CERTIFICATE IV IN CUA40313 DANCE - 4Life Collegedancecollege.com.au/wp-content/uploads/2016/04/CIV... · CERTIFICATE IV IN CUA40313 TEACHING DANCE Certificate IV in Dance Teaching

DANCET E A C H I N G

C E R T I F I C A T E I V I N CUA40313

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USING THIS

LEARNING GUIDE

LEARNING ACTIVITY

Throughout this learning guide there are recommended tasks to help you learn a par cular topic. These tasks are iden fied by the icons listed below. Note these tasks are not mandatory and do not form part of any formal assessment.

However as a learner you will find comple ng each ac vity will help you learn and master a concept.

This type of task involves you comple ng a wri en assignment or challenge.

EXPLORE This type of task involves you undertaking research online to find more examples or greater details of a topic.

WEBSITE This type of task involves you undertaking research online to find more examples or greater details of a topic.

THINK This type of task involves you thinking about or further analyzing a point that has been made.

CONTENTS Key Information 5

About This Module 5

Additional Resources 6

PART 1 About Learning and Teaching 9

Learning Activity 01: Learning and Teaching 9

1.1 Learning Theories 11

Learning Activity 02: Prominent Theorists in History 11

1.2 Individual learning preferences 13

Learning Activity 03: Looking at Learning Preferences 13

Learning Activity 04: VAK Learning Styles Test 15

1.3 21st Century Learning – the Knowledge Age 18

1.4 Teaching Dance in the 21st Century 18

Learning Activity 05: My Favourite Dance Teacher 19

PART 2 Teaching Movement and Dance 20

2.1 You - The Dance Teacher 21

Learning Activity 06: Your Skills and Knowledge 23

2.2 Communication 23

Learning Activity 07: Barriers to Communication 25

2.3 Professional Responsibilities 29

Learning Activity 08: Workplace Health and Safety in the Dance Studio 31

32

Learning Activity 09: AGDT and Code of ethics 33

2.4 RESPONSIBILITIES associated with planning and delivering classes 34

Learning Activity 10: Time Management Strategies 35

Code of Ethics for Dance Teachers Factsheet #1

PART 3 Learners and the PSYCHOLOGICAL Learning Environment 36

Learning Activity 11: Characteristics of Different Age Groups 37

Learning Activity 12: Exploring Motivation 38

3.2 Positive Learning Environment 41

Learning Activity 13: Expected Behaviour in the Classroom 43

Learning Activity 14: Problem Behaviour 44

Learning Activity 15: Strategies for Managing Student Behaviour 45

3.3 Learner Needs 46

Learning Activity 16: Providing Learner Support 47

3.4 Transfer of Learning 47

PART 4 Supporting Safe Movement and Dance Practice 48

4.1 Physical Environment 49

Learning Activity 17: Pre-Class Checklist Example 50

4.2 Safe Dance Teaching Practices 51

Learning Activity 18: Dance-Related Injuries 53

Learning Activity 19: Applied Alignment 56

Learning Activity 20: Your Personal Warm Up – Part A 57

Learning Activity 21: Your Personal Warm Up – Part B 61

Learning Activity 22: Dance clothing 63

PART 5 Planning Classes and Programs 64

5.1 Dance Analysis 65

Learning Activity 23: History of Dance Styles 70

Learning Activity 24: Links Between Dance Styles 71

5.2 Progressive Development 75

5.3 Setting Learning Goals and Objectives 76

Learning Activity 25: Learning Goals for Dance Students 78

5.4 Writing your Course Plan 79

Learning Activity 26: Creating a Course Outline 80

5.5 Planning Objectives 81

Learning Activity 27: Planning Checklists 84

Learning Activity 28: Contingencies 85

87

Learning Activity 29: Creating and Recording an Exercise 90

5.7 Music 90

Learning Activity 30: Choosing music for Exercises 92

5.8 Your Role in Planning 94

Learning Activity 31: Planning Considerations 95

PART 6 The Theory of Teaching 96

6.1 Teaching Methods 97

Learning Activity 32: Choosing a Teaching Approach 98

Learning Activity 33: My Preferred Teaching Style 99

6.2 Principles of Instruction 100

Learning Activity 34: Applying Fundamental Principles of Instruction 102

6.3 Age Appropriate Instruction 103

Learning Activity 35: Teaching Different Age Groups 105

5.6 Creating Exercises and Amalgamations

PART 7 The Practice of Teaching 106

Learning Activity 36: My Favourite Dance Teacher 107

7.1 Strategies for Better Dance Teaching 108

Learning Activity 37: Using Strategies 110

7.2 Constraints and Risks to Deliver 111

Learning Activity 38: Risk Review 113

113

Learning Activity 39: Demonstration 115

7.4 Feedback for Students 116

7.5 Assessment of Learning 118

Learning Activity 40: Assessment Through Observation 121

PART 8 Composition 122

8.1 Preparing for Composition 123

8.2 Planning and Recording the Creative Process 124

Learning Activity 41: Choreographic Timeline 126

Learning Activity 42: Rehearsal Policy 127

8.3 Create Works 128

8.4 Perform Works 130

8.5 Evaluate the Process 131

PART 9 Continuous Improvement and Professional Development 132

9.1 Review and Self-Evaluation 133

Learning Activity 43: Writing a Self Evaluation 133

9.2 Seeking Feedback From Others 134

9.3 Ongoing Professional Development 135

7.3 YOUR OWN TEACHING PRACTICE

KEY INFORMATION

ABOUT THIS MODULE This module aims to prepare dance teachers to work in dance schools or studios, and in recrea onal dance and movement environments. Dance is an art form which combines ar s c expression with physical movement techniques, musicality, mental acuity and memory, and discipline. An understanding of anatomy, human development, history, and music at the relevant level are fundamental. The role of the dance teacher is to combine all of these aspects in balanced learning sessions and programs, to give effec ve instruc on to a range of target groups, and to demonstrate and teach effec vely. Par cipants in this module will learn to ‐

prepare session plans and programs suitable for a range of target groups

establish an effec ve learning environment

use safe and effec ve dance and movement teaching methods

incorporate safe dance prac ce into the teaching of basic techniques in any dance style

plan, compose and stage short dance pieces in chosen dance styles for dance school produc ons or other non‐

professional contexts

At this level, teachers and instructor usually work without supervision. They may be delivering lessons based on a specific syllabus, learning program, or set of teaching resources prepared by others. Alterna vely, they may be devising and conduc ng classes which are not based on a par cular syllabus or learning program.

Additional Resources ANATOMY, PHYSIOLOGY AND HUMAN DEVELOPMENT

ALIGNMENT AND COMMON POSTURAL TYPES

Uptown Physical Therapy, Spotlight: Assessing Posture h p://www.uptowntherapy.com/newsle ers/Assessing‐Posture.pdf

Idea Health and Fitness Associa on, The Perils of

Poor Posture, Kenneth Fowler and Len Kravitz,

PhD, posted Mar 10, 2011

h p://www.ideafit.com/fitness‐library/the‐perils‐of‐poor‐posture

HUMAN ANATOMY AND PHYSIOLOGY

Anatomy and Physiology, Algonquin College h p://lyceum.algonquincollege.com/lts/onlineCourses/anatomy

B A S I C H U M A N A N A T O M Y , A Regional Study of Human Structure Ronan O'Rahilly, M.D. Fabiola Müller, Dr. rer. nat. Stanley Carpenter, Ph.D. Rand Swenson, D.C., M.D., Ph.D. Online version developed at: D A R T M O U T H M E D I C A L S C H O O L

h ps://www.dartmouth.edu/~humananatomy/ Inner Body Anatomy Explorer h p://www.innerbody.com HUMAN DEVELOPMENT

Annenberg Learner: Life Span Development h p://www.learner.org/series/discoveringpsychology/development/dev_nonflash.html

The Study of Human Development h p://highered.mheduca on.com/sites/0072820306/student_view0/chapter1/index.html

IADMS Educa on Commi ee, Resource Paper: The

Challenge of the Adolescent Dancer

h ps://www.iadms.org/general/custom.asp?

page=1

COMMUNICATION Communica ng with Children; Principles and Prac ces to Nurture, Inspire, Excite,Educate and Heal, Barbara Kolucki, MA Dafna Lemish, PhD © United Na ons Children’s Fund (UNICEF) November 2011 ISBN: 978‐0‐578‐09512‐7 h p://www.unicef.org/cwc/files/CwC_Web.pdf Discussion

Literature Circles Resources Centre, Teaching Students How to Discuss, Adapted from Chapter 5 Ge ng Started with Literature Circles, Katherine L. Schlick Noe and Nancy J. Johnson , ©1999 Christopher‐Gordon Publishers, Inc. h p://www.litcircles.org/Discussion/teaching.html

Ques oning

Changing Minds, Ques oning, h p://changingminds.org/techniques/ques oning/ques oning.htm COMPLIANCE APRA/AMCOS Music in your business

h p://apraamcos.com.au

Australian Guidelines for Teaching Dance

h p://ausdance.org.au/publica ons/details/australian‐guidelines‐for‐dance‐teacher Code of ethics for dance teachers

h p://ausdance.org.au/ar cles/details/code‐of‐ethics‐for‐dance‐teacher Australian Human Rights Commission, A quick guide to Australian discrimina on laws

h ps://www.humanrights.gov.au/employers/good‐prac ce‐good‐business‐factsheets/quick‐guide‐australian‐discrimina on‐laws

Safe Work Australia

h p://www.safeworkaustralia.gov.au/sites/SWA

DANCE SUPPORT ORGANISATIONS Ausdance h p://ausdance.org.au

UNITY of America’s Dance Organiza ons, Inc. www.unitydance.org

Additional Resources DANCE TERMINOLOGY Glossary of Dance Terminology, compiled by the Prac ce Commi ee Performing Arts Special Interest Group Orthopaedic Sec on, APTA, 1998 h ps://www.orthopt.org/downloads/PAglossary.pdf

Dancing Terms and Dance Defini ons h p://www.centralhome.com/ballroomcountry/dance_terms.htm

SAFE DANCE, HEALTH AND SAFETY Dance injuries, causes and treatments Harkness Center for Dance Injuries h p://hjd.med.nyu.edu/harkness/pa ents/common‐dance‐injuries. DanceTeacher magazine, 10 Common Dance Injuries, Nancy Wozny, posted August 12, 2010 h p://www.dance‐teacher.com/2010/08/10‐common‐dance‐injuries

Stretching and strengthening Damian Howell Physical Therapy, Should you stretch first or strengthen first h p://www.damienhowellpt.com/pdf/stretch%20strengthen%20sequence.pdf

About Health, What is Normal Range of Mo on? Elizabeth Quinn, Sports medicine expert, updated December 16, 2014 h p://sportsmedicine.about.com/od/glossary/g/Normal‐ROM.htm Dance Aotearoa New Zealand, Stretching – a vital part of dancers training and prac ce, Tania Huddart for DANZ ©. www.danz.org.nz/Magazines/DQ/April2012/stretching.php 10 Common Dance Injuries Posted on August 12, 2010 by Nancy Wozny

h p://www.dance‐teacher.com/2010/08/10‐common‐dance‐injuries

THE FACTS ABOUT SPRUNG FLOORS FOR DANCE Harelquin Floors Whitepaper h p://www.harlequinfloors.com/us/en/files/pdf/whitepaper.pdf

Occupa onal Health and Safety

Safe Work Australia,

h p://www.safeworkaustralia.gov.au/sites/SWA

WorkSafe Victoria, www.worksafe.vic.gov.au TEACHING AND LEARNING Felder‐Silverman learning style model h p://www4.ncsu.edu/unity/lockers/users/f/felder/public/Learning_Styles.html

Honey and Mumford learning style model h p://www.nwlink.com/~donclark/hrd/styles/honey_mumford.html

Managing Student Behaviour Centre for Professional Learning, Managing Student Behaviour, Helen McMahon A achment 1: Ten strategies for dealing with problem behaviours A achment 2: Dealing with confronta on A achment 3: Twenty key points for preven ng a situa on from escala ng h p://cpl.asn.au/journal/semester‐1‐2015/managing‐student‐behaviour Mind Tools Essen al skills for an excellent career www.mindtools.com/toolkit

Spectrum Ins tute for Teaching and Learning www.spectrumo eachingstyles.org

Teaching Dance: The Spectrum of Styles, Elizabeth Gibbons, AuthorHouse (July 25, 2007). ISBN‐10: 1434312062, ISBN‐13: 978‐1434312068

TEACH Make a difference (USA) The Why, Who, What, Where and How of teaching

www.teach.com

Additional Resources The Art of Teaching: Best Prac ces from a Mater Educator, Professor Patrick N Alli , Emory University, published by The Great Courses, Chan lly, Virginia, 2010 Teaching to the Whole Dancer Synthesizing Pedagogy, Anatomy, and Psychology Kathryn Daniels, M.A., Dance Department Chair, Cornish College of the Arts, Sea le, Washington, USA www.iadms.org/resource/resmgr/Public/Bull_1‐1_pp8‐10_Daniels.pdf Principles of instruc on First Principles of Instruc on, M. David Merrill h p://mdavidmerrill.com/Papers/firstprinciplesbymerrill.pdf

Instruc onal Design, Condi ons of Learning (Robert Gagne) h p://www.instruc onaldesign.org/theories/condi ons‐learning.html

Principles of instruc on by Barak Rosenshine, Interna onal Academy of Educa on h p://www.ibe.unesco.org/fileadmin/user_upload/Publica ons/Educa onal_Prac ces/EdPrac ces_21.pdf Learning theories Instruc onal Design.org, Learning Theories h p://www.instruc onaldesign.org/theories/index.html DISCLAIMER: These links were correct at the me of print. If any links are damaged, please search for them within the relevant website.

ABOUT LEARNING AND TEACHING

PART 1

10 WWW.DANCECOLLEGE.COM.AU

Part 1: About Learning and Teaching What is learning?

How does it occur?

What is teaching?

How do we know when someone has learned something?

How can we improve learning?

There are no simple answers to these ques ons, but many theories have been developed and applied over the centuries. Each of these theories has been influenced by the learning experiences of the theorists themselves, and they o en highlight par cular aspects of the learning process reflected in these individual experiences. Learning may be described as knowledge or skill gained through study or experience, and also refers to the act, process or experience of gaining knowledge or skill. The results of learning can be measured, and it leads to a change in behaviour. For example a young dance student may perform a jump to a pleasing height although body alignment in the air may be uncontrolled, whereas a dance student with some years of training should jump to the same height with good posture in the air, and a controlled take off and landing. Teaching is one of the essen al ac vi es of a civilised society, as every genera on passes on their accumulated learning, in both formal and informal se ngs. The con nua on of socie es depends on teaching and learning, with subsequent genera ons developing more complex and involved pathways and opportuni es. Teachers should be worthy of the responsibili es that are integral to their role and deserving of the trust of their students.

LEARNING ACTIVITY Think again about the five ques ons listed above, and write your thoughts about two of them in the table below.

1.

2.

WWW.DANCECOLLEGE.COM.AU 11

1.1 Learning Theories A theory is a view of the way something is done. It may be a set of ideas or concepts, allowing us showing how the concepts are interrelated. A theory a empts to explain facts, allowing us to understand experiences and make pre‐dic ons. Learning theories a empt to explain how informa on is taken in, processed and retained. Throughout history there have been many great teachers whose influences s ll persist in current learning theories and models. Some of the famous theorists from history include Socrates, Aristotle, John Amos Comenius, Johan Frie‐drich Herbart and John Dewey. This is a very small selec on from a very long list of thinkers and scholars whose work is valuable for study by all teachers and prac oners of pedagogy. We will look at some more recent theorists and their theories in later sec ons.

Do your own research and study a selec on of these theorists before comple ng the following Learning Ac vity –

EXPLORE An excellent list of theorists with links to informa on about their work may be found at: Instruc onal Design.org, Learning Theories. Explore the web for others. h p://www.instruc onaldesign.org/theories/index.html.

LEARNING ACTIVITY Select two theorists who came to prominence prior to the 20th Century. You may choose one or both from those listed above, remembering that there are many, many more of interest and importance. Name each theorist and list three key points to describe the theories and learning approach of each.

Theorist A

I)

II)

III)

Theroist B

I)

II)

III)


20TH CENTURY LEARNING THEORIES The scien fic study of learning became very important early in the 20th Century. Some of the major learning theories of this me included –

Behaviourism This theory focuses on observed behaviours, even to the extent of excluding the importance of mental process‐es . Learning is framed in terms of what someone is doing, not what they are thinking. Behaviour is seen en rely as a response to an external s mulus – reinforcement (posi ve reward) or punish‐ment. Response becomes stronger with repe on, for example a drill program. The concept of shaping in‐volves successively closer approxima ons of the desired behaviour. Changes in behaviour are measurable. Another key concept is’ chaining’, the joining together of simple behaviours which have already been rein‐forced into a more complex behaviours. The cues for guiding this more complex behaviour are then gradually withdrawn, by ‘fading’. The theory of behaviourism evolved in the late 19th Century, and became very strong in the early 20th Century. This theory emphasises memorisa on and responses to external s muli.

Cogni ve Psychology

This theory, also known as Cogni ve Informa on Processing (CIP), was developed in the late 1950s. This theo‐ry a empts to understand how informa on that is received by the senses is processed, stored and used. Individuals were regarded as informa on processors, probably influenced by the development of the comput‐er as an informa on processing tool. Complex mental processes disregarded by the behaviourists now be‐came important. Learning is acquired as informa on is received, absorbed, and stored in the short‐term then the long‐term memory for later retrieval. These processes were regarded as occurring in the mind in isola on, with no external interac on. Knowledge was considered as self‐sufficient and independent of external contexts. The preferred methods of instruc on are lecturing and reading, and the learner is o en a passive recipient. Focus on knowledge acqui-si on with teacher as knowledge transmi er.

Construc vism

This theory emerged in the 1970s, developed from earlier work by Jean Piaget, Jerome Bruner and others. Learners are not merely passive recipients of informa on, but ac vely interact with the environment and each individual uniquely constructs their own knowledge. Learners interpret informa on rather than simply record it, and there is no single reality for all. Learner- centred approach important. Shi of focus to knowledge construc on by the learner, with the teacher as a guide. Students are encouraged to use ac ve techniques – experiments and problem‐solving are good examples. The main role of the teacher is to encourage learning and the reflec on process. Stu‐dents learn how to learn.

Social construc vism

People learn within a social context. Cogni on and learning are understood to be interac ons between an individual and a situa on. Learning is facilitated through imita on, observa on and modelling. A social learning theory example is ‘reciprocal determinism’ developed by Albert Bandura, which hypothesises that behaviour, environment and personal quali es all influence the other equally. Posi ve role modelling is important to learning. The processes of observing others and modelling behav‐iour involve a en on, reten on, reproduc on and mo va on. Learning requires par cipa on and social nego a on by the learner.

Experien al learning Learning theories related to experien al learning focus on experience as the core of the learning process, and how these experiences mo vate learners and promote their learning. Meaningful everyday life experiences lead to changes in behaviour and knowledge. A leading theorist, Carl Rogers, suggested that learning occurs when students are fully involved in the learning process. He believes that learning can only be facilitated, not taught, and that learning occurs in an environment where the learner does not feel threatened. He also sug‐gests that learning is most effec ve when it is self-ini ated.

Mul ple intelligence

Howard Gardner explained his theory of mul ple intelligences in 1983, theorising that every person’s intelli‐

gence level is actually composed of several diverse intelligences, including logical‐mathema cal, linguis c,

spa al, musical, kinaesthe c, interpersonal and intrapersonal. The acknowledgement of mul ple intelligenc‐

es may be a means of achieving educa onal goals.

These are some of the main theories, but there are many more. They generally focus on or favour one aspect of the learning process. No single theory is likely to fully explain all aspects of learning. It is therefore a good idea to re‐search several theories and integrate the aspects which have personal meaning and applica on for you as a dance teacher, and of course it is always important to monitor current developments and new theories throughout your teaching career.

Each of us learns in different ways. Learning preferences, or styles, describe how we prefer to gather, sort, interpret, organise and store informa on. We learn best when new informa on is presented to us in our preferred style.


1.2 Individual Learning Preferences

LEARNING ACTIVITY 1. Think about the way you prefer to receive information and the strategies that help you to retain that information. Write down some notes about your preferences.

2. Do you friends or colleagues have the same preferences? What are some of the differences?


The VAK Learning Style Model There are dozens of models which categorise and explain different learning preferences. One of the models frequently used to assess a person’s preferred learning style is called VAK – referring to Visual, Auditory, and Kinaesthe c learning preferences. Another model, VARK, has an addi onal Read /write component. Visual Learners

Receive informa on best through their eyes

Prefer visual presenta on of informa on – such as diagrams, pictures, videos, demonstra ons

Like coloured diagrams, pictures, etc

Enjoy crea ng their own diagrams, flowcharts, pictures

O en use their hands when talking

Use phrases such as ‘let’s look at this’, ‘I never forget a face’ Strategies for teaching dance to visual learners –

Demonstrate movements

Mark out floor pa erns with props

Draw diagrams on a whiteboard

View video clips Auditory Learners

Receive informa on best by hearing things

Prefer to learn by listening and speaking

Enjoy opportuni es to discuss and explain in their own words

Use phrases such as ‘that rings a bell’, ‘in other words’4 Strategies for teaching dance to auditory learners – Talk through the movement or exercise

Give a descrip on of the elements of the movement or exercise

Ask students to describe and explain in their own words Kinaesthe c Learners

Receive informa on best by making physical contact.

Prefer to learn by doing – trial and error, role play

Like real life examples

Enjoy physical ac vity

May find it difficult to stay s ll

Generally the preferred learning style un l around eight years of age

Use phrases such as ‘that feels right’ Strategies for teaching dance to kinaesthe c learners – Encourage the students to ac vely follow your physical demonstra ons of movements an exercises It is common to use two or even all three of these styles of learning, and preferences may change over me. There are online tests which are fun to take, to see what your own preferences are. What is being learnt, the learning environment, and previous experience of the learners will affect which style of learning is most effec ve. When teaching dance and other movement skills, demonstra on is of course very im‐portant. Luckily, with prac ce, a style of learning can be improved, and students at a higher level of training are usu‐ally very good at grasping demonstrated combina ons.

Clear directions and explanations, and correct vocabulary are also important for effective movement learning. More advanced students usually become skilled in comprehending verbal instructions. For more complex work, the teacher may not be warmed up, or currently performing at that level, so verbal instruction becomes very important. When younger students have difficulty understanding what required, hands‐on correction can be very effective and give prompt feedback and improvement. In every class there may be students who prefer each of these learning styles. The dance teacher must balance the way content is presented to ensure that all learners may understand and participate fully. Preferred learning styles may also affect student behaviour. Varying the demonstration, explanation and feedback strategies in each class will help ensure effective communication with all students at least once during the class and increased comprehension and motivation.


LEARNING ACTIVITY Learning style models and testing are tools that can help you understand the preferences of your students, and it is fun to try some of these for yourself. For each of the questions below, put a tick in the box for the answer that best describes what you would think or do. There are no right or wrong answers, just your own preferences.

A B C

When opera ng new equipment for the first me I prefer to....

read the instruc ons listen to or ask for an explana on

have a go and learn by 'trial and error'

When seeking travel direc ons I...

look at a map ask for spoken direc ons

follow my nose or maybe use a compass

When cooking a new dish I..

follow a recipe call a friend for explana on

follow my ins nct, tas ng as I cook

To teach someone something I...

write instruc ons explain verbally demonstrate and let them have a go

I tend to say... "I see what you mean"

"I hear what you are saying"

"I know how you feel"

I tend to say... "show me" "tell me" "let me try"

I tend to say... "watch how I do it" "listen to me explain" "you have a go"

When complaining about faulty goods I tend to...

write a le er phone go back to the store, or send the faulty item to the head office

The leisure activities I prefer are... museums or galleries music or conversa on physical ac vi es or making things

When shopping I tend to... look and decide discuss with shop staff

try on, handle or test

When choosing a holiday I... read the brochures listen to recommenda ons

imagine the experience

VAK learning style indicators (This free self‐test ques onnaire and further informa on about the VAK model may be found at h p://www.businessballs.com/vaklearningstylestest.htm )

When choosing a new car I... read the reviews discuss with friends test‐drive what you fancy

When learning a new skill I... watch what the teacher is doing

talk through with the teacher exactly what I am supposed to do

like to give it a try and work it out as I go along by doing it

When choosing from a restaurant menu I...

imagine what the food will look like

talk through the op ons in my head

imagine what the food will taste like

When listening to a band I... sing along to the lyrics (in my head or out loud!)

listen to the lyrics and the beats

I move in me with the music

When concentra ng I.. focus on the words or pictures in front of me

discuss the problem and possible solu ons in my head

move around a lot, fiddle with pens and pencils and touch unrelated things

I remember things best by... wri ng notes or keeping printed details

saying them aloud or repea ng words and key points in my head

doing and prac sing the ac vity, or imagining it being done

My first memory is of... looking at something being spoken to doing something

When anxious, I.. visualise the worst‐case scenarios

talk over in my head what worries me most

can't sit s ll, fiddle and move around constantly

I feel especially connected to others because of...

how they look what they say to me how they make me feel

When I revise for an exam I... write lots of revision notes (using lots of colours!)

talk over my notes, to myself or to other people

imagine making the movement or crea ng the formula

When explaining something to someone, I tend to...

show them what I mean

explain to them in different ways un l they understand

encourage them to try and talk them through the idea as they try

My main interests are... photography or watching films or people‐watching

listening to music or listening to the radio or talking to friends

physical /sports ac vi es or fine wines, fine foods or dancing

Most of my free me is spent... watching television talking to friends doing physical ac vity or making things

When I first contact a new person...

I arrange a face to face mee ng

I talk to them on the telephone

I try to get together to share an ac vity

I first no ce how people... look and dress sound and speak stand and move

If I am very angry I... keep replaying in my mind what it is that has upset me

shout lots and tell people how I feel

stomp about, slam doors and throw things

I find it easiest to remember... faces names things I have done

I think I can tell someone is lying because...

they avoid looking at you

their voice changes the vibes I get from them

When I'm mee ng with an old friend...

I say "it's great to see you!"

I say "it's great to hear your voice!"

