice work Veronika.” Or “Hey you, good job.” Or, the worst, [Shoot, I can’t remember his name so I won’t say anything]

low-Stakes

Everyone has something to share. As you get to know students, think of low-stakes opportunities for them to share their light and, as Brene Brown says, “step into the rink.” By low-stakes, I mean brief, low-risk, fleeting opportunities to share.  One great example that most community dance educators use is the Name Game. Like the Values Sort we did last week, the Name Game always works and never gets old. 

I generally teach it in a circle, here's an excerpt from the Moving Mentoring curriculum I wrote:

Ask the dancers to form a circle with Dance Mentors mixed in with Young Dancers. Introduce the idea that any movement, done with intent, can be a dance movement. Demonstrate a shrug, or a hand smacking your forehead, or one step in space, or standing still and smiling.

 

“Lets start by going around the circle. We will each say our name

and do a short action or gesture movement that goes with our name. Remember, I just showed you that any movement can be a dance move, so just do whatever comes to your body."

 

Show a few examples by saying your name and doing a range of funny and accessible movements while saying your name loudly and clearly. Try and avoid sexy poses as you demonstrate, as we'll be working to get the girls to move away from a singular definition of body presentation, but at the same time, don't correct them if that's what comes up. They'll start with what they know.

 

"We will learn each person’s name and action together. We’ll use Echo, in that each person will say and do their name and action, then the group will Echo back. We’ll also do an Accumulation which means that we’ll go back to the beginning each time, and add on the next person’s dancing name as we go around the circle.”

 

Do a few dancers at a time and every few dancers go back to the beginning and do the whole sequence. Once you have done the whole group, try a variation:

-mix up the group to a new order and go around the circle again

-divide into groups of 4-6 and have the dancers make a sequence using their name movements

-have 2 dancers at a time enter the circle, say hello, and each say their names with their movements

-add a second sharing and movement, favorite food, hometown, etc. 

There are many examples of the name game and many variations. Play with what works for you. 

bird by bird

One of my favorite books is Anne Lamont’s Bird by Bird: Some instructions on writing and life. The title comes from her story of procrastinating on a school project about birds then getting totally overwhelmed at the last minute and her father telling her to take it “bird by bird.”  Step by step. Inch by inch. And little by little you’re there (yes, I have little kids).  

I love watching new teachers teach and so much of what they do I can relate to, because I remember having so very much to say and share and just wanting to dump it on students all at once. The history of dance, the importance of dance, how our culture devalues movement, how anything can be dance, and on and on.

But you are telling does not equal them knowing. The knowledge in dance comes from the dancing. And you learn from students by watching them. So get to know them with short exercises, where they get to try things out, and you closely watch to learn what seems to make sense for their bodies. Trust the processes of the dance studio: Warm-up. Try new things. Put things together.  

discussion

  1. What exercises do you see repeated by many teachers--and what do you think makes those exercises work so well?

  2. Discuss the difference between a class with a lot of low-stakes challenges, a class with a few high-stakes challenges, and an easy class? 

homework

  1.  Using the bird-by-bird idea, identify a dance principle or lineage you are passionate about in dance and break it down into five parts. Think about a specific population.  Diagram these into a five class sequence and outline how you'd build all five elements into a cohesive piece by the last class. You don't have to create the exercises. Instead, make a general outline.  Here's an example to show you how short each week can be:

    1. Dance Lineage: African Aesthetic in Contemporary Dance for middle schoolers

      1. Elements: 

        1. History & Poly-rhythm: Show map of African Diaspora and Slave Trade, Have all students write 3 things they know about dance and music during slavery and 3 things they know about Black dance traditions (collect those). Teach a class they are used to, but incorporate complex and polyrhythms in each exercise. 

        2. Cultural  & Ephebism: Teach the concept of youthfulness & vitality through fast fun movement sequences, use circles for most of the class.

        3. Aesthetic of the Cool & musical examples: Play a selection of jazz music during class. In center combination, discuss the Aesthetic of the Cool and have the students perform the combination serious and straight and then again with a cool body attitude. 

        4. Poly-centrism, Katherine Dunham: Show a short video of Katherine Dunham. Discuss her role as an artist scholar. Incorporate previous classes, using circle structures, encouraging a cool attitude, and pull in both poly-rhythm and poly-centrism. 

        5.  High-affect juxtaposition: Put all the previous weeks together into a long-phrase with all the elements from weeks past. Introduce high-affect juxtaposition and have students insert contrast moments into their dance. 