I give them a hug or a handshake

TOTAL A B C


Interpre ng your results If you chose mostly A’s, you prefer a VISUAL learning style. If you chose mostly B’s, your prefer an AUDITORY learning style. If you chose mostly C’s, you prefer a KINAESTHETIC learning style. Did you find that you some mes had difficulty choosing? This is quite common. Some people have very strong pref‐erences, with very li le cross‐over into the other styles, but many people are more evenly balanced between two or even all three styles. Human minds and personali es are highly complex, and these tests will never give defini ve answers, but they can be helpful in understanding your students and developing strategies to support your teaching. Other learning style models include ‐

Honey & Mumford’s composed of four learning styles – Ac vist, Pragma st, Theorist and Reflector

Felder Silverman’s composed of Sensory, Visual, Ac ve and Sequen al

Silver and Hanson’s composed of Sensing‐Thinking, Intui ve‐Thinking, Sensing‐Feeling, and Intui ve‐Feeling

Le Brain (Analy c) and Right Brain (Global) ‐ A successive processor (le brain) prefers to learn in a step‐by‐

step sequen al format, beginning with details leading to a conceptual understanding of a skill. A simultaneous

processor (right brain) prefers to learn beginning with the general concept and then going on to specifics.


EXPLORE There are many, many more models. For further informa on, try the following links, and then see what other models you can find. Or explore the web for other sources. h p://www.nwlink.com/~donclark/hrd/styles/honey_mumford.html h p://www4.ncsu.edu/unity/lockers/users/f/felder/public/Learning_Styles.html h p://www.mathpower.com/brain.htm h p://www4.ncsu.edu/unity/lockers/users/f/felder/public/ILSdir/styles.htm h p://educatoral.com/learning_styles.html


Knowledge and ideas have become more important economically than tangible resources. New kinds of work and new

business prac ces, requiring different skills have developed. Knowledge is not the property of individual experts, but

arises from collabora ons for specific purposes, and is constantly evolving. New kinds of workers, and new approaches

to learning in schools are also developing to meet the needs of the 21st Century.

Now, new informa on needs to be readily accessed, and rapid communica on is essen al. The ability to apply new

knowledge in a range of contexts is crucial, and change is constant.

This has significant implica on for educa on in schools, and a flow‐on effect for teaching dance. The ability to be adapt‐

able and crea ve, to understand the ‘big picture’ and one’s place in it, and to think independently, are all skills we

should be teaching our dance students that will be extremely useful in their general educa on.

Modern models for teaching include Problem‐based learning (PBL), Inquiry‐based learning, and Bloom’s taxonomy.

Many educa onal ins tu ons and organisa ons have their own models, which can be found by searching online, for

example, the e5 Instruc onal Model, Victorian State Government, Educa on and Training, www.educa on.vic.gov.au

These sources generally have a great deal of other useful informa on as well.

While current knowledge of current pedagogical developments is important so that dance teachers understand they way

their students are being taught in school and are accustomed to learning, they must also have a good understanding of

earlier learning theories in order to offer their students a holis c and effec ve movement learning program.

Pedagogy, the study of the theory and prac ce of educa on and being a teacher, was founded as an academic disci‐

pline by Johan Friedrich Herbart (1776 – 1841). He recognised the importance of psychology in educa on to facilitate

be er learning and character development.

There is no subs tute for a great teacher!

1.3 21st Century Learning The Knowledge Age

EXPLORE Explore the web for other instructional models.

1.4 Teaching dance in the 21st Century

Dance teachers must consider the whole person, and provide their students with suppor ng knowledge and under‐standing of the broad range of aspects required to meet current professional expecta ons. Trainee teachers must learn their subject material, and also the pedagogy appropriate for teaching that subject mate‐rial to others. Teachers of dance must learn about dance ‐ how to dance, the vocabulary relevant to their chosen style of dance, and the suppor ng knowledge including anatomy, music, history ‐ and also the theory of teaching, including learning styles, communica on, planning learning sessions and programs, teaching strategies and much more. Knowing how to teach is just as important as knowing how to dance. One of the first steps to becoming an effec ve dance teacher is to iden fy the role and responsibili es of the dance teacher, the associated skills and knowledge necessary to fulfil that role, and those aspects which are required to be developed and studied by the individual teacher to achieve a comprehensive basis for teaching dance to others. Teaching to the Whole Dancer Synthesizing Pedagogy, Anatomy, and Psychology Kathryn Daniels, M.A., Dance De‐partment Chair, Cornish College of the Arts, Sea le, Washington, USA h ps://c.ymcdn.com/sites/www.iadms.org/resource/resmgr/Public/Bull_1‐1_pp8‐10_Daniels.pdf


LEARNING ACTIVITY Thinking about a dance teacher who you consider to be great in that role, answer the following questions –

1. What made them a good teacher?

2. How did they inspire you?

3. Was there anything about their teaching that you didn’t like?

TEACHING MOVEMENT AND DANCE

PART 2

Who are you, and why do you want to teach dance? What are your posi ve a ributes? What else might you need to learn and find out about? Each one of us is unique, with an individual combina on of knowledge and experience. Gaining an insight into our own abili es, strengths and weaknesses is an excellent star ng place for the journey as a teacher, and also serves as an excellent posi on for regular review throughout that journey. We will return to the benefits of review in a later chapter. So let’s look at you right now, by making some lists. Create these lists electronically or on a working sheet of paper where you can refer to them again. We are going to make use of them in your next Learning Ac vity. LIST 1: POSITIVE ATTRIBUTES What are the things you are good at? What are the things people like about you? They may include things such as being on me, having a friendly a tude, good health, and other experiences, as well as your dance‐related skills and knowledge. Posi ves may also be external factors such as suppor ve family. You may not see an immediate link to teaching dance; just try to make a list of as many things as possible LIST 2: LIMITATIONS As well as iden fying your posi ve a ributes, it is important to acknowledge your weak points, where you may need further training or assistance of another kind. Since you have enrolled in this Cer ficate IV course, it is likely that you have already ascertained the need for further training in some if not all of the topics covered by this course, so lis ng those could be a good star ng place. Limita ons may also include external factors such as rules and regula ons, and changes which are out of your control. List everything you can think of. LIST 3: THE ROLE OF THE DANCE TEACHER How do your posi ve a ributes and limita ons fit into the role of the dance teacher? What are the implica ons for you as an individual? The welfare of your students and their learning progress are your key responsibili es. It is possible to deliver a good class, but not a good long‐term program, and to be impressive in the short term, but not pass on any memorable ben‐


2.1 You - The Dance Teacher


The role of the dance teacher is extensive. It includes but is not limited to the following func ons and tasks –

Instruc on and demonstra on

People manager

Problem solver

Psychologist

Assessor

First aider

Choreographer

Costume make

Designer

Stage manager

Business administrator

Recep onist

Student

In rela on to dance and movement skills, dance teachers should understand –

Elements and principles of dance

Progressive development of body awareness, motor skills, coordina on and fitness

Efficient movement pa erns and refinement of technical skills

Safe dance prac ces

Injury management

Life‐long health and well‐being pa erns

A variety of learning styles, teaching methods and strategies

Construc ve feedback

Individual differences and factors such as age, experience, gender and ethnicity that may affect teaching requirements.

We must also look carefully at the influence of the dance teacher on a tudes and behaviours of students both within the

dance learning environment and in external contexts. In rela on to their students, dance teachers should strive to ‐

Foster an environment of mutual respect

Develop posi ve a tudes and behaviours

Op mise individual poten al

Provide students with skills and knowledge to make their own choices and decisions as appropriate

Encourage cri cal thinking

Encourage crea vity

Foster an enjoyable and challenging learning environment and experiences

Help students feel posi ve about their own abili es, learning and bodies

Develop focus and a streamlined approach

Encourage collabora on with peers

The learning you are undertaking in this Module of study is designed to fill in some of the gaps you may have iden ‐fied. At the end of the Module we will revisit the list you have created in this Learning Ac vity to assess your learning. Albert Mehrabian, a famous behavioural psychologist, iden fied the key components that influence people in com‐munica on as –

WHAT you say

HOW you say it

How you LOOK


LEARNING ACTIVITY Reviewing the lists you have created and the roles and responsibili es of the dance teacher, write down at least four important strengths that you have iden fied for yourself, and at least four areas where addi onal skills and/or knowledge are needed.

STRENGTHS:

1

2

3

4

Other

WEAKNESSES:

1

2

3

4

Other

2.2 Communication

EXPLORE An excellent summary of the Responsibilities of a Dance Educator / Teacher may be found at www.unitydance.org/resources. There may also be others. Review the lists including Teachers’ responsibilities to students, Teachers’ responsibilities to colleagues, Teachers’ responsibilities to parents, Teachers’ responsibilities to the public sphere and Teachers’ responsibilities to themselves before completing the following Learning Activity.


1. WHAT you say includes the message you are trying to transmit, and the words you use to do this. 2. HOW you say it is affected by the style of language and the vocabulary you choose, and your vocal quali es

including tone, volume, pitch, pace and emphasis.

Let’s prac se delivering a similar message in different ways – Now let’s take a further look at the last statement, and the way emphasis on individual words can be used to change the meaning of what we are saying. Prac se each of the following –

This is how I see it – I see it this way

This is how I see it – I do see it this way

This is how I see it – the means by which I see or understand it

This is how I see it – You may not see it this way, but I do

This is how I see it – I may be able to experience it in other ways too

This is how I see it – How I see this par cular object or concept 3. Studies have indicated that up to an amazing 93% of your communica on is non‐verbal, so how you LOOK is of

great consequence. This includes your posture and body language, and your manner of dressing.

Aggressive ‘That’s the way it is’ Loud and strong voice

Submissive ‘It’s like this, if that’s OK with you?’ So voice, hesita on, upward inflec on at the end

Asser ve ‘This is how I see it’ Level tone and inflec on

EFFECTIVE COMMUNICATION FOR THE DANCE TEACHER Looking earlier at the role of the dance teacher, we have already iden fied several groups with whom we need effec‐

ve communica on –

Students

Parents

Colleagues

Public

As a dance teacher, the balance of contact with each of these groups, and the appropriate methods of communica‐

on will vary with your job descrip on and the requirements of your role. For example, you may be teaching very young children, adolescents, or adults. You may need to liaise with parents, or the principal of the dance school may want to do that en rely themselves.


LEARNING ACTIVITY There are many factors that affect how well you communicate. Sometimes you may not feel motivated in your classroom, for example when you are feeling unwell. This can have an effect on how you look and they way you communicate. Sometimes your students may not be receptive to your teaching, for example when they are preoccupied with something else. In these circumstances, communication may not be effective, with a negative effect on learning. Think about time when you have experienced difficulties in learning or teaching, and some of the barriers that might have hindered effective communication in these cases. Can you relate these to the ‘what’, ‘how’ and ‘look’ concepts? Write three examples in the table below –

1.

2.

3.


Good communica on with the studio owner or other employer, to ensure unambiguous clarifica on of your role and the expecta ons of both par es, is therefore an essen al star ng place. ACTIVE LISTENING Ac ve listening is an important part of effec ve communica on. It establishes a connec on between the speaker and the listener, and helps the listener make sense of what is being said. A en on and focus, not interrup ng, asking ques ons and giving feedback are essen al for being a good listener. The process should include full a en on and encouragement for the speaker, and reflec on by the listener of what has been said. The listener must hear everything a speaker is saying and then demonstrate their understanding by paraphrasing – repea ng the message in their own words ‐ and asking ques ons. This helps to establish whether the message has been understood or needs further clarifica on, and also reassures the speaker that the listener is paying a en on. Ac ve listening is an essen al part of successful communica on between individuals in all of the circumstances listed above. It will assist all par es to clearly understand conversa ons, explana ons and direc ons. QUESTIONING Asking ques ons is a very good way of gaining informa on and ensuring that you understand what you have heard. If you need clarifica on of certain points, or if you are not sure you understand what the speaker has said, ask some ques ons. Then it is a good idea to repeat the informa on or idea in your own words, o en in a summarised form, to check you have understood it correctly. Asking helpful ques ons might also assist the speaker to communicate with you more clearly and to remember the important points that they need to tell you. However, asking ques on without thinking about what the speaker has said, or interrup ng the speaker, can be a hindrance rather than being helpful. There are various ways of asking ques ons, for a range of reasons. A useful list may be found at – Changing Minds, Ques oning, h p://changingminds.org/techniques/ques oning/ques oning.htm

DISCUSSION Discussion involves ac ve listening and ques oning, in other words, thinking about meaningful par cipa on in the discussion. The skills involved may include evalua ng, rela ng, analysing, comparing and contras ng. These skills take prac ce and me to develop. However, as a dance teacher, the ability to discuss a range of issues with relevant people is important from the very start and it is worthwhile pu ng some me into becoming proficient at these skills. Further informa on about the elements of a good discussion and other aspects of par cipa ng in discussions may be found at – Literature Circles Resources Centre, Teaching Students How to Discuss, Adapted from Chapter 5 Ge ng Started with Literature Circles, Katherine L. Schlick Noe and Nancy J. Johnson , ©1999 Christopher‐Gordon Publishers, Inc. h p://www.litcircles.org/Discussion/teaching.html

YOUR VOICE Voice is one of your most important communica on tools, as a teacher. As well as the words you say, the quality of your voice expresses meaning and gives value to the informa on you are passing on to your students. Since you will be using your voice extensively, and generally to reach a group rather than an individual, it is essen al that you use your voice well and take care of it. Your job would be difficult to perform successfully without your voice, so you need to do your best to keep it in top condi on. Maintain hydra on to keep the vocal cords lubricated, try to avoid overuse – which can be difficult in the dance stu‐dio, and is a skill to be prac sed – and be aware that medica ons, smoking and poor work environments can be detri‐mental. Good posture and breathing pa erns will help you maintain the strength and projec on of your voice. Characteris cs of your voice including volume, pitch, mbre and rhythm will give messages to your students about your a tude towards them, your honesty, and your credibility as an authority and teacher. There are many exercises available online for breathing and voice which are fun and beneficial for all teachers. COMMUNICATING WITH STUDENTS Choice of language, use of terminology, and manner of approach must all be appropriate for the age and stage of de‐velopment of the student group. Children at different stages have different needs and learning styles, so a sound understanding of human development is important for teaching any subject ma er, including dance. Young children enjoy rhymes, rhythms, and animal characters to help their learning. In the middle years, stories and images related to daily life are effec ve, while young adolescents are o en concerned with moral issues and values. Further informa on about developmental characteris cs at different stages of development and communica on at these stages may be found at – Communica ng with Children; Principles and Prac ces to Nurture, Inspire, Excite, Educate and Heal, Barbara Kolucki, MA Dafna Lemish, PhD © United Na ons Children’s Fund (UNICEF) November 2011 ISBN: 978‐0‐578‐09512‐7 h p://www.unicef.org/cwc/files/CwC_Web.pdf GIVING INSTRUCTIONS Communica ng instruc ons, which you expect to be followed, is different from par cipa ng in a conversa on. We o en come across examples of poor instruc on, so how can we improve our own prac ce? We must firstly put ourselves in the other person’s shoes. What knowledge and skills do they already have – or not have? For our dance students, have they learnt the basic movements before we expect them to perform more complex ones? Next, do they understand the connec on between what you are asking and their overall dance learning? Does it make sense? If they can see a purpose, they are likely to engage more posi vely and trust your instruc ons. Use clear, simple language, and explain any technical terms. Break down and sequence the task or informa on, giving step by step demonstra ons. Encourage ques ons and clarify using different approaches. USING TERMINOLOGY Most dance styles have their own terminology and descrip ons of posi ons and/or movements. Some of these are common across a range of dance styles. A sound knowledge of the appropriate terminology in the chosen style, in‐cluding pronuncia on and spelling, is fundamental for the dance teacher.



There are many lists of dance terminology to be found on line. A good starting place, which includes several dance styles in one location, is – Orthopaedic Section – American Physical Therapy Association www.orthopt.org – performing arts/ performing arts glossaries/dance, and www.orthopt.org – performing arts/ performing arts glossaries/hip hop Anatomical terminology is also important when learning movement and dance. Terminology should be used with confidence to support physical demonstrations, short verbal descriptions and lengthier explanations. Introduce and use correct terminology as soon as it may be understood, related to the age and background knowledge of the students. Young students enjoy learning the ‘real’ anatomical and technical termi‐nology, and many games can be invented to help them learn and remember the words. NON‐VERBAL COMMUNICATION Remember how much of your message is given by body language, appearance and other forms of non‐verbal commu‐nication? Up to 93%! So let’s take a closer look at this in relation to communication with your students. A positive first impression is important. In some situations, you may have to work very hard to reverse a bad first impression, or you may not even get the opportunity. In the dance studio, it is important for the teacher to appear calm, unstressed and in control, and to establish their status at the outset. As a dance teacher, your posture and attire will make an impression on your students and give them a message – are you a good dancer and teacher, are you confident, are you to be trusted? As a teacher of movement, good posture and movement patterns are the best endorsement of what you do. A professional approach to your appearance also gives a positive message regarding your capabilities, not only to your students, but also to their parents and your em‐ployer. A pleasant and open demeanour, making eye contact and giving a relaxed and genuine smile are also positive and encouraging signals. Behaviour to avoid includes expression of boredom or judgement, such as holding any facial expression for a long time, darting eyes, narrowing of the eyes, over‐use of any gesture, restless shifting from side to side, fiddling with clothing, hair or jewellery, tapping of the foot. You must also take care with your interpretation of your students’ body language. Is the signal you are receiving real‐ly what the student is thinking? They may be agreeing with you verbally, while their body language is actually saying ‘no’. Sometimes the student may not even be aware of the conflicting messages or feelings. And maybe you, the teacher, are seeing what you expect to see, not really looking deeper at the true message. Observing, listening and appropriate questioning are all important methods to use to ensure you and your students are working in accord, and this ability too takes time to develop.

EXPLORE Using the links above as starting points, explore the advice provided to improve your communication.

Good professional prac ce for dance teachers includes knowledge and implementa on of compliance issues and ethi‐cal behaviour. Legal Compliance All businesses in Australia must comply with laws related to taxa on, employment, equal opportunity, workplace safety, property, privacy and copyright. Australian government websites are the best source for current informa on regarding these laws. Consulta on with an accountant and/or solicitor may also be advisable. The following are some examples which may be relevant to a dance teacher. The studio owner will have a greater need to research and comply with relevant laws. Duty of Care Duty of care refers to an obliga on to conform to a certain standard of conduct for the protec on of another against an unreasonable risk of harm, in this case the responsibility of the dance teacher to provide students with an ade‐quate level of protec on against harm and all reasonably foreseeable risk of injury. Duty of care takes into account the implicit responsibili es which society demands of individuals judged to be in a posi on of trust and care. The teacher is required to do everything that is ‘reasonably prac cable’ to protect the health and safety of their students, and they will be negligent if this is not done. The duty of care owed is the duty one would expect from a hypothe cal teacher with normal skills and a ributes, and will depend on the par cular circumstances. While children love learning, they are physically and psychologically vulnerable for many years. Teachers should deserve the trust of their students. Equal opportunity and an ‐discrimina on Commonwealth and state legisla on must be observed in rela on to equal opportunity and an ‐discrimina on with regard to disability, age, race, and sex. Teachers must provide opportuni es for equal student par cipa on, regard‐less of gender, race or na onality. Addi onal teaching ac vi es using different teaching methods, transla ons, and opportuni es for students from oth‐er countries to share the knowledge and skills from those countries are all ways to provide support for these stu‐dents. Further informa on may be found at ‐ Australian Human Rights Commission, A quick guide to Australian discrimina on laws h ps://www.humanrights.gov.au/employers/good‐prac ce‐good‐business‐factsheets/quick‐guide‐australian‐discrimina on‐laws Workplace Health and Safety There are many regula ons in Australia rela ng to the workplace and workers. Repor ng hazards, emergency proce‐dures, and the safe use and maintenance of equipment are all relevant to the dance environment. Studio owners should have procedures for all persons using their premises, and suitable induc on programs. Safe Work Australia is the umbrella organisa on which ‘leads the development of na onal policy to improve work health and safety and workers’ compensa on arrangements across Australia.


2.3 Professional Responsibility


Safe Work Australia works to:

Coordinate and develop na onal policy and strategies

Assist with the implementa on of model work health and safety legisla on and reform the legisla ve framework

Undertake research, and

Collect, analyse and report data.’

Each Australian state and territory has regulators which control the following for the relevant state or territory only ‐

‘Complying with Work Health and Safety laws.

Repor ng a workplace incident.

Renewing or applying for licences.

Workers' compensa on claims.

Registering plant and plant designs.’

Further informa on about Safe Work Australia and a complete list of regulators can be found at ‐h p://

www.safeworkaustralia.gov.au/sites/SWA For example, in Victoria, workplace health and safety is governed by a system of laws, regula ons and compliance codes which set out the responsibili es of employers and workers to ensure that safety is maintained at work, regu‐lated by WorkSafe Victoria. The responsibili es of WorkSafe Victoria include ‐

‘Help avoid workplace injuries occurring

Enforce Victoria's occupa onal health and safety laws

Provide reasonably priced workplace injury insurance for employers

Help injured workers back into the workforce, and

Manage the workers' compensa on scheme by ensuring the prompt delivery of appropriate services and adop ng prudent financial prac ces.

The Occupa onal Health and Safety Act 2004 (the Act) is the cornerstone of legisla ve and administra ve measures to improve occupa onal health and safety in Victoria. The Act sets out the key principles, du es and rights in rela on to occupa onal health and safety. The Occupa onal Health and Safety Regula ons 2007 are made under the Act. They specify the ways du es imposed by the Act must be performed, or prescribe procedural or administra ve ma ers to support the Act, such as requiring licenses for specific ac vi es, keeping records, or no fying certain ma ers. Effec ve OHS regula on requires that WorkSafe provides clear, accessible advice and guidance about what cons tutes compliance with the Act and Regula ons. This can be achieved through Compliance Codes, WorkSafe Posi ons and non‐statutory guidance ("the OHS compliance framework"). For a detailed explana on of the OHS compliance frame‐work, see the Victorian Occupa onal Health and Safety Compliance Framework Handbook

Full details can be found at ‐

WorkSafe Victoria, www.worksafe.vic.gov.au

Repor ng Hazards Health and safety legisla on requires employees to report hazards to their supervisor. Hazards may be electrical, mechanical, physical, chemical, or psychological. Examples include –

Faulty equipment

Damaged electrical cords or overloaded power points

Tripping hazards

Excessive workloads Hazardous condi ons or prac ces should be reported immediately. The dance school you are teaching at may require you to do this verbally or by filling in a form. Repor ng Workplace Incidents

Some serious work‐related incidents are no fiable under the Work Health and Safety Act 2011 (WHS Act), and must

be reported immediately. It is a good idea to report ALL workplace incidents to your supervisor.

Work‐related incidents include:

injuries requiring first aid treatment or medical treatment;

near misses (incidents that may have resulted in injury, if a mi ga ng effect, ac on or system had not been in

place);

me lost (incidents requiring me off work); psychological injury (a form of mental injury generally associated with work‐related stress); and

The dance school you are teaching at may require you to report verbally or by filling in a form.


LEARNING ACTIVITY Choose the Australian state or territory most relevant to your dance teaching practices. Research the compliance requirements on the website of the relevant regulator. List two requirements that are relevant to your own teaching practices, and explain how you will ensure compliance.

1.

2.


Student records Informa on about students needs to be kept for a variety of reasons –

A endance records

Previous learning and achievements, such as assessment results

Personal informa on such as age, injuries, illnesses

Contact informa on for student and/or parent/s

While the teacher may need frequent access to some of this informa on, most of it is confiden al and it is not appro‐priate to share it, or inadvertently allow it to be accessible. In some cases, it is not even appropriate to share this in‐forma on with other family members, such as when there is a court order against one of the parents. However, in case of emergency, contact informa on should be readily accessible. Great care must be taken to store such infor‐ma on in the most appropriate manner, with note taken if mul ple copies are produced. It is also essen al to dis‐pose of it correctly when it is no longer required. Using music in the studio Whenever music is played in public, the songwriter or composer who wrote it might be en tled to royal es. Song‐writers and composers own the right to have their original music performed in public, so they control the right to play a recording of their songs/composi ons in a business, venue or workplace. This includes the music you use in your dance classes. They also control the right to have their music copied onto a CD or DVD. Legally, all music users must take out a license to ensure songwriters and composers are paid fairly for their music. Organisa ons such as APRA/AMCOS collect and distribute licence fees for the public performance, communica on (including broadcast) and reproduc on of its members' musical works. Full informa on is available at h p://apraamcos.com.au Ethical Conduct Although teaching dance in Australia is not currently regulated, tradi onally accepted “e que e’ or protocols associ‐ated with teaching dance include –

Comple ng sufficient training and qualifica on before se ng up as a dance

Not poaching students from another dance school in close proximity or where you have taught

Making sure promo onal material is truthful and accurate

Not using work created by another teacher or organisa on without agreement

Assis ng new teachers to understand and comply with expected ethical behaviour

Behaving in a way which advances the standing of the dance teaching profession in the eyes of the general public

Many dance ins tu ons and syllabus organisa ons have their own codes of ethics with the aim of keeping both teachers and students physically and psychologically safe, while complying with legal requirements and industry standards, and developing respect in the wider community. Example 1: RAD Code of Conduct and Code of Professional Prac ce h p://www.rad.org.au/wpcontent/uploads/2014/09/Code+of+Conduct+EN+web1.pdf h p://www.rad.org.au/wp‐content/uploads/2011/08/Code‐of‐Prof‐Prac ce‐for‐teachers‐EN‐web.pdf Example 2: Comdance Code of Ethics h p://comdance.asn.au/code‐of‐ethics

Addi onally, all dance teachers in Australia should comply with the Australian Guidelines for Teaching Dance (AGTD), and the Code of ethics for dance teachers. The AGDT suggests minimum standards for dance teaching and ways teachers can maintain or upgrade their teach‐ing skills. It is divided into three sec ons –

Effec ve teaching methods: A checklist of skills, knowledge, considera ons and prac ces that form the basis of good teaching methodology. Some apply to good teachers of any discipline, while others are specific to dance and ar s c instruc on.

Safe dance prac ce: These safe dance prac ce guidelines include how to set up a safe teaching and learning environment and dis‐cuss: safe teaching spaces and performance venues, physical differences and abili es, dance and its impact on the body, and injury preven on and management.

Professional business prac ce for studio teachers: These recommenda ons include ethical, legal and professional standards iden fied by the dance teaching profes‐sion in Australia. We outline business prac ce including your rights and legal obliga ons.

The full document may be found at h p://ausdance.org.au/publica ons/details/australian‐guidelines‐for‐dance‐teacher Code of ethics for dance teachers factsheet #1

The code aims to help teachers understand the ethical standards expected of dance teachers by the dance profession. The full document may be found at h p://ausdance.org.au/ar cles/details/code‐of‐ethics‐for‐dance‐teacher The AGDT and the Code of ethics for dance teachers these can be adopted by any dance studio where there is no oth‐er relevant code to ensure compliance with best industry prac ce. It is a good idea to place relevant codes on the wall at the dance studio to inform teachers, students, parents, and performers about acceptable and expected behaviour.


LEARNING ACTIVITY Read each of these documents carefully and list three key concepts that are relevant to your own teaching practices.

1.

2.

3.


Good lesson planning is a crucial element of teaching. Course and lesson development is me consuming and re‐quires comprehensive content knowledge, and for dance teachers, the ability to competently demonstrate their se‐lected dance style as well. Of course all the planning in the world will not be effec ve without a thorough grasp of teaching prac ces and ideas about how to deliver the content in an interes ng and engaging way and to manage class room behaviour and the learning environment in general. Each dance school or studio will have its own teaching and learning structure, and the responsibili es of the individual teacher will vary. In some cases, the course of study, complete with lesson plans, will already be developed and in use. The teacher will need to familiarise themselves with the material prior to delivery, follow the outlined plans, and regularly communicate the outcomes with the owner or supervising teacher. Mee ngs to coordinate work with other teachers may also be required. At the other end of the scale, the teacher may need to create their own course and lesson plans with no input or support from the dance organisa on that employs them, or they may be se ng up a school and wish to create new courses. In between there are many possible combina ons. Teachers must make themselves aware of what their own role entails in each case, and be prepared to commit the necessary me to the required tasks. PLANNING Regardless of the specific situa on, teachers should have the ability to plan a full course of study and clearly docu‐ment teaching objec ves for the course, class plans including details and dura on of ac vi es, and outcomes ex‐pected and achieved. These plans should evaluated in rela on to exis ng graded programs such as dance society levels where relevant, and discussed with the studio owner or other experienced dance teachers to obtain valuable feedback and confirma on. We will look at planning in greater detail in Part 5: Planning Classes and Programs CLASSROOM MANAGEMENT It is the teacher’s responsibility to create an orderly and non‐threatening learning environment, where students feel secure and eager to learn. The teacher is a firm but friendly leader, guiding the students through the learning pro‐cess. The pace of the class, range of teaching styles, and op ons to meet individual student needs are decided by the teacher. The teacher demonstrates, observes and listens to enable them to direct student learning effec vely. The physical space, equipment and other resources to be used in the coming class must be well organised and pre‐pared. Situa ons that may be dangerous or disrup ve must be eliminated or managed. Expecta ons for student behaviour should be clearly set, along with consequences for disrup ve behaviour. The teacher is the role model for the expected behaviour. We will look at these aspects in more detail in Parts 3: Learners and the Psychological Learning Environment and Part 4: Suppor ng Safe Movement and Dance Prac ce

2.4 Responsibilities Associated with Planning and Delivering Classes

TIME MANAGEMENT We have a limited number of hours each day to balance our work, family and personal priori es. Good me manage‐ment allows us to achieve our work goals as well as enjoy ac vi es that we choose to do, and me with friends and family. Teachers need to balance their own prepara on and performance for each class, the desired outcomes and student needs for each of those classes, the long‐term goals for their students, and the need to communicate outcomes with parents, the studio owner, and other teachers. Very o en a large volume of documenta on is necessary, including lesson and course plans, reviews and assessments. Effec ve me management will help teachers to manage the situa on, provide improved opportuni es for their stu‐dents, and avoid stress for all. Planning is an essen al component of me management, alloca ng the amount of me necessary for each ac vity, increasing efficiency and ensuring that nothing is le to the last minute with too li le me available to complete it. Techniques, tools and processes may be of assistance. Some of these may include –

Se ng priori es, eg ABC analysis, where tasks and ac vi es are given an A, B or C according to priority

Crea ng a conducive environment – organise the space and your resources

Using a diary or planner

Wri ng task lists

Reducing me spent on non‐essen al ac vi es

Avoiding procras na on

Incen ves and rewards

Remember to regularly review and update your plan, list or meline. YOUR OWN HEALTH AND WELLNESS Looking a er your health and well being will help you concentrate and focus on the tasks that need to be complet‐ed, and to avoid becoming stressed.

Drink plenty of fluids

Don’t skip meals

Monitor nutri on

Take regular short breaks

Maintain your movement skills


LEARNING ACTIVITY List and explain your three favourite time management strategies.

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3.

LEARNERS AND THE PSYCHOLOGICAL LEARNING ENVIRONMENT

PART 3

In order to op mise the learning environment for the range of students teachers encounter in different learning se ngs and the different needs of individual students, we need some understanding of learner characteris cs and needs. Looking further at the work of a range of theorists and psychologists will form a basis for this understanding.

The more teachers can understand about their students, the be er they will be able to provide learning tasks and programs to help achieve their learning goals in a way that is interes ng and engaging. Developmental Characteris cs Preferred and appropriate learning styles may change as an individual develops. Of course each child, adolescent and adult develops at his her own pace. However, to help us understand the general characteris cs that children demon‐strate at various age levels, they have o en been divided into Stages, such as – Jean Piaget’s four cogni ve stages:


3.1 Learners

SENSORIMOTOR Birth to age Learning about the world through trial and error

Become aware of the senses

Learn that objects exist even if you cannot see them – object permanence, a sign that memory is developing

Need simple movements and a lot of repe on.

PREOPERATONAL Age 2 to 7 Language development

Can think symbolically

Understand the difference between past and future

Enjoy make‐believe

Thinking not always logical

Egocentric – unable to see another person’s point of view

Enjoy learning simple new steps and skills

CONCRETE OPERATIONAL Age 7 to 11 Demonstrate logical, concrete reasoning

Willingness to perceive another person’s point of view

Develop understanding that each person has their own unique thoughts and feelings

Observa on of rela onships between people and objects

Logical reasoning

Understand that objects do not change weight or volume, even when their appearance changes – conserva on

Ability to group similar items together

Self‐esteem is important

FORMAL OPERATIONAL Adolescence through adulthood

Abstract reasoning and reverse logic develop

Able to use symbols related to abstract concepts

Able to consider possibili es and abstract rela onships


Looking at the range of ages in each group, we can see that there must be many developmental steps with‐in each one. Only a very simplified over view has been give in this table. For more useful and interes ng informa on, go to the following link ‐ h p://webspace.ship.edu/cgboer/piaget.html Personality Theories: JEAN PIAGET 1896 – 1980, Dr C. George Boeree, accessed 26/12/2015 Erik Erikson’s eight psychosocial stages:

Hope: trust vs mistrust Infancy ‐ birth to 2 years

Will: autonomy vs shame and doubt Early childhood – 2 to 4 years

Purpose: ini a ve vs guilt Preschool – 4 to 5 years

Competence: industry vs inferiority School age – 5 to 12 years

Fidelity: iden ty vs role confusion Adolescence – 13 to 19 years

Love: in macy vs isola on Early adulthood – 20 to 39 years

Care: genera vity vs stagna on Adulthood – 40 to 64 years

Wisdom: integrity vs despair Maturity – 65 years to death

For a be er understanding of Erikson’s ideas, go to the following link ‐

h p://www.learning‐theories.com/eriksons‐stages‐of‐development.html Erikson’s Stages of Development, accessed 26/12/2015

LEARNING ACTIVITY 1. Read the research paper titled ‘The Application of Piaget and Bruner’s Cognitive‐Developmental Theory in

Children’s Dance Teaching’ which may be accessed by conducting a google search for that paper. 2. Choose two age groups of children that you teach or will be teaching and then complete the following table.

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2.

3.

AGE GROUP 1: _______________________


Describe at least two examples of how this knowledge will assist you to design exercises and/or classes for this age group 1. 2.

AGE GROUP 2: ...........................................................................

List and explain three characteris cs of this age group 1. 2. 3.

Describe at least two examples of how this knowledge will assist you to design exercises and/or classes for this age group 1. 2.


Mo va onal Characteris cs Mo va on is a powerful component of the learning process. It is the drive or incen ve to achieve goals and self‐sa sfac on. It can be internal or external. For younger students, the teacher must play a greater role in inspiring the desire to achieve goals. As students mature, the desire to learn dance must come from within. Mo va onal characteris cs will vary between groups and individuals, depending on a range of factors including per‐sonality, age, experience, and ethnicity and learning approach such as online, on the job, or in the classroom. They include ‐

Self‐efficacy, the belief in one’s own ability to complete tasks and reach goals which can be improved through reduced stress and anxiety

A ribu on pa erns or beliefs about why certain events occur including unproduc ve a ribu on pa erns or learned helplessness

Goal and performance orienta on where outcomes may become more important than the process

Intrinsic mo va on where the individual is self‐directed

Extrinsic mo va on, where mo va on may come from parental influences, material rewards, privileges, or aca‐demic acknowledgement

LEARNING ACTIVITY Think about your own experiences when participating in, teaching, or observing dance classes to answer the following questions ‐

Discuss an example of when you have felt mo vated by the experience.

Discuss an example of when you have felt unmo vated by the experience.

What intrinsic mo va on factors may have affected each of these experiences?

What extrinsic mo va on factors may have affected each of these experiences?

Explain at least two strategies you could use to increase mo va on.


Taking me to research and read about the above learner‐related concepts, and a range of other theories and models related to learning is highly recommended at this point in your study.

The learning context, situa on or environment in which something is learned, can impact on what is taught, how it is taught, and how it is learned. In a posi ve learning environment, learning is successfully shaped by several aspects including the space, context and culture. Engagement in the learning, mo va on to learn, a sense of safety, well‐being and belonging are all im‐portant characteris cs to be nurtured. Culture in this situa on refers to how individuals interact with and consider one another, and the ways the teacher may approach learning. How adults and other role models such as senior students interact with student groups, and how students interact with one another within these groups are important aspects of crea ng a posi ve social and emo onal atmosphere. It must be remembered that the culture of a learning environment is not en rely up to the teacher, but will be affect‐ed by dance school policies, legisla ve requirements such as health and safety, the physical space in which the learn‐ing occurs, and the resources available. The teacher must also consider the choices that their students have made and their expecta ons of the classes they are a ending. Maslow’s Hierarchy of Needs Abraham Maslow proposed in his 1943 paper, A Theory of Human Mo‐

va on, that human being have cer‐tain needs in order to be healthy and to learn. He arranged these in a hier‐archy, using a pyramid to illustrate the level of these needs from basic to higher. The hierarchy has tradi onally been represented by five levels, although at a later date Maslow added three addi onal higher level needs. The more commonly used five levels will suffice for our introduc on to this theory.

Maslow's Hierarchy of Needs www.psychologytoday.com accessed 18 December 2015

EXPLORE Research personality theories and motivational theories and consider who these might apply in a dance setting.

3.2 Positive Learning Environment


The following descrip on of Maslow’s pyramid is an extract from an online ar cle – Our Hierarchy of Needs by Neel Burton MD, www.psychologytoday, posted May 23, 2012 ‘Maslow called the bo om four levels of the pyramid ‘deficiency needs’ because a person does not feel anything if they are met, but becomes anxious if they are not. Thus, physiological needs such as ea ng, drinking, and sleeping are deficiency needs, as are safety needs, social needs such as friendship and sexual in macy, and ego needs such as self‐esteem and recogni on.

In contrast, Maslow called the fi h level of the pyramid a ‘growth need’ because it enables a person to ‘self‐actualize’ or reach his fullest poten al as a human being. Once a person has met his deficiency needs, he can turn his a en on to self‐actualiza on; however, only a small minority of people are able to self‐actualize because self‐actualiza on requires uncommon quali es such as honesty, independence, awareness, objec vity, crea vity, and originality.

Although Maslow’s hierarchy of needs has been cri cized for being overly‐schema c and lacking in scien fic grounding, it presents an intui ve and poten ally useful theory of human mo va on. Once a person has met his deficiency needs, the focus of his anxiety shi s to self‐actualiza on and he begins—even if only at a subconscious or semiconscious level—to contemplate the context and meaning of life.’

Now let us take a look at this theory in rela on to teaching dance.

We can clearly see that it is important for the dance teacher to provide a safe and secure learning environment for their students in the psychological as well as the physical sense. If the basic priori es are not met, new learning will not be effec vely received.

Classroom behaviour and values The purpose of teaching is to focus on student learning, impart knowledge and foster student success. Learning dance requires consistent focus on the movements and the accompanying music, disciplined prac ce, and compliance with dance and studio e que e. Students will develop self‐discipline of both the body and the mind. Learning will occur best in a respec ul albeit friendly learning environment. Trea ng students with considera on, and encouraging them to treat you and each other in the same way, will foster a welcoming and mo va ng environment. Acknowledgement of student knowledge, interests, concerns, can make the learning more personal and relevant.


An effec ve teacher will ensure that all students are engaged in the learning, and students with diverse learning needs are made to feel comfortable and able to learn. Harassment, racism, and abusive behaviour of any sort must not be allowed, and teachers should help their students to understand that we are all different, with different abili es and experiences. However, regardless of your teaching style, and your interest in your students, the classroom or studio is not a zone of equality. It is a hierarchy of sorts, and due to your knowledge and experience, you are its head. You are there to guide and direct the learning experiences for your students, even when they are student‐mo vated. The values and characteris cs you encourage should facilitate learning in the studio. Aspects to consider in fostering a posi ve learning environment may include –

Consistent core values

Clear expecta ons and rules

Posi ve control by the teacher, including procedures to prevent bullying

Teacher as role model of expected behaviours and a tudes

Flexibility of learning approaches

Student input and ques oning valued

Teacher ready to learn from students

Teacher par cipates in self‐evalua on and seeks feedback from others

Establishing your expecta ons in the beginning in rela on to the classroom environment you favour, the associated behaviour by all par es and the learning outcomes you an cipate is good teaching prac ce and will help your stu‐dents to feel comfortable in the learning environment and have confidence in their learning.

LEARNING ACTIVITY How do you expect your students to behaviour in your class room? How do you help them to understand your expectations and behave appropriately? Write a list of at least five rules or

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Managing student behaviour The aim is to prevent or diffuse disrup ve behaviour, and avoid any possible escala on of conflict or power struggle.

Teachers themselves must be the role model for behaviour, showing by example the expected manners and conduct, including respec ul interac ons with students. Acknowledgement of responsible behaviour should take precedence over responding to misbehaviour, resul ng in a higher ra o of posi ve rather than nega ve interac ons. Thorough and appropriate prepara on of classes will also help to reduce the occurrence of undesirable behaviour. Some ways you can use to help your classes run smoothly include –

Lessons are prepared for every class

The right amount of content is included in each class

A range of teaching approaches is used

Resources are organised and prepared

Fair and consistent evalua on and feedback

Expecta ons and rules are clear

Demonstrate respect for others When required, response to misbehaviour should be calm and as brief as possible. Consequences should be applied in a consistent manner. Thinking about this and planning the way you would like to respond will help you deal with the situa on as smoothly as possible if it arises. Be fully aware of your level authority, possible consequence that are acceptable for you to impose, the support available to you from the studio owner or experienced teachers, and when you should request this support.

LEARNING ACTIVITY Thinking about your own teaching experiences, observation of others teaching and also classes you have participated in, consider an example of unacceptable behaviour.

1. Describe the behaviour

2. Describe how the behaviour was managed

3. Was the management effec ve or not? Discuss how you might manage a similar situa on in the future.


An effec ve teacher will ensure that all students are engaged in the learning, and students with diverse learning needs are made to feel comfortable and able to learn. Harassment, racism, and abusive behaviour of any sort must not be allowed, and teachers should help their students to understand that we are all different, with different abili es and experiences. However, regardless of your teaching style, and your interest in your students, the classroom or studio is not a zone of equality. It is a hierarchy of sorts, and due to your knowledge and experience, you are its head. You are there to guide and direct the learning experiences for your students, even when they are student‐mo vated. The values and characteris cs you encourage should facilitate learning in the studio. Aspects to consider in fostering a posi ve learning environment may include –

Consistent core values

Clear expecta ons and rules

Posi ve control by the teacher, including procedures to prevent bullying

Teacher as role model of expected behaviours and a tudes

Flexibility of learning approaches

Student input and ques oning valued

Teacher ready to learn from students

Teacher par cipates in self‐evalua on and seeks feedback from others

Establishing your expecta ons in the beginning in rela on to the classroom environment you favour, the associated behaviour by all par es and the learning outcomes you an cipate is good teaching prac ce and will help your stu‐dents to feel comfortable in the learning environment and have confidence in their learning.

Centre for Professional Learning, Managing Student Behaviour, Helen McMahon A achment 1: Ten strategies for dealing with problem behaviours A achment 2: Dealing with confronta on A achment 3: Twenty key points for preven ng a situa on from escala ng h p://cpl.asn.au/journal/semester‐1‐2015/managing‐student‐behaviour List and discuss three strategies you might use when you are teaching a dance class

LEARNING ACTIVITY Read the article listed below, including the three attachments.

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3.

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How do your students feel about their learning? They may come from many different backgrounds, will certainly have had different experiences, and have differences in skills and knowledge, and so will have different learner needs. Teachers must be sensi ve to their differences and needs, and provide a range of suitable learning approaches, taking care to avoid stereotypes and a ‘one size fits all’ approach. Considera ons may include ‐

Literacy, language and numeracy gaps or weaknesses

Special needs

Social, emo onal or behavioural difficul es

Cultural and ethnic differences

Gender differences

Specific age groups or a range of ages

Different ways of communica ng

Injuries

The teacher must help each student to iden fy and understand their own realis c expecta ons for achievement. At the same me, the teacher will o en recognise addi onal needs in some of their students. As well as individual learner needs, we need to look at the groups we are teaching. Although course and class content may remain unchanged from group to group, we are likely to find the dynamics of each group is quite different be‐cause of the different personali es and backgrounds that comprise them. So we should not be surprised that their needs and the way we need to approach their learning and provide support may also vary. Learner support What is the teacher able to do to help learners beyond the learning that occurs in the classroom or studio to support those students with addi onal needs? As we have seen, students may vary greatly in their need for support in learn‐ing. Some are good at independent learning; others lack confidence in learning and need greater support. The teach‐er may assist with diagnosing learner difficul es, helping with a deeper understanding of learning content, or helping students who are struggling with new concepts or ideas. Some mes students struggle the idea of more than one idea at a me, or understanding and dealing with their own limita ons. At other mes, students may benefit from a great‐er challenge or a higher level of competency or understanding. Learner support is a cri cal component of an effec ve learning environment. As we have previously seen, many stu‐dents have addi onal needs for a range of reasons. The appropriate support provided at the appropriate me may mean the difference between success and failure. Student support may take the form of ‐

Addi onal instruc on or clarifica on

Direct communica on between the teacher, the student and their parents

Referral to a professional prac oner such a physiotherapist

Referral to counselling or guidance on personal issues

Support from other students – informally or through collabora ve learning ac vi es

3.3 Learner Needs


Learning of one skill can influence the learning of another skill. This transference of learning can be posi ve, helping in the learning of another skill, or nega ve, hindering the learning of another skill.

Correct, sequen al learning of skills is posi ve transfer, allowing progressions to follow each other successfully. Allowing students to progress before they have mastered the current level of performance of a movement, or leaving out components, is nega ve transfer.

Transfer of learning may also occur within a lesson, for example, plies and tendus performed correctly at the barre assist with the performance of these movements in the centre, and also with the performance of more complex movements such as sautés.

Learning and prac sing a movement on one side makes it easier to perform on the other. Encourage students to learn on their non‐dominant side or in the most difficult direc on first, making transfer doubly effec ve.

Using the hands to simulate the movements of the feet can be an effec ve way to transfer the movement or combina on.

Dance skills are also beneficial to school learning such mathema cs.

LEARNING ACTIVITY Select and discuss one form of support you have received as a student or given to a student.

3.4 Transfer of Learning

SUPPORTING SAFE MOVEMENT AND DANCE PRACTICE

PART 4


When learning dance, the physical environment may be a dedicated dance studio, or a space that is temporarily used as a dance studio, being used for other ac vi es at other mes. There are many risks in the physical environment which must be managed and monitored by the dance teacher and the studio principal. Venue As well as the dance spaces, there are other important requirements related to the venue including adequate change rooms and toilet facili es, safe access to and from the building for students and teachers, and security. Studio size The space must be adequate for the number of students in the class. A rule of thumb is three square metres per stu‐dent. In a confined space, students cannot move freely, they may cause injury to another student due to inappropri‐ate contact, and the teacher cannot see and monitor each student adequately. Flooring A sprung floor, which is shock absorbing, is highly recommended for dance. This type of flooring, along with the cor‐rect surface, improves performance and greatly reduces injuries. The surface of the floor is also very important and should be sturdy, smooth and obstacle free, but not slippery. The surface of the floor is also very important and should be sturdy, smooth and obstacle free, but not slippery. Therefore, the ideal dance flooring consists of a performance surface is laid on a sprung floor. The flooring in many spaces used for teaching or performing dance has been laid directly onto concrete and is not sprung. This is unsafe and not suitable for dance, and can directly result in injuries, par cularly in the feet and spine. Semi‐sprung flooring, which is currently popular, is designed to provide shock absorp on but dampen bounce, is not as suitable for dance as a fully sprung floor, but is preferable floors which are not sprung. Raked (sloping) stages can also cause injuries when performers are not familiar with working on a sloping surface. Where dance teachers are required to teach classes on floors that do not meet the requirements, movements and class plans must be modified to suit. This may hinder the progress of the students, but safety must be the prime con‐cern. Further informa on may be found in Harlequin Floors Whitepaper, THE FACTS ABOUT SPRUNG FLOORS FOR DANCE, h p://www.harlequinfloors.com/us/en/files/pdf/whitepaper.pdf Barres Whether fixed to the wall or free‐standing, barres must be of sturdy and reliable construc on, with a smooth barre for the student to hold or li their leg onto. Mirrors Mirrors must be strongly adhered to the wall or other sturdy suppor ng structure, and should be cleaned regularly. Hazards and hygiene The venue, teaching space, floor and equipment must be clean and free from obstruc ons.

4.1 Physical Environment


Ven la on and air temperature The space must be adequately ven lated with fresh air, and stale air removed. Without ven la on, that is movement of air, it is difficult for dancers to maintain concentra on. The space must be heated or cooled to a suitable temperature. Ligh ng Ligh ng must be adequate to enable dancers to see clearly and avoid injury. Light fi ngs should are high and secure so as not to create a hazard in jumps and li s. Noise The music must be clearly audible, but not at an unsafe level. First aid kit Dance teachers must hold a current first aid cer ficate, and a first‐aid kit which is regularly re‐stocked must be on hand in each dance studio or teaching space. Safety Procedures All teachers and students should be familiar with relevant emergency procedures. Pre‐class Checklist Arriving early at the dance studio to carry out a simple checklist prior to class will assist in crea ng a safe environ‐ment. It is good management prac ce for the studio owner to provide a checklist for their staff, and good teaching prac ce for the teacher to ensure the checklist is completed each me they use the studio or teaching space. This checklist is an excellent opportunity to ensure compliance with OHS issues such as hazard iden fica on and re‐moval, condi on of equipment, and accessibility of first aid kit.

LEARNING ACTIVITY Some examples of items which may be on a studio checklist are given below. Read these, and then add at least three further items which are important to help you ensure the teaching space and all required equipment is ready for your classes.

Example pre‐class dance studio checklist

Floor is clear of obstacles and hazards

Floor is clean

Hea ng or cooling is switched on in me to achieve appropriate room temperature

Barres are secure and in good order, with no rough surfaces


Any movement technique which pushes the limits of physical performance has the poten al for injury. A knowledgea‐ble dance teacher will take all measures possible to minimise these risks while s ll engaging and challenging their students. Minimising risk does not only relate to the performance space, but also to how dancers are instructed, how they move, and how they look a er themselves.

Important considera ons include:

Understanding human anatomy and physiology

Understanding correct sta onary and dynamic alignment

Understanding progressive training in the relevant dance style, facilita ng safe movements and steps

Wearing appropriate clothing and footwear specific to the dance style

Promo ng a healthy body image

Encouraging students to listen to their own body Minimising injuries Part of crea ng a safe and healthy dance teaching environment includes reducing risk factors, including risk of injury. While each style of dance has its own inherent risk factors, some of the injuries that are common across the dance styles include – MUSCLES Strain or tear BONES Fracture JOINTS Disloca on LIGAMENTS Sprain TENDONS Rupture, tendoni s

In dance, all of these injuries are caused by poor technique! And how does the poor technique come about? The following are common causes which can be prevented or managed by a well‐informed teacher –

1. Anatomical causes

No body is perfect. We all have anatomical limita ons to a greater or lesser degree. It is important for the dance teacher to iden fy any physical constraints which may cause difficul es in a student’s technical devel‐opment, to ensure that the student is aware of their limita ons, and to help the student to work safely with‐in their limita ons to reduce the likelihood of injury.

2. Lack of technical knowledge Young dance students o en try to use technique that they have not yet mastered. Inexperienced teachers may encourage students to perform movements for which they are not ready. Development of technical abili es through safe progressions must be understood by the dance teacher, who can then challenge stu‐dents in safe, sequen al steps.

3. Fa gue

This is also an important considera on in rela on to technique. When dancers become red technique dete‐riorates, leading to injury. The dance teacher must provide the opportunity for repe on and prac ce for effec ve learning, without driving the students when they are becoming fa gued. The teacher should under‐stand how to build the necessary stamina for their students to perform well and safely, along with their tech‐nical abili es.