 

Classroom Climate

 
tumbleweed.png

Imagine a class where everyone is working hard, the energy of the room pulses, and achievement hangs in the air. I’d guess it’s a major reason why we all dance—those good classes that are so good they are almost transcendent. You finish class filled with gratitude, drive, and connection, primed for success for the rest of your day. 

These classes aren’t accidents; they are a result of motivational teaching, thoughtful planning, and an intentional classroom climate. 

The saying goes:

tone is top down. 

As the teacher in any given situation, you may be the top decision maker, or you may be somewhere in the chain of command. But wherever you are, creating the climate for your classroom is your responsibility. 

classroom climate

Since the 1980s, the term climate, or sometimes environment or atmosphere, has been used to evaluate the experience of students on a campus or in a classroom. The term often comes up when considering the experience of underrepresented students on a campus: the experience of first-generation college students, or students of color, or women. There is a lot of reading you can do if you are interested, but I’ll cut to the chase when it comes to how a teacher can foster a productive, inclusive classroom climate. 

  1. Interrogate your materials and examples.

  2. Set clear expectations

  3. Have respectful interaction (Source link)

When working in a community setting, the climate is particularly important because there can be more variation in the setting, group, experience levels, and content. Creating a positive climate enhances student learning across the board and in a community setting, you may be working to set the climate in each class. 

Wait, why the snowflake image? Think of it this way, the snowflake is both cold and cozy. Being in snow without winter gear is awful and dangerous but  romping in boots, snow pants, a parka and a hat—is joyful. Think of the snow gear as the scaffolding you provide your students: clear expectations, clear content, clear procedures. 

Stereotype threat

One contributor to student performance is the generally unseen element of climate, the psychological phenomenon stereotype threat.  The term coined by social psychologist Claude Steele demonstrates how internalized stereotypes of groups affect individuals. Basically, deep in your brain, you know the stereotypes others have of you in a given situation and those affect your performance. I highly recommend Whistling Vivaldi for all dance teachers. 

How many of you have accomplished something while teaching, that you can't do as a student? Demonstrating a triple pirouette or flying across the room when showing students how to take up space? 

That’s a positive example of stereotype threat. You've internalized your position as the teacher and it impacts your performance. 

But there are lots of negative ones. Some of the most famous from Steele's body of work is the outcomes on test performance when students are subtly reminded of stereotypes before taking a standardized math or verbal test. But there are physical studies too, including golf putting. 

The point is, the expectations you and society have of your students affect their performance.  The good news is you can create a group culture explicitly. You say “This is how we do things here” by modeling strong behaviors and expecting your students to too. 

The week I was writing this, I experienced unintentionally hostile classroom climate. I took a yoga class and at the start the teacher said “There’s no right or wrong today. Just do what your body needs.”  Not halfway through the first sun salutation, the teacher says: “What in the world are you doing?” then minutes later “You all have your butts sticking out” then “I am seeing all sorts of wrong arms.” Now, I am a pretty experienced yoga student, but even I had this hot wash of shame worrying that I was doing something wrong.  The room stiffened, everyone started looking around more, comparing themselves to others to try and be right. We didn’t know what to expect. She was not having a very self aware teaching day. but  it’s a great example of climate because the room stiffened.

In order not to tense up our classrooms, let's look more closely at the three principles listed above. 

Interrogate your materials

Check your movement materials and your music selections.  Take a look at what you are leaving out. Look at the race, class, and gender of your examples. Consider the genres of dance you present. You always have a balance between being authentic and teaching what you know and being inclusive of parts of dance history and dance. You might think, oh, in a studio class I don't really have materials. But you do: Think about your music, what videos you show, what repertory you teach, even what movement content you include. 

Set expectations

Brains love control. I'm reading a great book called The Influential Mind in it, the author Tali Sharot discusses the importance of feeling in control even when that control is crafted by a system.  You can help your students feel a sense of control in your classroom by creating expectations together and keeping them posted on a wall. You can also build choice into your class structure: "Anyone who wants to can dance this one more time. Others, come be the audience."  

Have respectful interactions

I'm pretty confident that you plan to be respectful of your students. I know you know the basics: Old people don't like baby talk, Teenagers don't like when you try and fit in with them, and English-language learners don't like extra loud speaking. But one area that I see teachers be accidentally or incidentally disrespectful is with others outside of the space, whether it's badmouthing other teachers, the space you are in, others in a non-profit, or even the parents of your students.  I'm not saying you should never vent--but vent to your peers off site/off hours, never to your students. 