4.2 Safe Dance Teaching Practices


4. Unrealis c expecta ons Teachers must recognise and manage the realis c capabili es of their students, and help the students to comprehend and appreciate their own abili es. Teachers must also be aware of considera ons which may appear periodically, such as growth spurts, puberty, changes in experiences such as moving schools and so on, which may have an ad‐verse affect on the abili es of previously competent students. Unrealis c choreographic expecta ons such as new or awkward movements, or repea ng movements too many

mes, can also lead to injury. Dancers may need me to adapt and develop a suitable technique or the strength and flexibility required. 5. Environmental causes The temperature in the studio or space where dance students take class, perform or rehearse needs to be sufficiently warm to prevent becoming chilled before, during or a er physical ac vi es, as muscular injuries are more likely to occur if dancers are not sufficiently warm. Also, an environment that is too cool affects the ability of the body to warm up effec vely before class or performance. On the other hand, heat overloading from combined environmental heat plus metabolic heat can lead to heat stress, and an environment that is too warm affects the ability of the body to cool down effec vely a er class or perfor‐mance. Heat cramps, heat exhaus on and heat stroke are all possible thermal injuries where the temperature is too high. Correct temperature regula on, clothing worn by students, regular hydra on, and appropriate fitness levels must all be monitored by the dance teacher. 6. Complica ons of injuries Injury in dancers commonly results in a reduc on of ac vity, and therefore a decrease in cardio‐respiratory fitness, and general fitness. General muscle was ng, or atrophica on is caused by inac vity, and the muscle bulk, tone, flexi‐bility and strength will all decrease. Muscle soreness, swelling and/or s ffness may also be experienced. If the break from dancing is extended, a gain in weight may also occur and depression is not uncommon in juried dancers who are required to take me out from dancing. Teachers must take these factors into account when dancers are required to sit out, and also when they return to class work and performance, and to modify the physical demands on the student as appropriate. It is desirable to provide a modified program to keep the student as ac ve possible, and advice a physiotherapist or other professional expert may be appropriate.

EXPLORE Learn more about some common dance injuries, and how to avoid them, at http://www.dance‐teacher.com/2010/08/10‐common‐dance‐injuries/. Another excellent resource for learning more about dance injuries, causes and treatments is Harkness Center for Dance Injuries, http://hjd.med.nyu.edu/harkness/patients/common‐dance‐injuries.


Reviewing the factors contribu ng to injury, we can see that the teacher plays a significant role in monitoring and guiding students as they learn and progress. A good dance teacher, as we have discussed before, needs a very broad range of skills and knowledge in a ri on to the technique of the dance style they are teaching. We now need to look at some of these topics in more detail. Anatomy and physiology of the human body Anatomy is the study of the form or structure of the body, and physiology is the study of how our cells, muscles and organs interact and work together.

LEARNING ACTIVITY Thinking about you own dance training or your dance teaching experience, describe an injury that has been sustained by yourself or one of your students.

1. Describe the injury, including a brief descrip on of the person who sustained the injury.

2. What do you think caused the injury? Was there an underlying cause?

3. What was the immediate management, and was it effec ve?

4. Was ongoing management required? If so, describe.

5. Do you think the injury could have been prevented?


A working knowledge of the structures of the body and how it moves and func ons means the dance teacher can be er demonstrate movements and steps, explain the correct technique and why it is important, and iden fy concerns and possible issues with student performance. This should include –

Anatomical terminology

Terms of posi on and direc on

Body planes

Func ons of the skeleton

Types of bones

Structure of bones

Bones of the axial and appendicular skeleton

Func ons of muscles

Types of muscles and their structure

Types of muscle contrac on

Types of joints

Synovial joint structure

Movements of the joints

Structure and func on are interconnected, and should always be considered together. Basic knowledge of the

following systems is also essen al –

Nervous system

Circulatory system

Respiratory system

Lympha c system

Endocrine system

Suppor ng knowledge includes –

Cells

Chromosomes

Genes

Organs

Recommended resources: Basic Human Anatomy: A Regional Study of Human Structure Ronan O'Rahilly, M.D. Fabiola Müller, Dr. rer. nat. Stanley Carpenter, Ph.D. Rand Swenson, D.C., M.D., Ph.D. Online version developed at Dartmouth Medical School h ps://www.dartmouth.edu/~humananatomy/ Inner Body Anatomy Explorer h p://www.innerbody.com Anatomy and Physiology, Algonquin College h p://lyceum.algonquincollege.com/lts/onlineCourses/anatomy


Alignment and ar cula on of the spine The following descrip on of alignment and its importance when teaching dance is an extract from Dance Is....a guide to the basic founda ons of dance, by Jane Andrewartha, based on the work of Laurel Martyn OBE, Laurel Martyn Publishing 2015 The first priority and responsibility of dance teachers is to develop an awareness of body alignment, in both s llness and mo on. Dance is a combina on of movements and poses, and therefore the understanding of alignment must include dynamic movement, poses and balances, as well as the fundamental standing alignment. Good placement and posture enable movements to be coordinated rhythmically, with a balanced harmonious picture maintained in both movements and poses. Func onal alignment enables –

the muscles and joints to move freely

good balance

rhythmical coordina on

a harmonious and aesthe cally pleasing performance

avoidance of injuries

Correct body alignment allows muscles and joints to move freely with no injurious effects to the physique, and is the basis of good balance. Stamina to sustain alignment and balance for an extended length of me is acquired gradually through a series of developmental exercises. Very young students cannot be expected to maintain their alignment for any length of me, but can begin stand correctly and with awareness in prepara ons and finishes. From this beginning, awareness and control can be developed throughout the early years of training. Alignment and stability in a range of posi ons is a fundamental aspect of learning movement, as all movement involves an element of stability. For young students, correct alignment includes placement of head and unstrained neck, open chest and shoulders, released ribcage, lengthened back, pelvis released downward, spine released forward and upward, correct alignment of thigh, lower leg and foot. Avoid shoulders li ed, pinched or too far back. Release the ribcage down with a big breath out. Ideal alignment occurs when the skeleton is lined up in such a way that gravity places minimal strain on the so ssues and joints of the body. In ideal alignment the muscles will be working in a balanced way requiring a minimum of effort to support and move the bones. It is energy‐efficient. Faulty alignment results in unnecessary muscle build up and tension in certain areas making movement less efficient. In faulty alignment certain muscle groups o en work over me to support and move the skeleton in its “off balance” posi on Correct alignment is a fundamental factor in safe dance teaching. A sound grounding in anatomy underpins the dance teacher’s ability to understand correct alignment in a range of contexts, both sta c and dynamic; to iden fy problems, and to assist students with the necessary correc ons. If dance teachers introduce the concepts and encourage good posture from a young age, aligned to the capabili es and physical developmental stages of their students, problems will not need to be corrected later on when it is difficult and some mes impossible to change established movement pa erns. Two excellent references for informa on regarding the alignment of common postural types and the issues associated with these postures are‐ Uptown Physical Therapy, Spotlight: Assessing Posture h p://www.uptowntherapy.com/newsle ers/Assessing‐Posture.pdf

Idea Health and Fitness Associa on, The Perils of Poor Posture, Kenneth Fowler and Len Kravitz, PhD, posted Mar 10, 2011 h p://www.ideafit.com/fitness‐library/the‐perils‐of‐poor‐posture


Human development From the preceding extract, it may clearly be seen that students have different capabili es at different ages and stages of development. We have already looked briefly at some theories about the stages of development, and a study of these stages and domains of development is fundamental for teaching dance safely and effec vely. Human development occurs across three domains – Biological, Cogni ve and Psychosocial. Biological Domain refers to growth, bodily changes and matura on. Cogni ve Domain refers to mental processes. Psychosocial Domain refers to emo ons, personality and social rela onships Dance teachers should study the characteris cs for each domain that are common to the age groups they are teaching. An overview which includes all age groups is highly recommended to gain a more detailed and thorough knowledge, as development in all the domains has a direct rela onship to choosing appropriate teaching styles and methods. Understanding how children develop, including the significance of body image and the changes that occur before and during puberty are essen al to ensure the safety and well‐being of your dance students. Recommended resources: Annenberg Learner: Life Span Development h p://www.learner.org/series/discoveringpsychology/development/dev_nonflash.html The Study of Human Development h p://highered.mheduca on.com/sites/0072820306/student_view0/chapter1/index.html Also review the work of Jean Piaget

LEARNING ACTIVITY 1. In your own words, describe ideal alignment

2. List at least four benefits of ideal alignment


Progressive development of movement skills Some movements may be safe if they are done correctly, and when the student has gained sufficient strength, flexibility and kinaesthe c awareness. A beginner will not have these skills or the awareness to understand that they are pu ng themselves at risk of injury. Based on a sound understanding of human development, the dance teacher must devise effec ve pathways for progressing movement skills from fundamental to specialised and guide their students’ development. It is also very important not to skip steps on the way, but to ensure that progressions are safely built on previous skills and abili es. Many dance organisa ons offer sets of syllabus work to guide teachers through this progression. However these are not offered for all dance styles, and those that are available have the common limita on of offering just one possible set of work from a vast range of op ons. Where obtainable, a relevant system of training will offer a more comprehensive mode of support for teachers. Class structure Sequencing movements from simple to more complex, and including warming up and cooling down ac vi es is crucial for the safety of the par cipants. The progression of movement throughout the class is also clearly linked to the above progressive development of movement skills. A tradi onal class format applies to most styles of dance, and these have been developed over me, based on the way the human body works and skills develop. We will discuss Class structure in more depth in Part 5: Planning Classes and Programs. Warming up and cooling down At the beginning of each and every dance class, students should perform a series of movements to prepare for the dance movements, technical exercises and increased ac vity to follow. This is equally important for every rehearsal and performance.

LEARNING ACTIVITY Write an outline of your own current warm up activities. Dot‐point format is fine.


As dance teachers, we must choose warm up movements that are appropriate for the capabili es and needs of our students, so we need to take a closer look at how these might vary. Young students need simple group‐based movements which are performed following the teacher, as the first part of each class. It is an excellent way to gain a en on and bring focus to the work to follow. As students grow and become more independent in their learning, they should be taught movements which meet their individual needs, and then supervised as they perform their individual warm‐ups. The teacher cannot perform mul ple individualised warm‐ups at the one me, and the students should understand the movements and the needs of their own bodies sufficiently to perform their warm ups without following. Ideally, warming up will now occur before class me, as there is always more to fit into a class than is possible. Warm‐ups should also be style specific, as each dance style has its own technical demands which require suitable prepara on of the body. To prepare for dancing, adjustments needed in the body include –

increased breathing and heart rate

increased blood flow carrying oxygen and nutrients to the muscles and wastes away from the muscles

Increased release of energy in the muscles

Improved func on of joints

Increased range of movement of muscles and joints

It takes me for these adjustments to occur, and sufficient me must be allocated in your class plans for an adequate warm‐up. Of course this varies with the requirements for different age groups, but for an adequate warm‐up for senior students, fi een minutes would be the minimum. Also remember that the adjustments dissipate within thirty minutes a er movement stops, so a er a break the dancer must warm up again. An effec ve warm‐up will cover all the major muscle groups, even for younger students, and for older students will also include more specific muscles. An inadequate warm‐up leads to performing more complex movements before the body is sufficiently prepared, with an increased likelihood of injury. Construc ng an effec ve warm‐up A warm up should include all of the following components ‐

Joint and muscle mobilisa on to reach full range of mo on eg dynamic stretching

Elevated cardio‐vascular rates with increased blood flow to muscles.

Increased body temperature – gentle perspira on

Style specific movements

Focus/Psychological prepara on

At least 15 minutes should be allowed for these ac vi es. On hot days, it is s ll important to ensure the body is adequately warmed‐up, even though it may already feel warm. The func ons listed above must s ll be properly prepared with gentle mobilisa on followed by gradually increasing intensity in movement.


Each dancer will require a warm up that is adapted to suit their own body, age, level of training, and movement style. This needs to be adjusted as the dancer grows and progresses, and also may vary for the student from class to class, depending on external factors such as the weather, the me of day, and other ac vi es recently undertaken. It will also be affected by any injury sustained by the student. Allowing me for a proper cool down at the end of class is also important to slowly decrease the breathing and circulatory rates to normal. Skipping the cool down can also result injuries later on. Suitable cooling down ac vi es can include –

Movements of decreasing intensity. Avoid suddenly stopping all movement.

Gentle stretches Ten minutes should be sufficient for cooling down. Rehydra on and pu ng on dry, warm clothing should also be encouraged. Stretching Range of mo on refers to the movement available at a joint. Each joint has a normal range of mo on in both flexion and extension, which can be measured and expressed in degrees. Flexion is when the angle between the bones at a joint decreases, or the joint is bent. A good example of this is pliés, when flexion occurs simultaneously at the hip, knee and ankle joints. Extension is when the angle increases, such as in a back bend or cambré derrière. In ac ve range of mo on, the par cipant creates the movement using their own muscles. In passive range of mo on, an external force is used to create the movement. Frequently the passive range is greater than the ac ve range, par cularly in joints which dancers desire to have a high range of flexibility. Dancers o en use stretching as a strategy to increase their flexibility, however it is not always performed safely. They also include stretching in their warming up rou nes, and again, it is not always safely performed. However regular use and correct stretching of muscles, tendons and ligaments surrounding a joint will help maintain a balanced range of mo on. On the other hand, injuries to these so ssues such as over‐use or over‐stretching will reduce range of mo on. So what should we know about stretching so that we can teach and supervise our students safely? ‘Stretching exercises should be reserved for muscles which are short and ght, and stretching exercise should be avoided if a muscle is long and lax.’ There are two main types of stretching that we need to understand, along with their benefits and disadvantages, and when it is appropriate to use them. Sta c Stretching In sta c stretches, the body is at rest, while a selected muscle or muscle group is gradually lengthened, generally to the point of discomfort, where it is held for between 30 seconds and two minutes. It is then repeated up to four

mes. The par cipant will feel mild discomfort and/or a warm sensa on in the muscle, but should never feel acute discomfort. Long and relaxed breathing should accompany the stretch.


Tradi onally sta c stretching was performed as part of warming up. It now seems that far from the desired outcomes of increased flexibility and reduced injury, when performed before exercise, sta c stretches may be detrimental on strength and the ability to sustain movements. As the stretch is held, tension receptors in the muscle are released, allowing it to lengthen further. Because of this relaxa on, the muscles are unable to react explosively in following class work. Also, this type of stretch, where the inten on is to increase range of mo on, can promote instability in the joint, increasing rather than reducing the likelihood of injury. Furthermore, a emp ng to increase range of mo on in this way before the joint is sufficiently warmed up is also unsafe. Lastly, due to the inac ve nature of the stretch, core body temperature can drop several degrees, meaning a lengthy session of sta c stretching is not ideal for warming‐up. However, when used as a gentle stretch to bring the joint to its regular maximum range of mo on, without undue stress, this type of stretch can be included in a warm‐up to ease out ght muscles and improve muscle balance around a joint. Sta c stretching a er class or in a dedicated stretching class which is correctly sequenced may help relieve stress and tension and safely increase flexibility. Adequate rest and recovery me a er this type of stretching is essen al. Dynamic Stretching Rather than releasing the muscle to achieve a stretch, dynamic stretching relies on muscle contrac on to achieve ac ve movement – stretching while moving. A good approach is to gradually increasing the range or speed of movements, such as in ankle or shoulder circles. This gradually increases range of movement, and the flow of blood and oxygen to muscles, prepares the body for physical exer on, leads to improved performance, and reduces risk of injury. Note that jerky, forced movements are not beneficial, and may even be harmful. The movement inherent in this type of stretching also raises and maintains body temperatures, so is ideal for warming up. Movement which are specific to the dance style can be used, making an excellent prepara on for the work to follow. It also energises the nervous system which is beneficial to coordina on and balance. Dance Aotearoa New Zealand, Stretching – a vital part of dancers training and prac ce, Tania Huddart for DANZ ©. www.danz.org.nz/Magazines/DQ/April2012/stretching.php About Health, What is Normal Range of Mo on? Elizabeth Quinn, Sports medicine expert, updated December 16, 2014 h p://sportsmedicine.about.com/od/glossary/g/Normal‐ROM.htm

Strengthening Stretching must always be balanced with strengthening. Remember from the discussion about stretching, that ‘stretching exercises should be reserved for muscles which are short and ght, and stretching exercise should be avoided if a muscle is long and lax’. So those long and lax muscles probably need strengthening, and in fact that strengthening should probably take priority over the stretching. Dancers are so in the habit of stretching, and it o en feel comfortable and familiar, that it’s o en hard to convince them of the importance of strengthening, which may require some effort. Importantly, many dance techniques require a lengthy and dedicated strengthening program, such as partnering and pointe work. Damian Howell Physical Therapy, Should you stretch first or strengthen first h p://www.damienhowellpt.com/pdf/stretch%20strengthen%20sequence.pdf


Allowing me for a proper cool down at the end of class is also important to slowly decrease the breathing and circulatory rates to normal. Skipping the cool down can also result injuries later on. Suitable cooling down ac vi es can include –

Movements of decreasing intensity. Avoid suddenly stopping all movement.

Gentle stretches

LEARNING ACTIVITY Now that you have studied the preceding topics further, write an outline of the warm‐up activities you now think are suitable for your personal warm‐up, and why you have selected them.

1. Movements and ra onale

2. What stretching and/or strengthening movements are appropriate to include in a warm‐up?

3. When is it appropriate to perform other stretching and/or strengthening movements and what are they?


Landing Impact Dancing o en involve steps of eleva on, to varying heights and with many repe ons. Understanding how to land from jumps is one of the best things you can do to prevent an injury from occurring. The ideal landing technique allow the dancer to absorb shock through the joints of the legs and feet. Alignment of the body and legs is important throughout the movement – in prepara on, at the height of the jump, and in landing. Land as so ly and quietly as possible, sinking into the finishing posi on, with the knees tracking correctly over the feet. Physical Contact Unplanned physical contact with other dancers, props and equipment can cause injury. Cleary understanding movement expecta ons, the space needed to perform movements and pa erns of travelling enchainements is a good way to help prevent injuries. Se ng and clearly explaining the protocols of performance spaces is also important. Fa gue Fa gue means weariness and a reduced ability for the systems of the body to func on at their best. It can be physical or mental and can happen for no obvious reason. Physical fa gue acts as a warning for the body to slow down in order to avoid injury. Expec ng a high level of performance when the body is fa gued is likely to result in muscle or so ssue injury. Mental fa gue may result in poor judgement and consequent accidents and injuries. Dance teachers must be realis c about what students can achieve and prac ce in any one session, and be aware of the other pressures that students experience in their busy lives that may impact on their physical and mental capaci es during dance class mes. Building stamina, taking breaks when necessary, planning a balanced class structure carefully and encouraging students to eat and sleep well are all good ways to manage fa gue and its impact on performance. Appropriate clothing and footwear Ill‐fi ng or inappropriate clothing and footwear is distrac ng and may be en rely unsafe. Baggy clothing may cause tripping and certainly prevents the teacher from seeing faults in alignment and technique. Ill‐fi ng shoes, whether too small or too big, can cause a range of injuries. As well as adhering to safe dance prac ces, wearing appropriate clothing is also a sign of respect and dedica on. By wearing the recommended clothing and footwear, a student is acknowledging their readiness to par cipate and learn. Appropriate clothing is fi ng but not constric ng, and should provide an appropriate level of warmth. Addi onal layers may be worn during warm up, but must removed immediately a erwards at the latest. Skirts and leggings should not be worn if they obstruct the teacher’s ability to observe correct alignment and technique. The appropriate style of shoe must be worn for the style of dance being learnt. Ballet flats, demi‐pointe and pointe shoes, taps shoes and jazz boots are all designed for specific dance styles, and are not appropriate for other dance styles. Relevant hair styles and a veto on all jewellery are addi onal safety requirements. Dance studios will generally have their own uniform requirements which adhere to safe dance prac ces.


LEARNING ACTIVITY Select your favourite dance style, and then complete the following table ‐

1. Write a list of the appropriate clothing and footwear for this style.

2. Give an example of what would be inappropriate? Why?

PLANNING CLASSES AND PROGRAMS

PART 5


As dance teachers, to create effec ve programs and classes we need to think about what we are trying to teach our students, and what we want them to know at the end of each session, at the end of the year, and in five years from now. We must help students to understand the movement itself, the space it occupies, the me it takes to perform it in a par cular rhythm, and the quality and expression that are necessary for the movement. All of these are needed for the student to develop the art as well as the technique of dance. In order to pass on an understanding of the what, how, when, where and why of each movement and exercise to their students dance teachers must be familiar with these themselves, through an analysis of dance. Movements and dance styles should also be related to their historical development and performance. Dance analysis may be undertaken for various purposes.

Suppor ng knowledge for dance teaching and choreography

Performance evalua on to improve technical execu on and performance quality

Apprecia on of dance as an art form and communica on of our opinions with others

Fundamental to the planning and teaching of classes and dance programs, skills in dance analysis enable the dance teacher to understand the func on of each part of the body in a given exercise or step, and how the movements are put together in amalgama ons and enchainements. Both technique and performance quality are important. The ability to accurately deconstruct the movements of dance and understand the individual components will enable the teacher to iden fy and teach the basics as a founda on, and then develop combina ons and progression which are suitable for their students. Movement Analysis Anatomy To be able to analyse the movement of the human body it is necessary to study its anatomy in rela on to movement and dance. The dance teacher must understand the body as an instrument, and teach the students about their bodies. Anatomical knowledge should be applied to dance learning for all students at the level appropriate to their development. Anatomical knowledge should enable the dance teacher to answer ques ons such as –

What is the range of movement possible with each body part?

What combina ons of movements are possible?

How do dance movements differ from everyday movements?

Correct anatomical terminology should be learnt and used as appropriate when teaching your students. Movement vocabulary Movements of the body are key to both the dancer’s ability to express themselves, and the choreographer’s ability to convey their ideas. Understanding how to describe, deconstruct, reconstruct, and combine these movements are the basis of dance teaching. As well as analysing movements, dance teachers must be able to ar culate verbal instruc ons and explana ons. Understanding and explaining dance begins with a vocabulary that describes the human body and its movements in terms of me, space and quality.

4.2 Safe Dance Teaching Practices


Using appropriate anatomical, movement and dance style specific terminology will assist the dance teacher to accurately iden fy, explain, discuss and create movements and movement combina ons. It will also support student learning, understanding, and self‐expression, as well as self‐evalua on for teachers and older students. Each dance style has its own vocabulary, and there are printed dic onaries and online glossaries of codified vocabulary for steps, and movement phrases. Some terms that may be useful for understanding and describing general dance movements include – Gravity ‐ Earth’s gravity gives weight to physical objects and in dance affects alignment, balance, jumping and

just about everything elsel Rela onship with gravity‐

Choreograpahers use the ideas of suspension to give the impression of defying gravity and release to give the impression of collapse, adding drama to performance.

Locomotor movements ‐ movements that take the body from one point to another, such as:

Walking

Running

Jumping

Hopping

Skipping

Sliding

Non‐locomotor movements ‐ movements which occur in a sta onary loca on, such as:

Stretching

Bending

Twis ng

Shaking

Extending ‐ Stretching, elonga ng or lengthening a limb away from the midline of the body Folding ‐ Flexing, bending the body or limb at a joint Rota ng ‐ 1. Pivo ng a body part inward or outward from the joint E.g. classical first posi on of the feet 2. Fully turning the whole body

E.g. piroue es

Alignment – Correct alignment of the bones will help avoid damaging the weaker parts of joint, and placing stress on the ligaments, and will assist the ability the balance and mobilize strength.

see 4.2 SAFE DANCE TEACHING PRACTICES, Alignment and Ar cula on of the Spine, and for leg and foot alignment,

see Engagement of the Feet which follows


Engagement of the feet ‐ Alignment of the legs and feet should be considered carefully. In standing, the load‐bearing joints of the ankle, knee and hip should stack directly on top of each other, with the foot poin ng straight ahead. Walking with the feet out of alignment causes stresses and accumulated injuries. In dance movements such as travelling steps and steps of eleva on, the forces are intensified, along with the risks of injury if alignment is poor. In addi on, techniques such as classical dance involve rotated legs and posi ons of the feet, again crea ng increased pressures and strains on the muscles and joints.

The dance teacher must insist on correct leg, ankle and foot alignment from the start of training, giving constant reminders and safe progressions in technical development, in order to avoid unsafe prac ces such as over‐rota on, and poor knee tracking. This is not being cri cal or fussy, but is developing strong and safe movement technique. Advanced technique in all dance styles is built on a en on to detail and extensive training over me.

Bases of support ‐

The dancer’s body makes many shapes as they move, and the centre of gravity of the body, the point in which the body would balance without a tendency to rotate, shi s with the movements. In a normal standing posi on, the centre of gravity should be at the upper third of the sacrum, but in dance movements and poses, It may even be located outside the body. A broader or larger base of support will provide more stability than a narrower or smaller one, providing more stability. The body is also more stable when the centre of gravity is lowered, such as in a crouching or kneeling posi on. Raising the arms overhead will shi the centre of gravity upwards, making it more difficult to maintain balance. The rela onship of the line of gravity to the base of support in another factor affec ng the centre of gravity. Regardless of the size of the base of support, the body will find balance when the line of gravity falls through the centre of it. Therefore asymmetrical, extended posi ons are less stable than symmetrical posi ons. This is used to great advantage in dance. Partnering is used to create a wider base of support and increased stability with a vast repertoire of interes ng shapes and movements. Movements which explore the rela onship between the centre of gravity and the base of support such as the suspend and release flow of contemporary dance, result in pleasing and crea ve sequences. Of course the base of support does not always have to be two feet or one foot, and explore the many possibili es and combina ons of body parts that can provide a base of support of various shapes can result in enjoyable movement tasks for young children and exci ng choreography. Dancers will need to develop strength for weight bearing by a range of body parts for the more advanced techniques.

Differen a on of the legs and pelvis ‐ The alignment of the pelvis affects the movement of the whole body. Tucking the pelvis (posterior

lt) shortens the spin with reduced flexibility and capacity for absorbing shock, ghtens the hip joint and impedes breathing movement. When lted forward (anterior lt), there is an increase in the thoracic curve, a protruding ribcage, and again, impaired breathing. The pelvis must be maintained in neutral alignment, but not held rigidly in place. It must be yielding and responsive to the movements of breathing and locomo on. If the pelvis is in neutral alignment, the hip joints will be able to move freely to the full range of mo on in all direc ons. When the pelvis moves out of neutral alignment, the movement of the hip joint is affected.


Ar cula on of individual body parts – As understanding and master of movement possibili es of each body part are developed, they can be combined in an endless range of amalgama ons, depending on the style of dance being learnt.

Technical skills Dance steps and sequences of all genres and styles will combine the following technical skills in various ways ‐ Isola on ‐ movement of one part of the body independently of the rest. This may be called isocentric isola on.

In African dance, the body is segmented into various areas of movement, with each area moving to different rhythms within the accompanying music. This is know and polycentric, and is very difficult to accomplish.

Coordina on ‐ the harmonious func oning of body part in movements In dance, we use posi ons of the arms and legs, and movement pathways such as port de bras to

assist with harmonious coordina on for aesthe c purposes. Coordinated use of head and eyes with all movements should also be learnt from the beginning. Correct focus with help with balance and turning, with expressiveness, and with aesthe c appearance.

Control ‐ Motor control, or coordina on of the muscles to produce a movement, requires interac on

between the nervous system and the musculoskeletal system. Specialised skills such as dance technique require well developed motor control. It also regulates balance and stability.

Balance and transference of weight–

Balance is an equal distribu on of weight and force. It applies to sustained technical poses and s llness, and also in movement and quick changes in body posi on. Transference is shi ing the weight from one leg to the other, or between other body parts, and balancing on various body parts or supported by the barre or a partner. This may occur on the spot or in locomo on. Varia ons in speed, height, distance and body shape add interest and meaning.

Stamina‐ Many dancers, even at professional level, find themselves red and/or out of breath at mes.

Fitness training may be required to achieve the necessary level of stamina for best performance and injury avoidance

Terminology for specialised techniques Terminology is vocabulary associated with a certain field of study, profession or ac vity; the special words or phrases that are used for a specialised subject or field. In dance, in addi on to the vocabulary that we used to describe movement, each genre of dance, and even some dance styles, will have their own specialised technique and terminology. Dance styles The dance genres and styles that we study and perform today have evolved over centuries. An apprecia on of the historical background and social and cultural influences including other art forms which have shaped these dance style will also provide a valuable support for teaching and learning. Looking at more recent mes, looking at the individual style and personal influences in the careers of your favourite dancers and teachers will give valuable insight into your current work as a dance teacher.


Historical context Some periods in Western dance history which have dis nc ve styles and include ‐

The Middle Ages

Renaissance

Roman c

Modern

Contemporary

There is no defini ve classifica on for dance as there is in science, but it can be useful to think of the broad categories as genres, which have a similar form, or technique, with sub‐categories or styles that vary because of the environment and people who have shaped it. For example, the fundamental origins of classical ballet technique as we now know it can be traced back to the courts of Louis XIV. In each country that has fostered that genre, including Russia, France, England and Denmark, a dis nc ve style has developed. Furthermore, individual companies and performers, schools and teachers, while adhering to one of these styles, have developed their own individual styles. Some of the dance genres most commonly taught today and examples of the relevant technical terminology include –

Classical ballet A form of dance origina ng in the 17th‐century French court with a codified movement vocabulary based on formalised posi ons and movements of the feet, arms and body, and the turned‐out posi on of the legs to increase range of movement. Advanced female ballet dancers work ‘en pointe’, wearing hard‐ pped shoes that enable them to stand on the ps of their toes.

Plié – a smooth and con nuous bending of the joints of the leg Ba ement tendu – extending the working leg to a fully stretched posi on on the floor Piroue e – a controlled turn on one leg

Jazz Jazz dance was developed in the United States by African‐Americans in the early part of the 20th century. It drew on African rhythms and techniques that isolated various parts of the body in movement. The name was first used during World War I, and by the 1920s jazz had been taken up by general society. Jazz is a major influence in Broadway show choreography, and is characterised by sharp body isola ons, a presenta onal aesthe c, high kicks and pelvic movements.

Fan kick ‐a high straight leg kick in which the gesture leg makes a swooping circular arc across the front of the body Body roll ‐ a rolling movement through the body Shimmy ‐ shoulder shaking, alterna ng in a rapid mo on

Tap First seen in the late 19th century, tap dancing grew out of American popular dancing. The name comes from the tapping sound made when the small metal plates on the dancer’s shoes touch a hard floor. This lively, rhythmic tapping makes the performer not just a dancer, but also a percussive musician. In its solo form, tap dance o en includes an improvised sec on that might be compared to a solo taken by a jazz drummer. Individual tap dancers are recognised for having their own dis nct voice or tapping style.

Tap ‐ striking the ball of the foot without weight transfer Toe p ‐ hi ng the toe of the tap shoe on the floor Brush ‐ striking the ball of the foot or the toe tap against the floor Bells/clicks ‐ clicking the heels together in the air

Contemporary Modern dance, later known as contemporary dance, developed in Europe and the United States in the early 20th‐century. Rebelling against classical ballet, early modern dance pioneers began to prac se ‘free dance’, o en in bare feet. It does not have fixed or established movement pa erns but rather is in a con nuous search for new forms and dynamics. Other art forms and current technologies are o en combined in performances, such as audio‐visual technologies, visual or fine arts, ligh ng, architecture and music.

Inten on – choices concerning space, me, weight and flow that give

meaning to the movement Ini a on – the body part of loca on from where movement begins – may be core or distal Opposi on – as one part of the body moves in one direc on, another part moves in opposi on.


Learning about the history of dance and the development of the myriad of genres and styles could be a life me study. For now, we are going to do some simple ac vi es to help us understand the web that connects our dancing, learning and teaching to that of others.

Folk Dance Many of our current dance genres are based on tradi onal folk dances which were created for ritual and social purposes. Several of these folk dance styles are s ll performed today in their tradi onal form.

V‐hold – handhold in a chain dance with the hands joined low, arms relaxed and elbows straight Promenade – take a low cross hand hold and walk forward Na onal dances including ‐ Hungarian czardas Irish jig Sco sh Highland fling Hawaiian hula

Hip hop Hip hop dance originated on the streets of New York City among young La no and African‐American men during the mid‐20th century as part of the culture of rap, scratch music and graffi art. Break dance was originally the most common style of this constantly evolving genre. A newer development that came out of Los Angeles is the freestyle, high energy and confronta onal krumping, in which the dancers some mes use physical contact and weight sharing. Hip hop dance and music, which became interna onally popular in the late 1970s, are now o en incorporated into theatrical dance.

Breaking ‐ involves gymnas cs moves performed on the floor with speed and intensity Popping ‐ isola ng a movement in a jerky fashion Locking ‐ large and expressive moves linked with freezing, synchronised with music

Ballroom Social or compe on dances in which couples perform set moves. Many dances are influenced by dance tradi ons from La n America, which are recognised for being fast paced and expressive. Other dances descended from tradi onal partner dances performed in the 19th century in Western society.

Leading – communica ng intended ac ons to the follower Lock – a ght crossing of the feet and lower part of the legs so that the back leg becomes locked behind the leading leg un l the leading leg moves forward. Dances include‐ tango, waltz, foxtrot, cha cha, lindy hop

LEARNING ACTIVITY What is your preferred dance style? Which dance style are you currently teaching or learning? Let’s see if we can trace this style backwards into history by completing the following table. Carry out

1 Dance class /style

2 Dance genre


3 Current administering body – eg dance society (if applicable)

4 Significant individuals who played a role in the development of the par cular style, including when and where

5 Significant individuals who played a role in the development of the genre, including when and where

6 General historical background Eg tradi onal folk dance

LEARNING ACTIVITY From the table of dance genres, choose one style that you are less familiar with, or have not studied. Research some further information about this style, and a list of relevant terminology. Do the same for your favourite dance style. Did you find any similarities between the two? Write about these in the table below –

DANCE STYLE 1 DANCE STYLE 2

KEY FACTS

KEY TERMINOLOGY

SIMILARITIES


The more you know about the dance styles you are teaching, the easier it is to understand the underpinning ra onale, structure, and mo va on for their crea on and popularity, and to teach this effec vely to your students. It will also give you skills to analyse performance works, iden fying influences such as style development, the poli cal, cultural and social contexts, and the structure of the work and its component movements. Dance composi on Choreographers develop their own individual style, strongly influenced by their experiences and personal influences. Knowledge of an extended range of dance styles gives the choreographer more choices to work with and develop. Knowledge of the works of other choreographers, both past and current is a good way to start thinking about the work you are going to create. Iden fy the ways others have structured and arranged the elements of their works can be a great way to find inspira on for your own work. To help you do this, we will take a look at the elements of dance and composi on, and how to describe them. Space Vocabulary which helps the student understand their own space, their shape in that space, and the rela onships of their own bodies to the larger space around them and other objects and bodies sharing that space includes – Spa al awareness –

An awareness of where people and things are in rela on to oneself in space. Understanding how the human body moves, le from right, how not to stand too close to others in a dance class, and facing given direc ons are all aspects of spa al awareness.

Levels ‐ Low, middle, high Size ‐ Large/huge or small/ ny movement and shapes Narrow and wide Shapes ‐ Straight, bent/angular, rounded/curved, twisted Symmetrical and asymmetrical Posi ons ‐ Of the feet, arms, body In front and behind, above and below Rela onships ‐ Near and far, above and below, in front and behind Direc ons ‐ Up and down, forwards, backwards and sidewards, outwards (en dehors) and inwards (en dedans),

upstage and downstage, clockwise and an ‐clockwise, diagonally, towards and away, in and out, around, over and under, through,

Pa erns ‐ Circle, square, grid, staggered lines, cross Pathways ‐ On the floor or in the air Straight, curved, zig‐zag Focus ‐ Where the dancer looks in movements and poses Direct – Indirect or mul ‐focus


All of the aspects of space, and experimenta on with varia ons of them should be used by the choreographer in crea ng an exci ng and expressive work. Time Vocabulary which helps the student understand me rela onships, how me is organised in rela on to their own movements, and the effects of varying me rela onships includes ‐ Time signature –

The grouping of beats in a recurring pa ern The amount and type of beats or notes in each measure

Tempo ‐ The rela ve speed of a movement or movement phrase

Slow, medium or fast, accelera ng or decelera ng

Beat ‐ The basic unit of me

Dura on ‐ The length of me the beat or movement lasts

Accent ‐ A musical emphasis or strong beat that usually occurs at regular intervals. It can also be a strong movement or gesture

Rhythmic pa erns – The pa ern of the beats, a repeated sequence of accented (strong) and unaccented (weak) beats Regular or irregular Simple or complex Natural breath rhythm Phrasing‐ A division of a musical or movement composi on, o en eight measures The phrase appears complete in itself when removed from the rest of the work. Similar to a sentence in spoken and wri en works. Dynamics Vocabulary which helps the student understand the rela onship of me, energy, weight and quali es of movement. Energy ‐ The capacity of a physical system to perform work. Release of energy – How movement is ini ated and performed

The amount of energy used in a given movement can create a range of effects. The same movement can be strong or light, or anywhere in between. The use of energy also affects the flow from one movement to another, one movement phrase to another, and so on.

Force ‐ Strength or power exerted on an object or body

How the body uses force while moving

Heavy / Light

Sharp / Smooth

Tensed / Relaxed

Bound / Flowing Bound = releasing energy in a controlled, restrained manner Flowing = releasing energy freely


Dynamics ‐ the applica on of force over me, producing certain quali es Quali es of movement – Sustained, percussive, suspended, swinging, collapsing, vibratory Structure Intent ‐ Subject ma er, concept, significance, sense or interpreta on to be communicated in the work Mo f ‐ A dis nc ve and recurring gesture, movement or short phrase that is used to provide a theme or

unifying idea Mo f development – A selected mo f is used as the basis for crea ng a sec on or whole work.

Choreographic techniques such as repe on, inversion, me varia ons, ornamenta on, and deconstruc on can be used to create varia ons of the mo f.

Phrase ‐ A movement sequence which generally matches with a movement phrase Sequencing ‐ Planning movements and phrases so that they logically develop, giving con nuity, order and

meaning to the finished whole. Transi on ‐ Moving from one movement phrase or sec on to the next; a connec ve bridge between sec ons or

parts of a dance. Smooth transi ons are desirable, and poor transi ons are distrac ng. Unity‐ Each part of the work must contribute to the whole, and they must all flow together; a fusion of the

parts of the dance to heighten and strengthen the total effect. Varia on and contrast –

Avoid repea ng a movement or phrase too many mes in exactly the same way. Change direc on, ming, dynamics; change the side of the body; use contracts in force, me, shapes

and pa erns; vary the part of the stage of the studio where the movement takes place Repe on ‐ Repea ng a theme or mo f can create emphasis, interest or understanding. Rela onships ‐ the way the dancer relates to other individual dancers, groups and objects. Group shapes and pa erns, near and far, connected and apart, leading and following, mee ng and

par ng, mirroring, moving in canon, supported Form The form of a dance is the way it is organized. Many of these are similar to musical forms. AB A composi on with a 2‐part structure. The second part is different from the first part. ABA A dance with a 3‐part structure. The first and third parts are the same, with a different second part. Rondo An expansion of the ABA form, it uses a recurring theme interspersed with contras ng themes –

ABACADA


Theme and varia on The first part is performed and then altered in various ways – A, A1, A2, etc Canon Individuals and/or groups perform the same movement phrase beginning at different mes. Narra ve The composi on tells a story Aural elements Music, sounds, implied rhythms Complemen ng or contras ng with movements Visual elements Elements of stage design including costumes, stage design, props and ligh ng Complemen ng or contras ng with movements and choreography Now that we have looked a li le at the components of dance and dances, we need to think about how they are learnt and developed.

We have briefly men oned progressive development earlier, and it is such an important part of planning and teaching dance that we now need to take a closer look at it, as we prepare to write course and class plans. Based on a model of development in which the teacher understands the beginning and the end, it should be possible to plan a progressive pathway which includes all the necessary components and their logical development from start to finish, and also facilitate changes when necessary to accommodate student growth pa erns and the poten al needs that we have previously iden fied. Development of exper se in dance skills to professional performance level takes many hours over many years. Gaining mastery of any performance based skill is a long and intensive process, with systema c and dedicated prac ce a given necessity in order to reach this level of ability. Young dancers need to learn basic movement skills as a founda on for technique. If they do not learn these skills before puberty, it can affect their long term abili es and success. Focusing too much on technique before the basic skills are learnt can actually retard progress at a later point. Furthermore, these technical skills are o en in advance of the developmental stage of the student. On the other hand, learning and prac sing a broad range of basic movement skills when they are young will help dancers to move be er, develop be er technique, and avoid injury. Do your young students know how to perform simple jumps, rolls, balancing, sprints, skipping, throwing and so on? Do they experience these at school? These days the opportuni es for children to par cipate in these simple physical ac vi es is generally greatly reduced, and so we must provide them in our dance classes to fill in the gaps. These can be combined with introductory dance movements without idealis c technical expecta ons, discovery of musical me and rhythm, and crea ve explora on. Technique and specialised movement skills are then introduced in line with the physical and psychosocial development of the students, and are not forced from above. Children who are passionate about dance will clearly show this by their commitment and focus at the age when specializa on and increased intensity of training become appropriate, around the age of ten or eleven.

5.2 Progressive Development


DynO en students are becoming more enthusias c and focused just when their bodies are changing, making familiar movement skills more challenging. Insistence on perfect technique can cause frustra on and loss of confidence. It is important to recognise when growth spurts are occurring, and adjust the balance of the class content accordingly. What other skill development can you work on at this me? Cogni ve abili es are also changing, and students now appreciate the overall picture of their dance training, and you can create ac vi es based on this. They also enjoy the social aspects of dance, and are now ready to work effec vely with others. Above all, they are dance students, and will always need to move and par cipate in crea ve ac vi es. The research and applica on to tennis as a movement technique discussed in this ar cle is very useful when applied to teaching dance. Tennisplayer.net, Progressive Development Part 1, Paul Lubbers, PhD h ps://www.tennisplayer.net/public/high_performance/paul_lubbers/progressive_development_part_1/progressive_development_part_1.html

Goals and objec ves are the results we expect to achieve through our efforts or training course. For the purpose of this Module, we will consider goals to be the desired long‐term outcomes of a course of study which is usually one year in dura on, and objec ves to be the desired short‐term outcomes of each individual class. To extend this concept either side of these, we might also look at goals for a course of study which is several years in dura on, and objec ves for each exercise that comprises a dance class. Learning goals are specific statements of intended student achievement, describing what students should know or be able to do at the end of the course. Related tasks may then be developed and undertaken leading to the acquisi on of the required new skills and/or knowledge. To set goals and objec ves, you need to know what it is that you want your students to learn. If we understand the components of dance, and the stages of human development, with the expected physical and psychological capabili es for each stage, we are in a good place to look at iden fying the goals of an exis ng course of study or crea ng our own course. Goals and objec ves are a way of se ng the standard for expected achievement, and a measure for success. Achieving goals has a posi ve effect on feelings of success and sa sfac on, and the opposite is also true. They should therefore be challenging but achievable, with a clear ra onale and purpose. Goal se ng is a great way to create mo va on and enthusiasm in your students. Appropriate goals will energize ac vity and crea vity, encourage persistence and provide a sense of self‐worth when achieved. If students believe in the importance of the goals and objec ves they will show commitment and persistence, resul ng in progress and achievement. Consistent applica on and progress is the crux of learning. In a group of students, not all may achieve the exact same outcome, but all may learn successfully in pursuit of common goals. We must recognise the possible range of students in each group, and the variables including age, individual level of skills and knowledge, gender, and so on, that may affect se ng and achieving learning goals.

5.3 Setting Learning Goals and Objectives


Se ng a range of progressive sub‐goals can help all students maximise their personal achievements. While striving to achieve externally recognised standards for the whole group, we must always consider individual differences and op mise individual poten al. On the other hand, if students believe they cannot achieve a sa sfactory outcome, and there is no chance of reaching a goal, they are likely to lack mo va on, and may not even try. A strategy to increase mo va on could be to allow students to par cipate in the goal se ng process. Clearly the extent of this par cipa on is highly dependent on the age and ap tude of the students, but could begin with something as simple as the choice between one exercise and another, both of which the teacher understands to be leading to the desired outcome. Goal se ng can also help by focusing a en on on the aspects that are important to achieve the desired outcomes, and reduce me wasted on unnecessary ac vi es, keeping both teacher and student ‘on track’. Learning Goals for Dance Students Some general learning goals for younger students may include ‐

Exploring founda on movement skills

Basic understanding of the body

Gross motor coordina on skills

Establishment of posture and placement

Flexibility

Basic spa al awareness

Music awareness

Crea vity

Respect for teacher and other students

Discipline and appropriate behaviour – understanding rules and expecta ons

Confidence and self‐esteem

Engaging with teacher and class work, including focus and concentra on

Knowledge of terminology

Crea vity

Some general learning goals for older students may include ‐

Development and refinement of technique

Fine motor coordina on skills

Development of strength and stability in correct alignment

Understanding of body mechanics

Fitness

Increase musical knowledge

Ability to understand and use terminology related to dance style being studied

Performance quali es – musicality, expression, movement quali es

Willingness to venture out of comfort zone, take risks

For each group of students that we teach, we need a set of more specific learning goals. Syllabuses that are available from many dance organisa ons provide a list of exercises and amalgama ons or enchainements (steps joined together) at a specific standard, but generally do not give details about the purpose, form and teaching ra onale. Learning outcomes might be set by the school principal and/or senior teachers, and you might also find lesson plans previously used by teachers at the school or available to you by other means are useful to help you iden fy appropriate learning goals and me frames


For a group of ten year old students, the following learning goals may be appropriate –

Now we can combine the list learning goals and the appropriate syllabus together, to iden fy an exercise, or range of exercises, to support each learning goal, and also iden fying the purpose of the exercise at the same me.

PERFORMANCE

1 Consistent demonstra on of correct alignment while sta onary and while travelling

2 Awareness of the body in both personal and general space

3 Rhythmic accuracy when moving in me to musical accompaniment and the ability to an cipate the beat when required

4 A range of movement dynamics demonstra ng expressiveness

5 Projec on of confidence and energy while dancing

6 Crea ve performance in spontaneous solu ons to improvisa onal prompts

APPROACH 7 Commitment and perseverance

8 Prompt grasp of movements, exercises and combina ons

9 Responsible prepara on before class

LEARNING ACTIVITY Read the example given below. Choose two more learning goals from the list above or describe some of your own ideas. Assign suitable steps or exercises to these learning goals. If you are using an official syllabus from a dance organisation, you will be able to be quite specific with your selection of exercises.

A Awareness of the body in both personal and general space Personal ●Direc onal poses (facing a corner) and the beginning and/or end of steps and exercises

eg croise devant, arabesque ●Turning

General ●Travelling combina ons in pa erns ●Steps of eleva on eg sautés, echappés

B

C


For each group of students that we teach, we need a set of more specific learning goals. Syllabuses that are available from many dance organisa ons provide a list of exercises and amalgama ons or enchainements (steps joined together) at a specific standard, but generally do not give details about the purpose, form and teaching ra onale. Learning outcomes might be set by the school principal and/or senior teachers, and you might also find lesson plans previously used by teachers at the school or available to you by other means are useful to help you iden fy appropriate learning goals and me frames Planning a course involves making choices about what you want the students to do and why. Having a tangible plan of ac on helps you to stay focused on achieving your goals and objec ves. Here are some steps to work through to assist your planning. 1. What do you want your students to learn? What should they be able to do when they have completed the

course? What knowledge, skills and a tudes would you like your students to have, and what do they need to follow their an cipated career in dance? Once you have determined the learning outcomes or goals for your students, you can design your course so that your students will reach those goals.

2. We have looked at how to determine this in some detail above. Now you can start making a list for your own students.

3. What do they already know?

4. Of course we do not need to spend me on content that is already known. Time to complete the extensive and intensive learning required in a dance course is already too short in most cases. It is really helpful to have an accurate assessment of student knowledge and ability before planning commences, and this is discussed elsewhere in further detail.

5. Once you have determined the first two points, you will be able to break down the goals into steps or sub‐goals, and to set a me frame for each one. Remember that the content may seem easy and familiar to you, but it is new and unfamiliar to the students who are experiencing it for the first me.

6. Now these sub‐goals can be further broken down into objec ves and allocated to a meline of classes. What is the logical order for the content of the course? How many classes will you be teaching in the term, semester and year? How much of the available me can you expect to be taken up with commitments such as concerts and compe ons? How will holiday breaks affect progress? How much revision me will you need to allow?

7. Consider the amount of prac ce me that students will need to meet the iden fied goals. Remember to include this important aspect in your planning and adjust your expecta ons to the amount of me students will dedicate to their dance studies, especially as they progress to more difficult work.

8. External factors such as class size, student demography and suppor ng resources available can also influence the choices related to course design.

9. Include in your course plan the order of content development to ensure logical progression, and ideas for appropriate assignments and assessment strategies.

Looking at all these components, you can see how se ng out an overview of the full course will help you administer it more effec vely. Efficient me management skills including a methodical and logical approach will also help you manage your work load. To complete your course plan you will also need to take a closer look at the typical structure of an individual dance

5.4 Writing Your Course Plan


LEARNING ACTIVITY For your favourite dance style, select an age group and complete the following table or create your own course outline –

Class name

Average age of students

Prerequisites or previous experience of students

Course description, including goals, objectives and expectations, and duration of course

Required equipment, resources, uniform, etc

Class schedule

Attendance and participation policies

Assessment details and grading standard


Having a tangible plan for each class will ensure that all elements are included with the op mum me allowance for

each. To do this effec vely you need to include sufficient details about the performance and purpose of each exercise

or ac vity, the expected outcomes, and the me allocated to it.

Wri ng down the objec ves for each class will help you stay focused on the immediate task at hand while keeping in

mind the important bigger picture.

When you are new to teaching, planning also gives you a chance to consider aspects of the class such as –

What teaching approach do you intend to use?

What prepara on is required before the class?

What problems might you an cipate?

How might you deal with these problems?

Considering possibili es like this will reduce your uncertainty in the unfamiliar teaching role, giving you a plan of ac on to rely on if needed. Although a certain level of detail is valuable, planning down to the fine details can be a waste of me. In our mind we can see clearly how we want the class to unfold, but it is also influenced by the students, who are individuals with other ideas and experiences, and things do not always follow the course we plan. Be prepared for this to happen, and be adaptable to what occurs. Some mes the best experiences arise from just this sort of situa on if we are able to go along with it. A good lesson plan outline should fit on one sheet of paper so that you can see the overview at a glance and refer to it easily when teaching. Some mes you might also want a more detailed version with explana ons and counts, which could be a separate document. A good lesson plan is also clear and easy to follow. Another teacher could understand what you have wri en and teach the work to your class in an emergency, and when you teach a similar class in the future, you can refer back to your filed plan, reuse the successful parts, and adjust the parts that were not as successful. You may also find it useful to show how each lesson plan connects with the previous and subsequent plans, and with the overall course plan. Another benefit of well wri en class plans is that they make it easy to review and evaluate all aspects of your classes – what went well, what didn’t, and what could be improved in the future, and what adjustments might be needed for the next class. If you don’t plan properly, you may well s ll teach a class that is fun and engages the students, but you may also find that you are wandering aimlessly from one exercise to the next, without achieving progressive objec ves and goals, that is, without your students making consistent and comprehensive progress. What you teach may have li le rela on to what was taught earlier, and prepara on for progressions may be incomplete. You may also find that you haven’t prepared the necessary materials or brought the right equipment to class. Spending sufficient me in the planning stage is certainly going to be beneficial in the delivery stage, and is an

5.5 Planning Classes


How to sequence a dance class Following safe dance prac ces, every class should be sequenced to gradually increase in intensity, dura on and difficulty, and then decrease gradually before the finish of the class. This is a logical and safe approach, and should be followed in every class. Also, modifica ons to the planned class can easily be made following this reasoning. Planning for each different dance style will vary, however the following components should always be included ‐ 1. Start with an introductory ac vity to help the students make an effec ve transi on from their everyday life to

their dance ac vi es. A discussion, review of previous material, explana on of what to expect, reading related material or looking at images, or performing an entrance and/or that has previously been learnt are all good ways to begin a class.