Learn to feel the space

One skill you will develop is the ability to feel the space. It’s a talent and it takes time—so don’t worry if at first you look at your students faces and have no idea if they are having fun or are hating you from the depth of their souls. Take note of how willing students are to participate. 

Try things out: If you start with an improvisation and unlike last week, students seem tentative and meek, switch to a set pattern and see if you get a better response. 

Just ask: If you ask a question and everyone glances nervously at each other instead of responding to you, say “Is there something I should know?”

Take a body poll: If you sense that everyone is wiped out, move the students into a stretch and then say: “If you need more energy to push through the next 15 minutes, roll to your back, if you want more calm, roll into child’s pose. 

sample climates

There are many types of climates, I’ve brainstormed a few. You’ll see that some of the climate markers are verbal and some are behavioral. 

Ways to create a warm climate:

  • Greet students by name

  • State a theme for the class

  • Teach material you know the students can master

  • Compliment each student at one point in the class

Ways to create a light climate: 

  • Crack a joke about the weather

  • Use popular music

  • Quickly transition from exercise to exercise

Ways to create a purposeful climate:

  • Talk excitedly about the topic of class

  • Repeat exercises with another layer of information for each round

  • Follow up on corrections, letting students know what they have improved and what they still could improve.

 

Ways to create a toxic climate

  • Arrive late

  • Look at the students like they are irritating you

  • Check your phone

  • Be unprepared

  • Make a joke about what a student is wearing

  • Give an exercise that is too hard for the students

  • Use a student as an example of what not to do

discussion

Talk about two teachers who are both fantastic but whose classes differ greatly. What are the differences? What are the things they do that are similar?

 

Moving and Talking

 
dialogue.png

Teaching is dialogue, but dialogue in dance is not limited to just reading, or speaking and listening. We often do not talk.  We understand meaning through kinesthesia.  We communicate by sharing weight, eye contact, rhythms, and movements.  We do not feel like we “really know” a fellow dancer until we have danced together.  We watch each other.  We cradle each other’s heads, gently caregiving, providing physical support.  As teachers, we are constantly modeling modes of engagement. It doesn’t mean you will (or even could) be fully engaged at every moment. Certain days, your body will drag. Sometimes your students will notice, sometimes they won’t. 

But every class: Your dancing body teaches. Even the most limited mobility old dance teachers, sitting there on a stool, are waving their sticks around to help their dancers to see and feel the movement. So if you need to wave a stick, wave a stick!

But if your body still moves, keep moving throughout your classes. 

move your body

When you teach, you use your body. Your body becomes a site of knowledge and how you mobilize this knowledge is a choice you will make. Your choices will vary throughout a class: sometimes you'll demonstrate a clear outline of a phrase, sometimes an example of an improvisation, sometimes the spirit of risk-taking.   Learn to trust this knowledge and experiment with the physicality of instruction. Different from the physicality of performance, the teaching body is a tour guide--not the sculpture on display.  Sometimes dance teachers feel they need to demonstrate their expertise by verbally explaining the theory and background of each exercise. Trust the movement. Get moving.  Your words will frame the class, but after all, your students came to dance. 

Here’s a pattern I see when I watch teachers. It’s familiar to watch because I’ve been this teacher: 

  1. Teacher has idea. 

  2. Teacher demonstrates.

  3. Teacher talks about idea.

  4. Teacher talks more about idea and students think about lunch.

  5. Teacher tells students to dance.

  6. Students don’t dance the idea. 

  7. Teacher stops and starts talking again. 

This is boring. Preprofessional dancers can train themselves to pay attention or move and mark along the way. But when teaching in a community center you are teaching dancing, not teaching attention spans. To get, and keep, your students moving, try this. 

  1. Demonstrate something.

  2. Do it as a whole group.

  3. Do it in small groups—with you dancing with each group.

  4. Have them dance it without you. 

  5. Watch carefully and think about the main point you want to get across. 

  6. Say that succinctly.

  7. Have the dancers dance again. 

do talk! 

As a dancer, you know that we talk about what we do.  We ask questions.  We articulate movement qualities and images.  We use words to describe what we have seen and to suggest something different.  We use language to process our experiences.  We verbalize emotional resonance.  We complain. 