2. Warming up appropriate to age, dance style, and level of study, are essen al, and are discussed elsewhere in detail.

3. A key component of learning new movement skills is the opportunity to prac se. Students are learning new

movement pa erns that take many, many repe ons to become established. Time must be allowed for adequate repe on and prac ce,

4. Each lesson should be a balance between learning new movements, revising and prac sing those that are s ll being learnt, and crea ng new and exci ng amalgama ons of movement which are well know. Students enjoy each of these aspects in different ways. They like to repeat some movements they have mastered and can perform independently. They like to improve movements they are s ll learning. And they enjoy discovering new movements and combina ons.

5. Finish with a cool‐down ac vity, a review of what has been learnt in the lesson, and/or a reverence. Generally students are very a en ve at the start of class, so it can be a good idea to introduce new thoughts and concepts early in the class. At the end of class, a short review and discussion, giving the students an opportunity to contribute is a good chance to summarise achievements that occurred during the class, both for the whole group and individuals. For dance styles such as ballet, tap and jazz, it is usual to learn basic movements at the barre, prac ce them again in the centre for balance and control, and then move on to steps of eleva on and simple travelling combina ons to develop coordina on and dance quali es, before cooling down. A basic lesson structure for young dance students may include:

Gree ng, entrance, reverence

Discussion of new material to be introduced in the session, and items carried forward from the previous class, as

relevant

Teacher‐led warm‐up

Steps of basic technique, o en with support, such as barre work and floor work

Simple steps in the centre

Steps of eleva on

Travelling steps

Teacher‐led cool‐down

Short group review and evalua on

Reverence


For senior students, the lessons structure may be as follows –

Pre‐class warm‐up, as learnt, developed and individualised previously with the teacher

Gree ng, entrance, reverence

Discussion of new material to be introduced in the session, and items carried forward from the previous class, as relevant

Simple combina ons of basic steps, o en with support, such as barre work

More complex combina ons in the centre

Steps of eleva on

Travelling steps

Cool‐down – may be choreographed and repeated to finish each class

Reverence

More complex balances and turns, longer enchainements and bigger movements will be included for senior students. Don’t try to cram too much material into each class. There is no value in covering a lot of material if the students are unable to retain it. As you gain experience as a teacher, you will be able to an cipate where students might have difficul es, and build this into your planning. In all class planning, it is important to allow me for –

Gree ng

Explana on and discussion of work to be learned

Full demonstra on of all movements and combina ons, including those previously studied, with longer me allocated for teaching new combina ons or choreography

Clarifica on and repe on of any technique not understood or performed well

Time for repe on and prac ce

Opportuni es for students to ask ques ons and request help

Review and discussion of work a er it has been studied

Suppor ng resources As you write your lesson plan, make a note of equipment and learning resources you need to use. Crea ng this checklist as the same me as your plan, and then checking it before class, is a simple way to make certain you have everything you need.


LEARNING ACTIVITY PART A: For your favourite dance style, create an outline plan for a group of young students, including the five components listed above, and keeping in mind need for the intensity of the movements and exercises you select to increase gradually throughout the class, with sufficient time to decrease safely to normal activity levels at the end of the lesson. Part of the table has been completed to help you get started.

Class: ........................................................

Average age of students: ............................

Component Ac vi es Suppor ng Resources

Time allocated

1 Introductory ac vity Entrance and gree ng

5 mins

2 Warm up Star jumps, running on the spot, ankle circles, flex and stretch, knee folds, hip circles, spinal rolls, arm circles

10 mins

3 Review of skills previously learnt

Magazine images

4 New material to be introduced

Selected props

5 Finish


Con ngency Planning You will find that you cannot always follow your class plan exactly. Flexibility is an important characteris c of good teaching, and it is o en necessary, and some mes even your choice, to deviate from the plan. As you plan, it is a good idea to consider what might happen to change your plans, and what you might do if that happens, to help you stay calm make adjustments as you go. Wri ng down some of the things that might happen and your ideas for adjustment is a helpful exercise when you are new to teaching.

LEARNING ACTIVITY PART B As your students progress, your planning is likely to become more complex as technique and skills become more specialised. New and prior learning cannot always be split into separate components, but must be integrated throughout the class. For your favourite dance style, develop an outline plan for a group of senior students. You may use the table below, including as many components or sections as you require, or develop your own

Class: ....................................................

Average age of students: ............................

Component Ac vi es Suppor ng Resources

Time allocated

1

2

3

4

5


What do you do if a student suddenly feels ill? What can you do if students are not engaging with an exercise that you thought would take 15 minutes of class me? What is your response if a student has a good idea for an exercise or asks a ques on that is on a tangent from your plan? If you have considered a range of these possibili es in your planning, you will be more likely to respond immediately and posi vely, keeping control of the situa on.

LEARNING ACTIVITY What would you do in the following situations in a dance class?

1 In a class of 6 year olds, a student falls over while performing a skipping exercise

2 An exercise for a class of 14 year olds is too difficult. You par cularly want them to learn a movement that is in the exercise.

3 The music you have planned for an exercise is not suitable for the students

4 The class has gone very well, you have finished your planned class, and there is s ll ten minutes of class me le .


The purpose of exercises in a dance class is to help the dancer to dance be er. Every exercise has its own character, shades of quality and expression. Some exercises are slow and sustained; others are quick, sharp and lively. Movements learnt in basic exercises are later incorporated in the performance of enchainements and dances. The quali es that will be expected in the final performance should always be included in the exercises. Teachers must also iden fy the me taken to perform each movement, the appropriate accents and rhythm, and the spa al aspects. A variety of dynamics within each lesson is essen al. Analysing what they are teaching will help teachers to understand the what, how, when, where and why of each exercise– why an exercise is needed, how it is executed, when it is included in the class, and where it leads. Refer to the start of this sec on for more informa on about dance analysis.

The purposes of individual exercises include but are not limited to ‐

Awareness of body structure and ac ons

Alignment

Stability

Control and Balance

Weight Transference

Eleva on

Rota on

Isola on and Coordina on

Introducing new movements Movements and movement progressions should be introduced, explained and prac sed on their own before being included in different combina ons. The following steps will help you teach new movements ‐

1. Introduce the movement, using correct terminology and providing necessary background informa on such as

related movements or posi ons, progressions and developments

2. Carefully demonstrate once or twice. Do not rush this ini al demonstra on.

3. Give a full verbal explana on at the same me or separately

4. Repeat the demonstra on with correct ming and musical counts. Students should reproduce the steps in the

correct ming as you demonstrate

5. Ask if there are any ques ons or clarifica on needed

6. Students now perform the movement on their own, with the appropriate musical accompaniment and correct

ming. Carefully observe their performance.

7. Give feedback

8. Again ask if there are any ques ons or clarifica on needed to check for understanding

9. Provide opportuni es for prac ce and mastery of the movement

5.6 Creating Exercises and Amalgamations

Flexibility

Strength and Stamina

Turning

Falling

Spa al Awareness

Musicality

Technique


Take care to pass the responsibility of the learning to the students themselves as soon as you can. When you are demonstra ng, if the student stops moving when you stop demonstra ng, then they have not learnt the movement or combina on for themselves. You should demonstrate only enough to ensure that they fully understand what is required, and then allow them to work alone. It is a good idea to tell them that you are going to stop on a certain count or a er a certain movement, but they are going to con nue. They will soon become accustomed to working this way, and you should demonstrate less and less of the exercise. You can con nue to use verbal and visual cues and imagery, gradually fading these too as the students gain mastery are able to perform independently with consistently. Developing movements

Each student should always be regarded as a complete dancer at their own level of development. This means that all the components of dance should be learnt at that level, and then progress to the next. Favourite movements and elements should not be given unbalanced focus to the detriment of others. It is very difficult to ‘catch up’ these aspects at a later me, and gaps in training can be detrimental to the progress of otherwise promising students.

It is o en a good idea to learn a new movement in a supported posi on, such as at the barre, or si ng or lying on the floor. The next step is to remove the support by performing the movement standing in the centre.

Combining movements already learnt will create new challenges. Repe on and prac ce Prac ce is a crucial part of learning movement skills. In dance, movement skills allow the dancer to express themselves or the ideas of the choreographer, and must be developed to the point where they can be performed without thinking very much about the movements themselves. This takes plenty of prac ce! New movements must first be learnt and understood, and then developed. Learning new skills takes repe on, and building these skills takes prac ce. Adequate me must be allocated in your planning for each of these. You may have spent some me introducing a new movement, explaining it, and repea ng it several mes, but do not assume that it is mastered. It will need to be prac sed in many subsequent lessons before it is mastered and the next progression can be introduced. The whole process begins again! At the same me, keep in mind that repe on can also produce bad results. If the body or mind is fa gued, poor technique is likely, and repe on of the movement performed incorrectly will be counterproduc ve rather than beneficial. For senior students, opportuni es for prac se outside of class me may also be appropriate. Enthusias c students will want to prac se at home in between classes, especially when they are preparing for an assessment or performance. You may at mes ask students to do some homework on par cular movements before their next class, and students preparing for pointe work should be doing strengthening exercises daily. In these cases, you must make sure the students fully understand the movements they are prac sing, why some movements are not suitable for them to prac se unsupervised, and what a safe prac ce environment is.


How to write down exercises Experienced teachers will have developed their own favourite way of wri ng down exercises, o en in short hand. For new teachers, it is o en important that someone else can understand what they have wri en, so a full version is advisable. This also make referring to you notes in class much easier, and although me consuming, it can help you clarify thoughts and make decisions. For each exercise, include the following –

a. Music: ming and tempo

b. Music: counts and phrasing

c. Outline of exercise, including use of arms, head and eyes

d. The main purpose of each exercise. Many exercises, especially in senior classes, will include more than one

movement or element, but there should always be an iden fiable focus

e. The expected outcome

Example exercise: Simple waltz step on the spot (Year 2, Laurel Martyn Dance System Preparatory Program)

Music: 3/4 slow

Purpose: Moving to each count of the 3/4 me in the waltz step (Timing introduced in Year 1 with move on first count only)

Prepara on Stand in slightly rotated first posi on Stretch one foot to the side Arms held low to the sides (demi‐seconde)

Bar 1 Count 1 Step onto the extended foot with a bent knee (demi‐plié) Allow the head to incline a li le towards the foot

Count 2 Close the other foot to it li ing the first foot, fully stretched, to cou‐de‐pied posi on to the side

Count 3 Cut the li ed foot over (coupé) with the heel li ed (demi‐pointe) Maintain the posi on of head and arms

Count & Extend the other leg to the side to repeat

Bar 2, 3 Repeat twice

Bar 4 Close in demi‐plie in first posi on, stretch knees Arm finish in low posi on

Bar 1 Rise to demi‐pointes, li ing the arms forward

Bar 2 Hold the pose

Bar 3 Lower heels and demi‐plie, arms lower to low posi on

Bar 4 Stretch the foot to the side to commence on the second side. Arms reverse to low posi on to the sides.

Outcome: Begin with repe on of the waltz step only in sets of four Later add the rise Students will be able to perform the exercise unassisted


While dance can performed be in silence, accompanied by percussion or by music, music is generally a key element in the performance of most dance forms. Music adds another dimension to movement, and it is important that dance students know about and appreciate music, its variety and expressiveness, and some of the great composers of the past and present. Music for class work An important part of crea ng exercises and planning classes is the selec on of appropriate music. When your music is well chosen and prepared ahead of me, it makes a smooth‐running class more likely. It should never be selected just for coun ng me, but should reflect the me and quality of the movements and exercises you are teaching, so that students can respond to it and express musicality in every dance movement they make. The teacher must understand the movements well and the best ming, tempo, rhythm and so on for that par cular movement. For example, music with a quick tempo might fit well with a tap rou ne that has short, precise foot movements, but probably would not work for an adagio ballet enchainement where the dancers are performing sustained and graceful movements. Although dancers frequently count the music in a different way to composers and musicians, it is important that both teacher and students have a basic music vocabulary and can recognise different me signatures, rhythms and so on. Time signature Musical counts and ming help the dancer know when to perform movements and movement sequences, when to prepare, and when to pause. Bars are used to measure musical me, and the me signature indicates the amount and type of notes that are contained within each bar. 3/4 and 4/4 ming are commonly used for dance exercises and simple enchainements. 4/4 indicates four crotchets in each bar. This me signature is commonly used in many dance styles including ballet, tap, jazz, hip hop and salsa. Dancers usually count in sets of eight, which equal two bars. This is a movement phrase, and should match the musical phrasing. 3/4 indicates three crotchets in each bar. A waltz is a good example of this ming, and has an accent on the count of one. There are many other dance steps to this ming, with different accents and rhythms, such as the mazurka. Dancers usually count in sets of three counts for each bar, or they may use one count for each bar in sets or phrases of eight.

LEARNING ACTIVITY Each dance teacher will have their own preferred way of writing down exercises. Choose an exercise that you might teach in your favourite style. Using the example above to make sure all the information is included, create your own template for writing up your exercises. Spending some time now to create a comprehensive and clearly understood template will make writing up your exercises much easier, and also ensure that you can still understand and use them later on.

5.7 Music


In 4/4 ming, there are 4 crotchets in each bar or measure of music. The first or top note indicates the number of notes in the bar, and the second or lower number indicates the dura on of the notes and therefore of the whole measure. So in 3/4 ming, there are 3 crotchets in each bar. You can see how many me combina ons are possible using these two elements. Other me signature frequently used for dance classes include 2/4 and 6/8. Note values

Different notes have different dura ons.

Semibreve = whole note

Minim = half note

Crotchet = quarter note

Quaver = eighth note

In addi on, the total dura on of the measure must add up to the me signature, but the actual note lengths can be different. For example in 4/4 ming, a given bar could be comprised of 8 quavers, 2 minims, one semibreve, or any combina on of these adding up to the correct total value. Add rests into the combina ons, and the possibili es are endless. Rhythm This is the pa erns made by the combina ons of notes in each bar, the accents, pauses and pulses. It may be regular, following a strong beat at the start of each musical bar, or syncopated, with accents where they would not normally fall. Every musical style has its own set of rhythms, and dance styles are connected to these rhythms. Specific dance steps also connected to different rhythms. For example, we have already noted that both the waltz and the mazurka are perform in 3/4 me, but each one has its own definite rhythm. The waltz rhythm is 1,2,3, whereas a mazurka rhythm may be 1,&,2, 3 (there are many varia ons). Different combina ons of notes and rests will alter the rhythm although the me signature remains the same, and the feeling and quality of the music will also be changed. Since this is such an important part of expression in dance, the dance teacher must make certain that students experience and prac se a good range of rhythms in each class, and with a variety of accompaniments. Rhythm can exist without melody, (although melody cannot exist without rhythm), so we can use percussion instruments such as a drum for our dance rhythms, or our own breath rhythm as effec ve and crea ve accompaniment. A good way to learn about me signatures and rhythm is by clapping. Many fun exercises can be created from the earliest classes onwards, staring with simple mes and developing into complex rhythms in sequences, canon and so on. The musical rhythms of dance movements performed today o en reflect historical tradi ons. For example, both jazz and hip hop dance genres evolved concurrently alongside the corresponding musical styles. Many styles of West African dance are performed with tradi onal drumming rhythms. In ballroom dances such as the waltz and tango, the movements of the steps match the accents and rhythms of the musical form. Tempo Tempo is usually expressed as beats per minute (BPM), and may be measured by a metronome. If a crotchet is the note value used, a BPM of 60 means that there are 60 crotchet beats per minute, or one every second. A higher number of beats means more beats per minute and a faster tempo.


Before the metronome was invented in the early 19th Century, composers would indicate the tempo by one or two words. This was common in the 17th Century, when many of the important composers were Italian, so Italian words were o en used. Some examples of these are –

A comprehensive list of these terms and more informa on about tempo can be found at h ps://en.wikipedia.org/wiki/Tempo

Larghissimo Very, very slow 24 BPM

Lento Slowly 45 – 60 BPM

Adagio Slow and stately 66 – 76 BPM

Andante At a walking pace 76 – 108 BPM

Moderato Moderately 108 – 120 BPM

Allegro Fast and bright 120 – 168 BPM

Presto Very, very fast 168 – 200 BPM

LEARNING ACTIVITY For your favourite dance style, choose three exercises or movements, and select music that is appropriate .

EXERCISE /MOVEMENT 1

Time signature

Rhythm

Tempo


Time signature

Rhythm

Tempo


Time signature

Rhythm

Tempo


Phrasing A phrase is like a musical sentence, with a pause or cadence at the end. When playing wind instruments or singing, this would be the place to take a breath. We need to do the same with dancing, and when we are learning to dance, it is most common to take our movement pauses at the same me as the musical pauses. Later, choreographers can manipulate the movement phrasing in rela on to the musical phrasing to create expressive results. Pauses and an cipa on of the next step can be an important part of the composi on. Expression The rela onship between the dance movements and the selected accompaniment should encourage the students to demonstrate musicality and expression. Choosing the right music or other accompaniment will s mulate responses including diverse movement quali es and the expression of moods and feelings. Hints for choosing music It is important to accumulate a large library of music, or have ready access to a wide selec on, to help you find the best track for each exercise. Do not wait un l the class is under way to choose the music; this can waste a large amount of me, and your students will lose interest. Take me to listen to the full track before using it. Don’t assume that because the first 16 bars are suitable that the music will con nue in the same way for the next 32 bars. Music for ballet exercises will some mes have unexpected changes, and longer tracks used for contemporary and jazz classes o en have an introduc on that is quite long and useable, but then changes completely for the rest of the track. Also consider prepara ons and finishes to the exercises you set, which are be er when they are accompanied by music, but can be quite short on many dance class tracks. Also prac ce the steps yourself to the music to make sure it all works together. If you are very lucky, you might get to work with a live pianist or drummer. When these musicians are experienced at playing for dance classes, it will make your job much easier, and is fun and s mula ng for the students. If you have not worked with a musician before, it may take some me to get used to, and communica ng and coordina ng your plans with the musician both before and a er the class will be helpful. If you are using a sound system, make sure you are familiar with how it operates before class commences. If you are using your own equipment, make sure you allow me to set it up and ensure it is opera ng correctly. Helpful hints for choosing music for lessons –

It should be appropriate for the style of dance being learnt. Periodically choosing a track in a style that is not normally used can be fun and challenging.

It should be appropriate for the age group

Using a full piece of music with an introduc on and an ending is the best op on for shorter exercises and enchainements

Use a variety of ming, tempo and rhythm in each class

Use a combina on of familiar and new music in each class

Music for choreography As well choosing music for lessons, teachers will need to select music for performances. This is your chance to indulge your crea vity, and manipulate the rela onship of your music or other accompaniment with the dance movements. The choices you have for choreography are much wider than in your lessons. Depending on the performance context, the dance genre, and the choreographer’s intent, the music may be complementary or contras ng. Tradi onal dance styles will frequently use tradi onal or tradi onal‐style music, whereas more recent dance styles will use contemporary and experimental music, but this does not have to be so.

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All the musical elements that we have looked at in rela on to music to be used in your dance classes can be varied to suit your crea ve ideas. Musical rhythms, phrasing and moods are frequently used to reflect choreographic intent or influence the form of the work. Whether the choreographer adheres to tradi ons or defies them is also an indicator of their intent and ideas.

Planning and preparing for dance classes involves being confident in your professional knowledge and conduct. This means having a sound understanding of your subject material, what outcomes are expected for the students you will be teaching, what their current abili es are, what individual needs might need to be considered, and what is expected of you as the teacher. Previously we men oned about the different responsibili es the dance teacher might have in different teaching situa ons. Some mes you will be teaching an exis ng set of work, or syllabus, and at other mes you may need to create your own course. If you are using a syllabus that someone else has created, you will s ll need to consider many of the aspects that we

have previously discussed before you begin teaching the work –

Evalua on of what is to be achieved

How this fits into the graded requirements of the other levels of the syllabus work

Assessment of modifica ons which might be necessary for par cular student groups or individuals

Alloca on of work to metable classes

Structure of classes

Addi onal learning ac vi es to assist with learning the set syllabus content

If you are teaching for someone else, they are likely to want to review your teaching plans. This may be as simple as confirming that you understand how to go about mee ng the requirements of a set syllabus, or as complex as checking detailed course and class plans that you have wri en yourself. Wri ng clear and detailed class plans as you go can be a me‐saving measure in the long run. They also give you a great reference to look back on in your future teaching. What other considera ons might need some planning before you commence teaching? Let’s start with the organisa onal arrangements –

How is the studio set up? Do you need to plan classes and/or ac vi es in a certain way because of limita ons

with the set up? For example if the studio is an awkward shape, travelling exercises will need to be set in a

par cular pa ern.

If the studio is small, you will have to divide students into groups for many exercises, taking longer me to

perform, and crea ng the possibility of behaviour issues.

Are you responsible for being at the studio to monitor students before and/or a er classes? If so you will need to

plan your me carefully to be there early and allow me for se ng up before you are required to monitor the

students.

Does your class immediately follow another class? How does this affect your prepara on?

5.8 Your Role in Planning

WWW.DANCECOLLEGE.COM.AU


And also resources ‐

What learning resources such as equipment and props are required, what is available, and how will you plan to manage any iden fied gaps.

Is music provided, for example set music with syllabus work, or do you need to provide your own. It can take considerable me to source suitable music and plan suitable exercises to it.

Make sure that you understand at the outset what will be required of you in your role, and then allocate adequate

me for all the aspects of planning involved. This methodical and systema c approach will be me‐effec ve and helpful in the long term.

LEARNING ACTIVITY For your favourite dance style, choose three exercises or movements, and select music that is appropriate .

List and describe two aspects you will need to consider and plan before you commence teaching these classes. 1. 2.

Thinking about the studio space you will be teaching in, list and describe two aspects you will need to take into considera on in your planning. 1. 2.

List the resources you will need and how you will ensure it is available and ready to use.

THE THEORY OF TEACHING

PART 6


The dance teacher must demonstrate, explain and cue the exercises which comprise the class. Addi onally, they must choose the best teaching methods and strategies to mo vate and guide their students. The greater the range of methods and strategies that is employed by the teacher, the be er the chance that all students in the class will receive the intended message and understand the material.

Teaching methods can be broadly divided into two approaches; teacher‐centred, and student‐centred. Within each of these there are numerous varia ons. TEACHER‐CENTRED APPROACH The teacher is the main authority figure and the prime source of knowledge for the learners. Students receive informa on through direct instruc on – lectures and teacher‐led demonstra ons, with scored assessment as the end goal.

Direct instruc on is characterised by the following –

Content is presented in a direct, logical manner Organisa on and prepara on are important Good oral communica on skills are essen al for effec ve teaching Communica on is o en one way, with li le student par cipa on Specific learning targets are set Achievements are measurable

This may be an effec ve approach when teaching basic skills, and teaching large groups, but may produce passive learners who excel at following instruc ons but do not develop independent learning skills. They may be lacking in the suppor ng knowledge and internal mo va on necessary for advanced technical development. STUDENT‐CENTRED APPROACH Students play an ac ve role in the learning process. The main role of the teacher is to facilitate and guide student learning. This learning is con nuously measured during instruc on using both informal and formal forms of assessment.

Inquiry‐based learning is a student‐centred approach, based on student inves ga on and hands‐on learning.

O en facilitated in an open classroom environment Fosters student independence The teacher may be regarded as a ‘resource’ – answering ques ons, monitoring progress

Coopera ve learning is another student‐centred approach, based on the belief that learning is most effec ve when students work together and learn from their peers.

Group work is emphasised, along with a strong sense of community Mutual responsibility is fostered Students are ac ve par cipants in their learning.

When selec ng this approach, considera ons must include the inclina on of dominant students to take over the group ac vi es while more reserved students may not par cipate fully, and the need to take me to teach the students how to work in groups before expec ng them to be proficient at this.

6.1 Teaching Methods

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SPECTRUM OF TEACHING STYLES ‘The Spectrum is a unified theory about teaching and learning. It is a comprehensive framework for understanding the teaching/learning process. The Spectrum paradigm originated in the 1960s and has con nued to be researched, developed, and implemented in classrooms around the world” www.spectrumo eachingstyles.org accessed 18 December 2015 Further reading of informa on on this website, including the range of teaching styles, is highly recommended. There are nine ‘landmark’ styles explained in detail, with an infinite range of possibili es between each. An understanding of the styles and their varia ons allows the teacher to find a style that will connect the teacher, the learner and the informa on. The experience and skilful teacher will move between styles many mes in each class as the situa on changes. In her book ‘Teaching Dance: The Spectrum of Styles’, Dr Elizabeth Gibbons has adapted the spectrum to teaching dance and has iden fied the following styles –

LEARNING ACTIVITY Thinking about teaching dance, describe one example of when a teacher‐ centred approach would be beneficial, and one example of when a student‐centred approach would be beneficial.

Teacher‐centred approach:

Student‐centred approach:

Teacher‐centred

Style A: Cued Response Reproduc on Cluster

Style B: Prac ce

Style C: Reciprocal

Style D: Self‐Check

Style E: Inclusion

THE DISCOVERY THRESHOLD

Student‐centred

Style F: Guided Discovery Produc on Cluster

Style G: Convergent Discover

Style H: Divergent Produc on

Style I: Individual Program

Style J: Learner‐ini ated Style

Style K: Self‐teaching



Gibbons has also included sample lesson plans, criteria sheets, and detailed discussion of many of the aspects of teaching dance. This is an excellent reference for both student teachers and those already experienced, and is highly recommended for this module of study. Teaching Dance: The Spectrum of Styles by Elizabeth Gibbons, AuthorHouse (July 25, 2007). ISBN‐10: 1434312062, ISBN‐13: 978‐1434312068

YOUR PERSONAL TEACHING STYLE The approach you will use depends on many factors, which o en are not constant, but change with the different situa ons you will experience in your teaching career. These aspects include –

Student age, developmental stage, and prior experience

Class and/or course content and goals

Resources including me, space and suppor ng materials

Preferred learning style/s of students

Preferred teaching style/s of teacher As you gain experience as a teacher, your con nuous learning will also have an impact on how you impart your skills and knowledge.

Did you find that these aspects fall under one style, or are there aspects of all styles that might be valuable to you? The learning models should not be used rigidly, with all aspects followed to the le er, but should be used to give guidance, mo va on and support to your own unique teaching approach. In prac ce, teachers must be adap ve and inven ve, ready to change their approach in response to the unfolding of the teaching session and the needs of their students. Following a teaching model without ques oning and adap ng it can lead to lost opportuni es and hinder progress.