In speaking with our students, we are engaged in two levels of dialogue: instantaneous dialogues (the words that are spoken) and the transcendent dialogues (the dialogues of lineage, culture, and philosophy that reside within our experiences and practices).  Dialogues contain not only the polyphony of culture, experience, education, and emotional state but also the residue of prior actions.  

When we talk after dancing, our dancing reverberates; when we dance after talking our words resonate. In the studio, there is a constant interplay between the physical and the verbal. That is both a rich opportunity and a responsibility to approach language in teaching with critical care. 

 

balance

The struggle with demonstrating is that if you do it too much, your students rely on watching you instead of learning sequences. But if you don’t do it enough, you miss the physical transmission so key to learning dance.  To find the right balance, look for what the students need to learn. If the movement is in Shape or Space, they need to discover without you. If it’s about Effort (particularly Weight or Time) or Body they likely need to feel you with them. 

Try teaching a toddler to skip (Weight and Time oriented) without skipping or singing. You can explain yourself into a headache, but she won’t get it. Now sing and skip around the room with her and you’ll get her skipping (eventually).  Same with adults. You can’t just explain how to locomote.

Try teaching a toddler to move from High Space to Low Space. Ask him to touch the sky like a kite and crumble to the floor into a ball (Shape and Space oriented). No problem. You can stand still in the center of the room and call these instructions out. 

In your teaching your dancing and your embodied voice will create opportunities for your students to experience movement competence and confidence. They won't try and dance like you, but they'll dance with you. 

discussion questions

  1. Discuss how your teachers use dialogue in the classroom. What works for you as a learner? How do different teachers use dialogue in different ways.

  2. Discuss your challenges in speaking and moving? 

homework

  1. Generate two exercises: one that requires minimal verbal explanation and has a simple pattern that the students can learn and then dance, and one that requires no demonstration but that you can talk the students through. 

  2. Keep them simple and use them in  your classes this week. 

 

Class Planning

 

get up

Please dance to plan your class. Your body is the means and the medium of transmission. I feel really strongly that you owe it to your students to have the material deeply in your body when you enter the classroom. I am 100% sure that once you are in the studio, you'll begin improvising but please arrive with a plan that was created with your dancing body. 

Think about it this way. Imagine you are a fly on the wall. Or maybe a fly in an air vent between two dance studios. As you peek from air register to air register you see two scenes. Two teachers blank out on their lesson plans.

In the first studio a teacher goes over to her notes, and spends 3 minutes leaning over her notebook, reading them. The students watch her for a moment then start talking amongst themselves.

In the next studio another teacher has forgotten his combination. He says to the class "hang on a second, I need to put the music on and figure this out." It takes him 5 minutes to remember the steps--first he marks them, then he restarts the music and dances the section, then while dancing, he shouts out, "oh, BACK around!" 

During all this, what are the students doing?

Okay, yes--a few have gone over to their dance bags to check their phones. Stupid, addictive phones. 

But wait, the rest of the students are watching him, sensing his weight, trying to learn along with him, marking, or closely observing. 

I'm not saying you shouldn't take notes or sketch your class but when you blank out on something while teaching, I want you to show the students that the base of your knowledge is in your body. You figure it out through movement and that teaches the students that they, too, can figure out dancing through the movement. 

class structures

There are many ways to plan a class, let's take a look at four. 

  1. Sectional

  2. Conceptual

  3. Reverse Engineered

  4. Compositional

sectional classes

A sectional approach follows a repeating sequence. In each class, the students do each section though the movement content might vary. The teacher might loosely carry a theme through all the exercises, but the order and focus of each section remains consistent.  This consistency acts as a scaffolding for students. They know what to expect and come to know the names and emphases of the sections.

Broad:

  • Warm-up

  • Isolations

  • Traveling

  • Phrase

Curriculum specific:

  • Loosen-Up

  • Focus & Balance

  • Articulations

  • Traveling

  • Phrasework

Spatial:

  • Circle time

  • Free dancing

  • Group formation

  • Line dance

Ballet:

  • Plies,

  • Tendus from 1st,

  • Tendu from 5th

  • Degage

  • Etc.

Using a sectional format can mean using a format that you have learned--for instance ballet or the Moving Mentoring structure, or you may design your own. To make your own sectional class, think about what your group will always need. For instance, if you are working with Senior Citizens with balance issues, perhaps you always start seated in chairs, then you stand behind the chairs using them on occasion, then you move in a circle around the chairs, then you work in partners to end.  Or if you are working with rambunctious preschoolers, maybe you start standing on landing dots, then have wild time, then have a  focused skill, then a seated circle. 

I recommend that you name your sections. It will help you and your students remember the order of the class and the point of the sections. 

conceptual classes

In a conceptual class, you create the whole class out of an idea. These classes can either follow a sectional pattern or are often done artfully through longer improvisation structures.  To work this way, pick a movement principle and build the class around that concept. Each exercise can address the principle in a different way, incorporating exploration and skill building and arriving at a movement phrase that explore many different facets of the skill. For instance, let's say you are working with a group of teenagers and one class you want to explore movement pathways and the next class you want them to understand how to drop their Weight. 

Weight:

  • Jog through room shouting out levels of complication to get the students tired and shifting weight.

  • A partner exercise with tossing, swinging, arms

  • A traveling exercise with jogging, under-curves, tossing arms, and directional changes.

  • A small jump with changing time, chugs, syncopations, and accents.

Movement Pathways

  • Introducing Door plane, Wheel plane, Table Plane with a simple learned movement pattern that moves in each.

  • An individual improvisation spoking, arcing, and carving

  • Have students create walking pathways that repeat with a change through the space

  • Partner students and have them do arm or leg pathways that involve avoiding or obstructing one another.

 

I just made those up, but the point is that the sequence might not be predictable. It might build as a nice, long improvisation. The partnering exercise might happen at a different time. The warm up one day might be set, the next day it might be improvised. But the whole class will make sense to the students because you will introduce the theme from the start. 

backfill/reverse engineer

A similar effect happens with classes built conceptually when you reverse engineer.  Here, however, you take a specific physical skill or set of skills you want to teach. Say, the ball change. Or a slice of repertory. You then break down the final phrase and skill in so many different ways and make those into different warm up exercise. 

  1. Create your final phrase.

  2. Ask yourself what will be hard for your students. List 3-4 skills.

  3. Ask yourself what is most important to you. List 1-2 qualities.

  4. Take those identified skills and qualities and weave them into your warm-up exercises.

This is how I was first trained to teach. It’s a really beautiful and effective practice. However, it’s really time-consuming and it works best when you are in a situation where you’ll teach a similar arc over the years. So if you’ll be teaching Modern 2 for several years, with a new group of students each year, you can create some reverse-engineered classes and teach them year after year. It's also a great way to structure a master class that you might teach in 8 different contexts over a year. With a well crafted reverse engineered class, by the phrase you can say "There's nothing in this long phrase that you haven't done before." And that gives students a great confidence boost. 

While great, if you are teaching in a community setting and your gigs and communities are constantly changing, this might be more prep time than you have available. And, for students it can be less predictable. If your students are less comfortable with dance, they will likely love a class where they know what's coming next. 

compositional classes

Lastly, we have dance classes where the aim is a collaborative composition. Here, you need to warm the students up, keep them moving, and use exercises that prompt them to collaboratively choreograph. With each exercise, create something that can be, with a few tweaks, put into a dance piece. 

I love teaching this way. It's fun. Students feel like they have made something. I get some creative process time. All good. It can be used over a period of classes, like a 6-week session, or all in one class. 

When creating this way, I like to think of the parts of a dance as building blocks. Is it the same as my creative process with professional dancers: Nope. It's more formulaic; I keep stuff even if I don't love it; and I repeat things dance to dance. But the point isn't my creative genius. (Plus, luckily for all, I know I'm not a creative genius). 

So, I have a working list of things that work with different age groups. For instance, here are some of my building blocks for a 4th & 5th grade after-school dance:

  • Pass across the room high space, medium space, low space

  • Circle phrases

  • Duets with positive and negative space

  • Movement phrase all can do in unison

  • Movement phrases A and B that can be done simulataneously

  • Mirroring

  • Weight Sharing

  • Action Verb series

  • Interview stories

Students can generate these and I can mix and re-mix these and...art. 

which one?

You'll likely find that you like one of these planning mechanisms, but that over time you find certain methods effective in certain situations. AND you'll start smashing them together creating your own planning style. Try them out. With your body. Because you are a dancer. 

And wait, are you wondering why this post has a grocery bag as an illustration? Because planning class is like feeding your family. You'll get great ingredients. Try things. Make something new. Discover something that pleases everyone. And then go back to the store because your family still wants more meals! It never ends. Make class planning fun. And send me your easy dinner ideas. 

discussion

  1. Discuss some effective teachers you have had. How do their class structures connect to the four methods listed?

  2. What other ways are there to plan a class?