EXPLORE Explore ‘The Spectrum of Styles’ by Elizabeth Gibbons. How can this informa on be adapted to dance classes?

LEARNING ACTIVITY In the box below, write down a total of four aspects from any teaching style that you would like to include in your own teaching.

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SPECTRUM OF TEACHING STYLES ‘The Spectrum is a unified theory about teaching and learning. It is a comprehensive framework for understanding the teaching/learning process. The Spectrum paradigm originated in the 1960s and has con nued to be researched, developed, and implemented in classrooms around the world” www.spectrumo eachingstyles.org accessed 18 December 2015 Further reading of informa on on this website, including the range of teaching styles, is highly recommended. There are nine ‘landmark’ styles explained in detail, with an infinite range of possibili es between each. An understanding of the styles and their varia ons allows the teacher to find a style that will connect the teacher, the learner and the informa on. The experience and skilful teacher will move between styles many mes in each class as the situa on changes. In her book ‘Teaching Dance: The Spectrum of Styles’, Dr Elizabeth Gibbons has adapted the spectrum to teaching dance and has iden fied the following styles –

As we have previously considered, each student has their own individual learning style. How then do we effec vely teach or train a group of students, when each one’s learning needs are different? Again we may look to the theorists and academics for assistance. Regardless of the focus of the teaching approach, whether it is teacher mo vated or student mo vated, there are common basic principles of instruc ons, and many models may be found to give guidance for teachers. An outline of some examples follows. ROBERT GAGNE’S NINE LEVELS OF INSTRUCTION Robert Gagne, an educa onal scien st in the 1940s, iden fied a range of mental condi ons that he considered common to all learners, and he created a nine‐step process for effec ve learning. 1. Gain a en on

In the dance studio, a special entrance and/or curtsey are effec ve ways to gain a en on. A warm‐up lead by the teacher is another good idea. Other strategies may be needed at various stages throughout the class, for example at the beginning of a new exercise or ac vity.

2. Inform learners of objec ves Objec ves may be set for an individual session, for a term, or for a year. It is very beneficial for the students to have goals and objec ves such as external assessments, performances, or progression to pointe work to work towards. Session objec ves may include introduc on of or mastering a par cular step or movement.

3. S mulate recall of prior knowledge Build on what students have learnt previously and make connec on between that learning and what’ they’re learning now. There may be a good opportunity to share students’ previous experiences, par cularly when teaching a new or diverse group of students.

6.2 Principles of Instruction



4. Present the material Present new material in an effec ve manner. Be organised and logical with the order of presenta on. Use different teaching styles.

5. Provide guidance for learning

Assist your students to learn and retain the new informa on. Be prepared to offer alterna ve approaches and a range of suppor ng materials and object learning opportuni es.

6. Elicit performance

It is a major component of a dance class to require students to perform and physically demonstrate their new learning. Dance teachers should also ask ques ons to ensure that students understand their learning, and are not simply copying demonstrated movements.

7. Provide feedback

A er performance, or response to ques ons, by students, provide posi ve feedback regarding what has been learnt, and clarifica on of any aspects requiring improvement. See 7.4 FEEDBACK FOR STUDENTS for further discussion of Feedback

8. Assess performance

Assessment provides recogni on of success for the student, and informa on about progress for the teacher. Use a range of forma ve assessment tools to ensure your students are progressing as required. External summa ve assessments are also valuable benchmarks for the progress your students are making. Review of these assessments and feedback provided to the students at regular intervals is helpful for both teacher and students. See 7.5 ASSESSMENT OF LEARNING for further discussion of Assessment

9. Enhance reten on and transfer

Repe on is the best way to reinforce movement skills, so make sure that you offer your students enough opportuni es for prac ce, before moving to the next movement progression. These skills may seem easy to you, and as the teacher, they should be easy, but new movement skills can be very demanding to learn. As a dance teacher, it is very important to have a sound knowledge of human development, the physical capabili es of your students, and the processes of learning.

Encourage your students to iden fy ways in which the skills and knowledge they have gained can be transferred to other areas of learning, especially other dance styles.

Instruc onal Design, Condi ons of Learning (Robert Gagne) h p://www.instruc onaldesign.org/theories/condi ons‐learning.html M.DAVID MERRILL’S FIRST PRINCIPLES OF INSTRUCTION In this work, Merrill has iden fied what he considers to be the fundamental and invariable principles of good instruc on in any context. 1. Problem Centred

Learning is promoted when learners engage in a task‐centred instruc onal strategy 2. Ac va on

Learning is promoted when learners ac vate prior knowledge or experience 3. Demonstra on

Learning is promoted when learners observe a demonstra on

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4. Applica on Learning is promoted when learners apply new knowledge

5. Integra on

Learning is promoted when learners integrate their new knowledge into their everyday world 6. Implementa on

Instruc on is individualized, with the teacher facilita ng learning in small working groups. First Principles of Instruc on, M. David Merrill h p://mdavidmerrill.com/Papers/firstprinciplesbymerrill.pdf PRINCIPLES OF INSTRUCTION by Barak Rosenshine

1. Begin a lesson with a short review of previous learning.

2. Present new material in small steps with student prac ce a er each step.

3. Limit the amount of material students receive at one me.

4. Give clear and detailed instruc ons and explana ons.

5. Ask a large number of ques ons and check for understanding.

6. Provide a high level of ac ve prac ce for all students.

7. Guide students as they begin to prac ce.

8. Think aloud and model steps.

9. Provide models of worked‐out problems.

10. Ask students to explain what they had learned.

11. Check the responses of all students.

12. Provide systema c feedback and correc ons.

13. Use more me to provide explana ons.

14. Provide many examples.

15. Re‐teach material when necessary.

16. Prepare students for independent prac ce.

17. Monitor students when they begin independent prac ce. Principles of instruc on by Barak Rosenshine, Interna onal Academy of Educa on h p://www.ibe.unesco.org/fileadmin/user_upload/Publica ons/Educa onal_Prac ces/EdPrac ces_21.pdf

LEARNING ACTIVITY Research further details about these principles and other instructional models to find the approach that suits you as a dance teacher. Answer the questions below.

What would be an effec ve way for you to gain the a en on of your students at the start of a dance class?

Thinking about a dance class you currently teach or would like to teach, list two suitable objec ves for a session (class)



In addi on to the basic principles of instruc on, we must consider the different characteris cs of the age groups we

may be teaching, their stage of development, and the correlated capabili es and learning preferences.

TEACHING YOUNG CHILDREN

Young children are ac ve and energe c. They generally prefer direct, interac ve learning experiences. They prefer

learning that is immediately relevant and useful, rather than informa on that might be useful in the future. Ac vi es

and tasks should be hands‐on and involve social interac on, based on the content to be learned. Providing a range of

learning experiences is also important to cater for individual learning styles and needs.

Physically, the global (large) muscles in the limbs are more developed that the local (small) muscles, with the result

that younger students have more mastery over gross motor skills than fine motor skills, and are s ll developing

coordina on. They will be keen to do things by themselves, but will o en need quite a bit of help and repe on,

with strategies to keep their focus on the class content.

ASCD Learn Teach Lead, Teaching Young Children, Sco Willis

h p://www.ascd.org/publica ons/curriculum‐update/nov1993/Teaching‐Young‐Children.aspx

TEACHING OLDER CHILDREN

Older children are capable of logical reasoning. They are developing the ability to think in the abstract, so asking

open ended ques on will encourage them to think and reflect for themselves. Learning ac vi es should be

meaningful and interes ng.

Thinking about the same dance class, list one short‐term goal and one long‐term goal suitable for this class

How and when would you inform your students of these objec ves and goals?

What opportuni es can you provide for your students to give you feedback about what they are learning? List and discuss three examples.

What types of examples can you use to assist your explana ons and help your students learn?

6.3 Age Appropriate Instruction

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They enjoy challenges and risk‐taking, which should be encouraged in a safe environment. At this stage, they can retain 2 to

4 pieces of informa on, so teach new material in small chunks and plan your class around 5 – 10 minute ac vi es.

Physically, movements are smoother and coordina on is becoming well developed. Strength begins to develop as neural

pathways improve, and the balance mechanism in the inner ear becomes more refined. Differences between boys and girls

may begin to appear.

TEACHING ADOLESCENTS

Adolescence entails a great number of physical changes and emo onal developments and adjustments. It can be a very

difficult me, and students may experience problems in dealing with social interac ons and responsibili es. They o en

lack mo va on and experience confusion about themselves and the world around them.

Choices o en need to be made at this me that can affect the student’s professional development and op ons.

Physiological changes, psychological concerns, nutri onal needs and training demands and modifica ons must all be

carefully considered.

Teachers need to be understanding, suppor ve, and always model appropriate behaviour. Where possible, create

opportuni es for the students to make choices and express themselves, and treat their opinions with respect.

Adolescents can retain up to 7 pieces of informa on at a me, and can focus on a given learning task for up to 20 minutes,

so planning can now include extended and complex ac vi es.

IADMS Educa on Commi ee, Resource Paper: The Challenge of the Adolescent Dancer

h ps://www.iadms.org/general/custom.asp?page=1

Spots Manual 4 Learning Strategies, The Adolescent Brain –Learning Strategies & Teaching Tips

h p://spots.wustl.edu/SPOTS%20manual%20Final/SPOTS%20Manual%204%20Learning%20Strategies.pdf

TEACHING ADULTS (Andragogy)

Adult learners are usually self‐directed and expect to take responsibility for decisions. Therefore a different approach is

appropriate.

Malcolm Knowles, in his Theory of Andragogy, sets out the following assump ons ‐

Adults need to know why they need to learn something

Adults need to learn experien ally. Experience (including mistakes) provides the basis for learning ac vi es

Adults approach learning as problem‐solving rather than content‐oriented

Adults learn best when the topic is of immediate value and relevance to their job or personal life

Adults need to be involved in the planning and evalua on of their instruc on

Instruc onal Design.org, Andragogy (Malcolm Knowles)

h p://www.instruc onaldesign.org/theories/andragogy.html

Effec ve Adult Learning A Toolkit for Teaching Adults Developed by in partnership with Northwest Centre for Public Health

Prac ce, University of Washington School of Public Health, in partnership with The Network for Public Health Law

h ps://www.nwcphp.org/documents/training/Adult_Educa on_Toolkit.pdf



LEARNING ACTIVITY Think about a dance exercise that contains bending and stretching. For classical ballet, this could be pliés and tendus. For most dance styles there will be similar exercises or warm‐up movements. Assuming you are teaching an age‐appropriate version of the exercise to each of the listed age groups, explain two considerations for teaching this exercise in each context.

YOUNG CHILDREN 1. 2.

OLDER CHILDREN 1. 2.

ADOLESCENTS 1. 2.

ADULTS 1. 2.

THE PRACTICE OF TEACHING

PART 7


Thinking about your own learning and training, who were the teachers who helped you learn the most, and what was it about their teaching that you remember and admire?

As well as a range of teaching approaches, successful teachers use strategies to help them deal with the range of variable that exists in each class room and studio.

A stratagem is a carefully planned way of achieving something or dealing with it. There are many strategies to help you make classes more engaging, manage class room behaviour, and improve student learning. In any learning environment and regardless of the age and abili es of the student students, the teacher must interact posi vely and construc vely with the students, build trust and respect, and help the students to learn be er. Every experienced teacher will have a range of ideas that work for them, and tapping into the ideas of someone who is willing to share their knowledge is a brilliant way to begin your own collec on of strategies. Observing such teachers in ac on as o en as possible is highly recommended. To get you started thinking about prac cal strategies, here are a few ideas which you might like to try, some of them simple and obvious, and others that may be a li le more uncommon. Student engagement

Be prepared – the flow of the class is important. Once students lose interest it is hard to regain. Knowing what you are going to do next, and facilita ng a smooth transi on from one exercise or ac vity to the next will avoid was ng me and help maintain interest and a en on.

For example, in a ballet class, rather than have students run higgledy‐piggledy from the barre to lines in the centre, give them a li le travelling exercise, such as skips, runs, hops or triplets to music and following a leader in a pa ern, with prepara on and a finish. They will learn so much more from this than from just running randomly to the next place, and are more likely to stay focused.

LEARNING ACTIVITY In the box below, write down the name of your favourite teacher and list at least three reasons why you consider them to be effective in their teaching role.

7.1 Strategies for Better Teaching

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Show your enthusiasm for the subject. A lively introduc on to the topic gives students a feeling of purposefulness and interest, and energises them for the work to come .

Show why the subject is important. Show why the subject ma ers by drawing connec ons to other disciplines and to their overall educa on.

Acknowledge the students as individuals. Students work harder and respond more posi vely if they believe that the teacher thinks of them as individuals rather than just a group of students. At the same me, their membership of the group is also important to them, so keep an eye open for anyone who is not feeling accepted.

Give the students a sense of the difficulty and challenge of the material. A good teacher challenges the students from the first day.

Understand that the other ac vi es that students are par cipa ng in at the me will affect their energy levels and mo va on. For example, if they have already done two classes in other styles before star ng your class, you will need too pace your ac vi es accordingly. You may find it difficult to gain their a en on for a slow and quiet exercises if they have just recently been par cipa ng in big and energe c travelling combina ons. They may run out of energy early in the class if they have not had a recovery break for some me.

If students are becoming loud and exuberant, you may need to move to a quiet ac vity to fully regain their a en on. Speaking very quietly rather than raising your voice can be extremely effec ve in this situa on, if the idea is not over‐used.

Acknowledge individual and group achievements.

Encourage student to student observa on and feedback as students mature. Provide opportuni es for guided ac vi es where two groups or partners observe each other, give construc ve feedback, and then swap roles. Students at this level o en learn more from the chance to observe other students than they do from repeated correc ons from the teacher. It may help them learn details that they had previously missed, along with performance quali es, and it develops their cri cal thinking skills.

Managing behaviour Establish the studio or dance space as a special place of learning.

Establish a teaching persona. There is a difference between being interested in your students and their learning, and becoming personally involved with them. A personal allows you to establish respect and leadership, and perform your teaching role effec vely. Your persona will allow you to maintain consistently impersonal but friendly rela onships with your students. A consistent persona ensures that the students always know what to expect, and the behaviour that is expected from them.

On the first day, demonstrate your exper se in some aspect of the subject ma er to establish your intellectual authority in addi on to your teaching authority.

Set high standards for classroom behaviour and be a good role model.

Take prompt and decisive ac on when needed to minimise disrup on to the group.

Research and apply discipline techniques appropriate to the age group.



Teaching the content

Break down the content into manageable chunks. Remember that it is new for your students, even though it may be familiar and simple for you.

Sequence the material logically.

Keep the class moving. Don’t spend too much me on any one movement or exercise, you will have to repeat it next class anyway. Moving on will also help with student engagement and behaviour.

Create smooth and construc ve transi ons from one exercise or ac vity to the next.

Be realis c about how much the students can learn in each class. Don’t try to fit too much into the class or introduce more new ideas than the students will retain.

Be flexible and adaptable with your class plan.

Use cue words or images to represent ac ons. First explain the movement in full. As you do this, select a key word or image that will represent the way you want the movement performed. Then you only have to use that word or evoke the image to enable the students to remember the connected informa on.

Don’t demonstrate all the me. If you do, the students will be copying, not learning, the steps. Use of space Avoid overcrowding.

Teach students to respect the space of others.

Move around the room when teaching. If you always stay in the same place, some students will feel they can hide, and some students will always be in the front to monopolise your a en on. Students who are always far away from you tend to copy other students rather than your demonstra ons, and may not receive the correct informa on.

Rotate lines regularly, change the direc on of the front, and use all parts of the space. Students should feel comfortable dancing in different places.

Crea vity

Use a range of props, teaching aids and equipment to inspire your students.

Listen to the ideas of your students, they will have some wonderful sugges ons. Age group related strategies

Young children:

As appropriate, offer choices.

Vary the way you give instruc on.

Remember that a en on span is limited, and keep the class moving.

Use imagery.

Include elements of play and imagina on.

Be prepared to join in the play‐ac ng.

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Older children:

Recognise increasing maturity and learner independence.

Provide opportuni es for students to explore the process of crea ng dance pieces individually and with peers.

Adolescents:

Widen the context of learning dance with reference to a broader range of dance experiences and dance history.

Invite relevant specialised prac oners to explain and discuss their fields of exper se with the students.

Provide adequate opportuni es for learning and prac sing specialised movement skills.

Involve students in se ng goals.

Invite feedback and opinions from all students during group discussions.

Adults:

Emphasis on learner‐centred approaches to teaching.

Create challenges.

Be mindful of the importance of past learning experiences .

LEARNING ACTIVITY The above list gives you a few ideas of ways you can keep your students – and yourself – motivated in the classroom. In the table below, write down three strategies that you use in your own teaching or that you think would be effective.

1.

2.

3.



Technical issues It is likely that, no ma er how well prepared and experienced you are, something will go amiss with your sound system or some other piece of equipment that you were relying on for your planned class. In the event of a malfunc on or mishap, you will need to improvise a subs tute, such as using a percussion instrument for accompaniment, or change your plan. If you rely heavily on a par cular item, a backup alterna ve is a good idea. If you cannot implement a replacement or subs tute that allows you to con nue as planned, having a useful alterna ve that you can con nue on with is a good back up plan. This could be body condi oning or another ac vity that might not require complex resources. Teaching in an unfamiliar space Arrive early enough for your first class to thoroughly check all the facili es and familiarise yourself with the studio layout, floor surface, hea ng and cooling, loca on of first aid kit, and so on. It might even be appropriate to visit at an earlier date. Personal illness or injury Some mes when you are not feeling completely well or are recovering from an injury, you may be able to manage the class, but not be well or fit enough to demonstrate adequately. If this is for one class only, you may be able to manage with verbal instruc ons only, or recruit one of the students to be your demonstrator. If the situa on is likely to con nue for some me, you will need to look at alterna ves, such as finding an assistant teacher to work with you, se ng independent tasks for the students such as prac sing exercises already learnt or crea ng their own exercises with given guidelines, or adjus ng what you expect to accomplish in these classes. Then you will need to review your course plan, to iden fy what further altera ons may be necessary in order to reach the goals you have set. Student illness or injury Depending on the illness, it may be preferable for the student to stay away from class, such as when the illness is

infec ous, or when the student would need special a en on from the teacher which would be disrup ve. However if the student is able to sit and observe, a endance at class is s ll beneficial and desirable.

When a student is injured, they should not persist with par cipa on if this will be detrimental to their recovery. If the teacher is in doubt, advice should be sought from the relevant prac oner, such as a physiotherapist or doctor. As above, if the student is able to sit and observe, a endance at class is s ll beneficial and desirable.

Student absences

When a student has missed previous lessons and it is necessary to go over work from the missed classes for this student, the current class will most likely need to be adjusted to allow sufficient me for this. If you have an assistant teacher, they may be able to bring the student up to date without interfering with your planned class for the other students.

If you have been choreographing and rehearsing for a performance, it and depending on me availability, it may not be possible for the student to par cipate in that sec on of the item that has been learnt in their absence.

7.2 Constraints and Risks to Delivery


Late arrivals If students arrive more than five minutes a er the start of class, and if warm‐up has already been completed, it may be unsafe for the student to par cipate in the class. It may be possible for them to perform their own warm‐up, or an assistant teacher may be able to supervise this, but it is not always desirable. The studio manager should have a policy regarding this situa on, and if not, you should clarify acceptable ac on before you commence teaching, as lateness is quite common.

Inadequate performance skills If a student is lacking skills that the rest of the class have achieved, it is first necessary to understand the reasons why, and resolve the issue accordingly

If the student is new to the school, they may not have been placed in the right class to start with, and moving to another class might resolve the problem.

Some mes new students who have studied a different method or style of dance may need extra classes for a short me to catch up the gaps in their training.

If the student has missed too many classes, or arrived late too many mes, they will fall behind the other students in the class. Again, offering addi onal classes or changing to another class may be the answer. For senior students, it may be possible for them to get together with another student in their own me to catch up on what has been missed. If this is of a highly technical nature, this op on may not be very sa sfactory.

If the student is determined to stay in that class but con nues to be absent or arrive late, the progress of the class as a whole must be given priority over the progress of that individual student.

If the teacher iden fies learning difficul es or physical issues not previously known, they must advise the appropriate people, recommend specialised diagnosis and treatment, and help the student to follow the recommenda ons of the specialist prac oner. A modified study program including addi onal classes or a change of class may be recommended for the student.

If these are pre‐exis ng condi ons, the teacher should have been no fied and taken them into account when planning the course and classes, such as modifying steps and/or choreography where necessary to avoid pain or harm.

Personal or social difficul es may also cause poor performance. This situa on must be dealt with in a sensi ve and confiden al manner by the studio owner, supported by the teacher.

Disrup ve behaviour When a student is a distrac on or danger to the rest of the class in any way, their behaviour must be stopped and changed. This may be easier to say than to do in some cases, so in that situa on, the teacher must make the best decision to allow the class to con nue with the least amount of interrup on. The progress of the class as a whole must take priority over the individual student in the short term. The resolu on of the behavioural issue may require long‐term strategies, and in the mean me, the other students must be given op mum learning opportuni es. There should be policies in place in the studio, supported by the studio owner, to help the teacher deal with such a situa on. It is a good idea to discuss this possibility before you commence your teaching role.


New students It is o en uncomfortable being the new student in a group of students who have learnt dance together for several years. Always allow me to introduce the students to each other and share a li le bit of informa on about themselves. Indicate that it is fine to ask ques ons if they are unsure about anything at all, and if possible, a ‘ge ng to know you’ exercise or two can be very helpful. Realising learning limita ons Not every student will achieve the results you would wish for. We cannot always know the underlying causes, and some mes personali es can cause issues which hinder learning. You must con nue to do your best, provide the best learning opportuni es you can, and seek advice from experienced teachers and mentors. We do not see the posi ve effects that our teaching can produce in future learning for the students. It may take years for them to understand and apply what we are endeavouring to pass on. Ul mately, the teacher can provide learning opportuni es and encouragement, but the student must be willing to learn.

Up to now, we have consider a lot of philosophies, models, and sugges ons to help you be a be er teacher, and now we’re ge ng closer to pu ng your own ideas into prac ce. Selec ng a Teaching Approach Based on what you have read and studied about learning theories and principles of instruc on, what do you think your teaching approach in the classroom will be? How will this be affected by the content you are teaching, the standards of your dance studio or work place, the needs of your students, and your own philosophies? Revisit Learning Ac vity 33: My Preferred Teaching Style and add further thoughts and ideas based on what you have learnt since you ini ally completed it.

LEARNING ACTIVITY Have you experienced any of these risks or challenges in your training or teaching? Think about one situation you have experienced.

Describe the risk or challenge you experienced.

Describe how it was managed. Was the management effec ve or not? Explain.

Explain how you might you manage a similar situa on in the future?

7.3 Your Own Teaching Practice


Prac cal Delivery and Demonstra on When we think about teaching dance, this is probably the part of the role that immediately comes to mind, the prac cal passing on of our skills and knowledge to our students. As we have seen, there is a vast amount of learning and prepara on required to enable and support this. Now we are ready to consider the range of prac cal skills and abili es we will need to be successful in our dance teaching role. Demonstra on of Performance Components Generally, teachers should have technical training to a higher level than they are teaching. This will give them a good understanding of how the current learning fits into the overall training program. The specific movements will of course vary for different dance styles, but there are common elements, and to give an idea, prac cal demonstra on of the following is generally required –

The required standard of steps and technique in the chosen dance style

The full range of steps and technique required for the chosen dance style

Correct body alignment

Balance, flexibility, stamina, coordina on, weight transfer, control, ar cula on of individual body parts and an integra on of these elements

Appropriate arm lines and pathways

Eye lines and focus

Applica on and a en veness

Correct rhythm, tempo, ming and phrasing

Expression and sensi vity

Isola on and coordina on of the limbs and upper and lower body

Non‐locomotor exercises and sequences including:

Plies (bending)

Tendus (stretching)

Locomotor exercises and sequences including:

Piroue es

Kicks

Jumps and leaps

Demonstra on of Safe Dance Components

These components should be built into every class, and the teacher should demonstrate correct posture and alignment at all mes.

Safe and appropriate warm‐up

Safe and appropriate cool‐down

Flexibility exercises including various types of stretches

Strengthening exercises

Correct posture and body alignment


Demonstra on of Effec ve Instruc on Effec ve instruc on includes the prac cal applica on of teaching and learning concepts which need to be understood and integrated into planning, prepara on and delivery.

Competent delivery

Clarifica on of objec ves, learning and behaviour expecta ons and any other requirements with students at the outset. Remember to consider their own expecta ons of learning their chosen dance style, as well as your informed and well‐considered goals and expecta ons

Use of appropriate technology, equipment and teaching aids

Explana on of anatomical founda ons incorporated where appropriate

Explana on of techniques in chosen dance style where appropriate

Range of teaching methods used

Class plans followed, and modified where appropriate

Individual and group feedback given to students

Communica on

Appropriate verbal skills to teach and mo vate students

Interpersonal skills to maintain appropriate rela onships

Effec ve and construc ve interac on with learners

Duty of care

Due diligence with regard to human contact and touch

Class management

Opportuni es provided for every learner to par cipate and contribute

Class dynamics and learner behaviour managed

Direct response to problems arising, devising solu ons from past experiences

LEARNING ACTIVITY List three different aspects of demonstration necessary when teaching dance and explain the importance of each.

1.

2.

3.


Giving feedback is an important part of the teaching/learning process. It gives informa on to the student by the teacher about a task they have just performed. It may be used to give messages to the student about successes, errors, correc ons, adjustments and judgements. It should enable the student to improve performance. Performance improves faster with accurate and posi ve feedback because it iden fies difficul es and problems, and offers ways to improve. Students who know what they are doing incorrectly and how to correct it will be more likely to change how they perform a movement or phrase. When feedback is not given, a student may think they are not making progress, and lose interest. Feedback should be differen ated from praise, which is an expression of approval, and cri cism, which is an expression of disapproval. Both praise and disapproval are judgements, rather than informa on. The teacher must crea ve an environment in which feedback can be offered and applied with a construc ve result. In the beginning, comments should be made to the class as a whole. As the teacher develops their own understanding of each student, and a comfortable working rela onship with them, they may begin to give individual feedback. As the student matures, they will be able to use self‐feedback effec vely, with guidance but less input from the teacher. Types of Feedback The following types of messages can be conveyed in feedback ‐

Informa on This is specific informa on about what was not correct, and what correc ons and adjustments should be made. It is direct and immediate. When this type of feedback is given during and directly a er a task, the learner can remember what was done, apply the informa on, and immediately prac ce the task again incorpora ng the feedback. If a student frequently receives this type of feedback the overall message they may receive is that their performance is never good enough. In this case, take care to include posi ve observa ons as well. Another situa on that can arise is when the teacher always provides a correc on or solu on, without allowing the student to find it for themselves, and the student comes to rely on these correc ons without thinking independently. In a busy learning environment where me is always limited, it is temp ng to provide the informa on quickly and move on, but the student will learn faster and remember be er if they are involved in finding the solu on.

Reinforcement Reinforcement may be posi ve or nega ve. Both approaches influence the way the student will repeat their behaviour, or for the dance student, their performance. Posi ve reinforcement, which rewards appropriate performance, increases the likelihood of good performance to be repeated. Rewards may be verbal, the chance to be the leader in the next exercise or dance, or the chance to demonstrate their learning to the rest of the class. When over‐used, this approach may lose its value, and also have a nega ve effect on students who are not receiving it. Remember that effort and working with others also deserve posi ve reinforcement. Nega ve reinforcement, which punishes undesirable performance, is intended to avoid repe on of the undesirable performance. This approach can ins ll fear and lack of mo va on. If used, it should be clearly directed at the behaviour, not the individual. At mes, it may be seen as a way of gaining a en on – any a en on is good a en on – and has thus lost any possible value.

7.4 Feedback for Students


Analysis The teacher iden fies issues with performance, but does not offer correc ons and adjustments. Students are encouraged to think about the problem and find the solu on themselves. Students must be gradually given the suppor ng knowledge to carry this out successfully. They must have the necessary cogni ve processing skills, so this approach may be used for more complex analysis as the students mature. It is a great way to encourage independent thinking and learning.

Mo va on Feedback which tells students how you feel about the posi ve aspects of their progress and their contribu ons to the class provide powerful mo va on. Most students unconsciously strive for the approval of their teacher if they respect the teacher’s values. Although this posi ve value feedback is more general in nature and does not provide specific informa on, it is important on an emo onal level, building confidence and self‐esteem. Again, it can lose value if over‐used.

Communica ng Feedback We know that learners take in informa on in many different ways, and so we need to consider how they receive our feedback messages. Non‐verbal As well as verbal explana ons and prac cal demonstra ons, we must remember that body language and facial expressions we use as the students are prac sing and performing can also convey powerful messages. If we frown or smile as a student moves, how do they feel? If we stand with hands jammed on hips, what is the message we are sending? Some mes our expression may not even be related to what the students are doing, but what is the message they are receiving? In a similar way to our body language, sounds that we make other than words can send messages about how we feel. For example, a big sighs is going to indicate that we are not very pleased with what we are watching. Tone of voice Your tone can be happy, funny, interes ng, or anything you choose as appropriate to communicate your message or the material you want to teach. Unfortunately it can o en be boring, and thus create a barrier to learning. It can also give a message about how we are feeling, such as confident, nervous or bored, and how we feel about our students or their behaviour, such as impa ent or annoyed. Knowing how to use our tone of voice for posi ve results is a significant teaching skill. Touch Touch is a direct and powerful means of providing feedback and correc on. It should not be over‐used so that students rely on the adjustment provided by the teacher, but as a guide to understanding their own bodies. Some students do not like to be touched, and if it makes them uncomfortable, they will not receive any benefit from this approach. Care must be taken to use touch only with the consent of the student, for a specific correc on, and in an appropriate and ethical se ng. In the appropriate environment, student to student correc on and hands on the teacher can also provide excellent feedback.

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Digital Recording Recording the students performing and then helping them to analyse their technique and presenta on quali es for themselves is a great method of giving feedback without being judgemental. They o en discover that their performance looks different from the way they thought it would and it makes a great impression on them.

Learner progress and achievement must be monitored to provide con nuous valida on and support for the learning process. Effec ve assessment encourages learning, and provides a reliable and credible measure of expected learning outcomes. Making observa ons Dance teachers con nually make observa ons and act in response to their evalua ons to improve the performance of their students. When learning movement skills such as dance, prompt and consistent feedback based on what the teacher has just observed is important. Much informa on about student progress, ap tudes, physical limita ons and other difficul es can be collected and applied to both short and long term planning.

Informa on gathered from effec ve observa on can be used to –

Learn about the students

Enable mely feedback and correc ons

Gauge progress of learning

Make informed choices regarding class planning and adjustment to plans

Iden fy difficul es and any cause for concern

Validate recommenda ons for addi onal support for individual students

Many important decisions and ac ons may be based on your observa ons in the dance class. What can you do to ensure these observa ons are as effec ve and construc ve as possible?

Make sure you can see every student clearly. Move to where the students can see you and you can see them.

Change your point of view. Observa on from a single viewpoint is not sufficient. Move around during the class. You will see different aspects of the way the body moves when you observe performance from the side and the back. Moving between the students as they perform can also be challenging for them and interes ng for the observer.

Observe the class as a whole, as well as the individual students.

Observe interac ons between students as well as teacher/student interac ons

Observe expressions of feelings and the ability to deal with emo onal aspects of learning

Be objec ve. Your observa ons should be free of personal feelings or judgements about individual students. Preconceived ideas can influence what we see, or think we see, and can lead to inaccurate assump ons and conclusions. Your observa on should simply be what you see (objec ve), not what you feel about what you see (subjec ve).

7.5 Assessment of Learning



Your ability to iden fy physical development and errors in performance as you observe your students performing movements and exercises is fundamental to your role as a dance teacher. Adequate knowledge of your dance style, human anatomy and development are essen al prerequisites.

Make observa ons about the learning environment and any deficiencies which should be addressed. There is also a place for planned observa on and assessment. Progress and achievements are formally measured against learning objec ves, and documented. This type of assessment might be used in rela on to –

Skills acquisi on

Suppor ng knowledge

Self‐confidence, body image and poise

Physical body type and anatomical variances These abili es and condi ons are considerably different, yet are all important when considering each student and their individual progress. A variety of assessment methods is needed to gain the complete picture. Some of the methods of assessment that can help us collect evidence of learning for our dance students include –

Formal observa ons in class Use a checklist to record observa ons. Considered evalua on can be based on these wri en observa ons. Incorporate a range of ac vi es and se ngs Repeated observa ons are more effec ve, as a one off observa on might not be reliable or take into considera on the factors that may affect students on that day.

Presenta ons, demonstra ons, performances A range of experiences and learned skills can be applied in a meaningful context

Ques oning Verbalisa on of learning is a good way to provide another assessment method for movement training where the emphasis is on physical demonstra on

Worksheets and learning journals These wri en records can provide a valuable reference for both student and teacher.

Reflec on and self‐assessment This will assist students to evaluate their own progress, strengths and weaknesses. It can empower them to set their own performance and career goals. When in wri en format, this can also provide a valuable insight for the teacher.

A rubric can be a useful tool for evalua ng and communica ng evidence gathered. It is matrix or chart which lists criteria on one axis and levels of quality from excellent to poor on the other. This approach can work well when assessment needs to be both quan ta ve (measurable, based on objec vity) and qualita ve (based on personal views, experience or opinion), as is the case with assessment of dance performance. A good example of a rubric which can easily be adapted to suit dance studio purposes can be found at ‐ Loyola Marymount University, Dance Example Rubric, h p://academics.lmu.edu/spee/officeofassessment/assessmentresources/rubrics/examplerubrics/danceexamplerubric/


Assessment may be divided into two types, forma ve and summa ve. Forma ve Assessment This type of assessment is an ongoing learning tool to monitor student progress and inform the next stage of learning. Forma ve assessment considers what was learned in today’s class and helps gauge whether the students have understood, what problems and issues might need to be addressed, and what needs to be revised or prac sed in the next class. It helps teachers to iden fy where students are struggling and to deal with these problems in a mely manner. It helps students to recognise their strengths and weaknesses, and what might help them to cope and improve. Summa ve Assessment This type of assessment is a final evalua on of learning and mastery at the comple on of a course or program in rela on to expected standards or benchmarks. The assessment task or tasks will be based on the goals set during your planning, based on the relevant standards and benchmarks. Remember that comprehensive and func onal assessment requires informa on gathered from a range of tasks, both forma ve and summa ve. When this informa on is collected more frequently, it will give a more thorough understanding of progress for each learner and the group as a whole than if there is just one assessment at the end of a course or program. Recording Assessment Keeping records of your observa ons and other assessment ac vi es will help you and your students to monitor their progress and improve performance. The way you record observa ons and results should be easy for everyone to understand and interpret. Many dance organisa ons offer formalised forma ve assessments, and will supply a wri en report for each candidate. This informa on they provide should be added to your records and used to help your students perform be er.


INDIVIDUAL PROGRESS ‐ Rubric

Expert: Goes beyond what is expected. Can evaluate own work and progress to make aesthe c decisions

and add personal insights. Shows boldness, original ideas and high energy. The product or performance stands apart.

Highly Skilled: Uses skills effec vely. Work is polished and shows crea vity, but student is not a risk‐taker. Student stays within comfortable boundaries.

Growing: S ll prac cing the use of skills and material. Shows evidence of growth and movement to a higher performance level. Student is eager to learn or improve, but shows no evidence of personal ideas or input.

Novice: Lacks organiza on and effort. Student is unsure and tends to copy others' examples. CLASS PROGRESS – Analy c checklist

STUDENT: Date:

Criteria Expert Highly Skilled Growing Skills Novice

Criteria 1: Alignment

x

Criteria 2: Coordina on

x

Criteria 3: ................................

Criteria 4: ................................

Criteria 5: ................................

Criteria 6: Applies feedback

x

CLASS:

Date:

Criteria Yes No Developing

Criteria 1: ................................

Criteria 2: ................................

Criteria 3: ................................

LEARNING ACTIVITY Complete the checklists below –

COMPOSITION PART 8


Choreography refers to the sequence of movements that are done by dancers in a performance, and the art of deciding how the dancers will move in that sequence, which simply means making dances. The word choreography comes from the Greek words for ‘dance wri ng’, and it was first used in the 1950s in rela on to the work of George Balanchine. It is now in popular use, with many dance teachers using it for the small enchainements and dances they create for their students. We might also use the term dance composi on. Your role as choreographer

We know that there are many aspects to the role of the dance teacher, and it is the same with the choreographer’s role. It is much more that just crea ng a dance. You will also need to think about –

Planning me for all the session needed to create, teach and stage you work

Organising and coordina ng the people you need

Crea ng the work to meet deadlines

Teaching and rehearsing your choreography effec vely to your performers

Aspects of produc on such as a safe working space of a suitable size for crea ng and rehearsing the work, performance venue, costuming, ligh ng, sound, props, etc.

And as with your regular teaching role, your role as choreographer requires some specific skills, including –

Crea vity

Time management

Oral and wri en communica on

Leadership It is not very o en that you will create, produce and perform a work en rely on your own. You are likely to be working with many other people, including –

Performers

Performance coordinator, e.g. studio owner for dance school performance

Produc on team, depending on performance venue. You should also consider the expecta ons of your audience and the experience you will offer them. Using the same approach that we considered for teaching dance, assess these aspects and think about any assistance you might need to begin, carry out and complete the process of crea ng your work. It is important to think carefully about these before you begin and include the necessary me and resources in your planning.

Dance is an art form, and the composer or choreographer is expressing an idea or emo on to be enjoyed or appreciated aesthe cally. The work of art is created to communicate the choreographer’s inten on. Clarifying the inten on of the work is the first step in crea ng dance works. There are many different reasons for crea ng dances, and these will affect the choices you make. As a dance teacher, you will o en be required to prepare dances for your students for performances and compe ons. There are many factors you need to consider before you begin –

Dance style

Age and experience of dancers

Number of dancers

Possible roles of the dancers – solo, duo, group

8.1 Preparing for Composition


Length of performance

The context of the work – is it part of a story ballet, or is it an individual work? Does it have cultural meaning?

The staging of the performance – what music, costuming, scenery and props are appropriate for the context of the performance?

The audience expecta ons

The length of me available to produce the completed work How many of these choices are fixed, and how many choices are your responsibility? Make sure you discus all these aspects with others who are involved, such as the studio owner, other teachers working towards a combined performance, or the organisa on offering compe ons, to clarify the requirements and your own role in the process. Also before you begin to plan and work with the performers, carefully check through the safe dance prac ces which we have discussed earlier, and be sure to include the relevant requirements.

The dance choreographer does a lot more than just composing the dance. We have already looked at the decisions that need to be made before even beginning to choreograph, and there are many more decisions and tasks required of you before the process is completed. As well as the dance itself, the coordina on of the music, rehearsals, costuming and staging (no ma er how simple), are all integral to a well‐cra ed and executed performance, which is your ul mate goal. Developing a plan The best way to manage these tasks is to write a plan. You will also need to communicate your ideas with relevant personnel, and wri ng them down will help you clarify and share your thoughts. As with your course and class planning, the be er your prepara on, the be er chance you have to succeed. A meline is a good place to start your planning. This will help you ensure that the tasks are completed in a mely manner, and nothing is forgo en. To create your meline and flesh out your plan, think about the steps that are necessary for your choreographic process. An example of a simple 10‐step meline is set out in the following table. The melines you create for your own choreographic tasks will need to take into account the different parameters for each specific situa on.

8.1 Preparing for Composition

STEP TASK

1 Preliminary discussions; clarifica on of inten on of the work and own role See ‘Preparing for composi on’

2 Decision –making: music, style, performers, etc Do some research to give you ideas and help you make your choices Use a range of sources

3 Outline the work Based on your research and choices, write a dra outline of your work A discussion of your thoughts at this point with your studio teacher, colleagues or mentor can be helpful


4 Develop phrases and sequences Use improvisa on to experiment with movements and dance phrases that could be suitable for your work. You can do this alone, or with the dancers who will be performing your work. Select and sequence movements and phrases to the accompaniment, crea ng your own original arrangements, rather than replica ng those from your class work. Check that the developing work expresses your specified intent. Consider the unity and harmony of the structure and flow of the finished work, and at the same me, make sure you include sufficient diversity of movement and pa erns to create an interes ng and engaging work.

5 Teach the phrases and sequences to the dancers Share some of your thoughts and ideas leading to the development of your work with your performers. This will help them to understand and express the intent of the work. Use correct terminology where applicable. Demonstrate the movements accurately with clear explana ons, ming and movement pathways.

6 Modifica on and development of the phrases and sequences When you see the dancers performing the movements and sequences, you may iden fy some areas that need improvement or modifica on, or it may help you to develop some ideas further or even in a different way. Write down what you observe, and then the changes you plan to make. Also ask your dancers how the movements feel and if any changes that you are planning might be an improvement from their point of view. Check again that the work expresses your specified intent.

7 Rehearsal Prac ce the complete work with any adjustments

8 Informal performance for relevant personnel This is another good opportunity to seek feedback from other teaching personnel. Take me to reflect on the performance and analyse your observa ons and feedback received. This is your last chance to make adjustment.

9 Rehearsal This rehearsal should be a complete dress rehearsal, including all costuming, make‐up, props, technical and safety requirements. This is your last chance to make sure everything is in order for your final performance. Help your dancers to prepare themselves so they will do their best dancing.

10 Performance Record your observa ons and opinions about how the performance went. Review your intent and evaluate the outcomes of the process. Were you completely sa sfied? What would you do differently next me? What would you keep the same? A discussion with other teaching personnel who watched the performance could be useful.


The next step in developing your plan is to take a closer look at each task and think about the skills and knowledge needed to complete them. Assess the areas where you might need help, and think about who might be able to help you. Discuss your needs with them and ask for assistance right away, as you might need to find suitable mes to work with them, or you might have to find an alterna ve. Based on this, do you need to review and adjust your

meline?

LEARNING ACTIVITY Thinking about an item that you might be asked to choreograph, complete your own example timeline in the table below. Include the estimated time for each step, considering how many sessions you will need, the length of the sessions, and the need to coordinate personnel.

STEP TASK TIME

1 Preliminary discussions; clarifica on of inten on of the work and own role Eg 2 x 1 hour sessions, 1 week

2

3

4

5

6

7

8

9

10

11

12


Now you need to develop and write down the details of each of the tasks you have iden fied, and your expected outcomes for each of the sessions you have planned. Similar to the way that you need to manage your classroom protocols and student behaviour, you will need to manage many aspects of rehearsals and other tasks in order to make the best use of the allocated me. Establishing your expecta ons of others involved in the process from the start is important, and can be difficult if you are working with peers. Pu ng these in wri ng and giving everyone a copy is an effec ve approach.

Recording your work Using a journal to record details as your work develops will help you maintain a good overview of the process and achieve your goals, and facilitate review and evalua on.

Start with a meline and the planning we have already discussed, and then con nue to record the development of your work as you go. This will help you remember your thought processes and the reasons for your decisions, what happened in the previous step or session, and adjustments you might need to make for future sessions. Although this may be crystal clear in your mind at the me, dance teachers are very busy and it is easy to forget inten ons and details. Make sure you record the informa on clearly, so that you can easily refer to it while you are working, and someone else can comprehend your ideas. As well as wri ng explana ons and notes, it is good to include pictures, images, diagrams, checklists and so on. Always use the relevant terminology. Wri ng down your actual choreography can be difficult and me consuming, as we have seen in rela on to wri ng exercises. Rough notes and diagrams are useful as you are thinking about choices and developing movements. More detail is necessary as you refine your ideas. It is worthwhile taking the me to carefully record you work as it will save you me in the long run and help you communicate your ideas. Discussing your ideas and the progress of your work with others such as the studio owner, other teachers, and your performers at regular intervals is a good idea. Record notes about these discussions in your journal, including their feedback and sugges ons, and how you might incorporate these or think about them for another work. Codified methods of recording movement, known as nota on, are complex and take a long me to master, so at this stage it is generally more useful for you to develop your own way of wri ng down your choreography. Visual recording of the movements and sequences you develop is also an excellent idea. Consider how you will store and view this material, who will benefit from viewing it, and any relevant privacy and copyright issues. Review your meline and plan again, allowing sufficient me for recording your work.

LEARNING ACTIVITY Some examples are given in the table below of some expectations you might set for dancers participating in your work. Add at least three more of your own.

1 A end every rehearsal

2 Be on me

3

4

5

6

128

The next step in developing your plan is to take a closer look at each task and think about the skills and knowledge needed to complete them. Assess the areas where you might need help, and think about who might be able to help you. Discuss your needs with them and ask for assistance right away, as you might need to find suitable mes to work with them, or you might have to find an alterna ve. Based on this, do you need to review and adjust your

meline?

At last you can move on with the crea ve and enjoyable part! You are going to explore the op ons, make the choices, and bring together the aspects necessary to realise your choreographic work. Intent Firstly, confirm the expressive intent and purpose of your work. This will influence your subsequent choices about the best way to communicate your message to your audience. If the choice is up to you, you may find inspira on in movement explora on, famous dancers and their work, artwork, images, poems or prose, music, or any other source. Each choreographer will find s mula on and create works that reflect their own characteris cs and values. Even if the expressive intent of your work has been established by someone else, it is helpful to research some background material to inspire and support your crea vity. Fully understanding the expressive intent is important as many subsequent decisions such as music, movements and form are based on this ini al choice. Describe your intent in full in your journal. Remember that amendments and adjustments to all your decisions can be made at any me. Accompaniment Dance may be performed to music, percussion or voice accompaniment, or to natural rhythms. Will you be using live or recorded music? Will it be played by a soloist or a group? Will it be instrumental or vocal? Choosing the right music for your work is very important. It will have an impact on many of your following decisions and the end result. It may even be the source of inspira on for your work, and can inspire the right mo f and movements to support your intent. It is a good idea to listen to a range of op ons before you make a choice. Listen to the music several mes. Looking back to the sec ons in this workbook about dance analysis and music, iden fy the form, me signature, accents and rhythmic structure, and phrasing. Which words would you use to describe how the music makes you feel? Now think about your choreographic ideas and intent. Should the tempo be fast or slow? Will the rhythm be regular or syncopated? Would addi onal sounds be useful? Is silence appropriate to add meaning? Will your choreography match the musical rhythm or oppose it? Looking at our earlier example of using music with a quick tempo for a tap rou ne but not for classical ballet, what would happen if you were to change this around? To understand more about the impact that musical accompaniment has on a dance work, go to the Choreographer’s Toolbox, Elements of Composi on, 3. Timing, c) Rhythm h p://www.artsalive.ca/en/dan/make/toolbox/elements.asp#dynamics

8.3 Create Works



Record your selec on process and informa on about your chosen music or other accompaniment in your journal. Your dancers You may be crea ng concert items for the dance classes you teach, or you may be crea ng original choreographic works. How many dancers will be performing your work? When will they be available? Some mes you may have to modify your crea ve ideas to suit what is possible in the me available to work with your dancers in order to produce a well‐cra ed and rehearsed dance piece. If you are selec ng your own dancers, what skills and quali es will you look for? To show your work to its best advantage and communicate your ideas effec vely, you need to think about the dancers you choose, how they will work with you, and how they will work together. As well as suitable technical skills and fitness, which require regular a endance at classes in addi on to your sessions, they must be able to communicate the quali es and meanings of the movements to the audience. Look for dancers who are focused and commi ed to your project. Costumes, Props and Scenery Your choreographic intent, the music you have selected, and the performance context will all affect your choices of costumes, props and scenery. Answering some of the following ques ons will help you make decisions.

What would establish and support the choreographic intent, mood and style of the work?

What is your budget?

Where is the work to be performed – in the studio, in a theatre, or elsewhere?

How many dancers are performing your work?

How long do you have to produce the work?

Can the dancers move comfortably in the costume you have chosen?

Are the props and/or scenery essen al? Do they add to the work or are they distrac ng?

Is scenery manageable? Movement Development Remember to keep wri ng your thoughts and decisions in your journal. Based on these, you should now develop some movements and phrases. Crea ng your own movements through improvisa on is an excellent approach. You can do this alone, or with the dancers who will be performing your work. Including them is this ac vity is a good idea, as they will o en make valuable contribu ons, and it is a good opportunity for you to observe how they perform the movements you are considering. Structure the improvisa on tasks around the ideas and decisions you have been working on. Review the elements discussed in Dance Analysis, and include these and varia ons of them in the improvisa on framework. Unlimited combina ons of these elements are possible, and experimen ng with some of them will help you to create and exci ng and expressive work. Invite and encourage spontaneous and imagina ve responses to the tasks. Original and interes ng movements which emerge can be developed and then combined into longer movement phrases and sequences. Con nue to develop these phrases and sequences to create your final work.

130

A successful performance relies on sufficient and well‐managed development sessions and rehearsals. You will need to schedule and manage several of these, for various purposes. It will be your responsibility to find mes and spaces for them that suit everyone concerned, which is not always easy to do. The successful outcome of your work depends on good communica on, teamwork, and me management which will all be your responsibility. Set clear expecta ons and be a good role model. Make sure you comply with safe dance prac ces in all sessions, including warm up and cool down, using movements in your work that are within the capabili es of your dancers, and allowing sufficient me for them to learn any new movements and the complete work. Transfer relevant aspects of your teaching to this process so that your dancers can learn efficiently. Make sure you communicate the intent and characterisa on that you are seeking to portray, a clear understanding of the movements and exactly how you want them performed, and how sequences are interrelated and flow together. Give your dancers effec ve feedback to help them improve their performance and meet the goals of your work. Now to the sessions. Firstly, as we have seen, you need space and me for improvisa on and/or explora on of your movement ideas, the selec on of movement phrases, development of longer movement sequences, and the final comple on of your whole work. Next you need to teach the work to your dancers. This is likely to take several sessions, and requires a space that approximates the performance space in size. If props are to be used, it is a good idea to introduce them as early as possible. If you are using costumes and props, the next step will be a studio dress rehearsal, in full costume, and using all props. This gives the dancers a chance to get used to working in full costume and with the props, and ensures that everything is ready in me and is the way you imagined it to be. If your work is going to be performed in a theatre, having everything prepared at this stage means that you can make the most of your theatre me, which is o en limited. You can o en iden fy and prevent issues that might arise in the theatre and prepare yourself mentally for the transi on. If you are performing on a stage or in another space that is not your regular rehearsal space, it is now me to rehearse there. This will help you become familiar with the performance space, and will give others who may be involved in the produc on to see you work and coordinate their own tasks as needed. Depending on the size of the produc on, you may need more than one rehearsal in the performance space, at least one of which should be a full dress rehearsal with full costume, make‐up and props, and all technical aspects. Stage markings may be a good strategy in these rehearsals to help your dancers become familiar with the performance space. A separate rehearsal for spacing and orienta on before the full dress rehearsal is a good idea if me and resources permit, and also a separate rehearsal dedicated to the technical elements of staging the produc on, such as ligh ng, sound and scenery, is desirable. The dancers should understand that the purpose of the tech. rehearsal is for the technical and backstage crews to prac ce, rather than the dancers, and it may involve quite a bit of just standing around. A er all sessions and rehearsals, reflect on the outcomes and modify the following session if necessary to improve both your composi on and the performance of it. If you can, invite other teachers to view you work as it progresses, as they can provide knowledgeable feedback. Finally, it will be performance me. If you have planned and carried out a well‐organised crea ve and rehearsal process, your performance will run smoothly and meet expected outcomes. Watch and enjoy!


8.4 Perform Works


Of course you now need to review and evaluate the final performance both in its own right and in the context of the whole process. This should simply be the last step in compiling your journal as a complete record of crea ng the work. A checklist of the items to record in your journal might include –

Ini al parameters and context; criteria to be met

Influences and inspira on

Personal ideas, decisions and ra onale

Planning

Progress and adjustments at each session or rehearsal

Dancers’ involvement, contribu ons, performance

Fulfilment of criteria and other requirements

During the process, regularly gather and record evidence to help you monitor and evaluate progress, successes, and necessary adjustments. You could create observa on checklist to help you do this regularly and in a me‐effec ve way. If possible, review you work with others who can give you some helpful feedback, including other teachers and your dancers. An objec ve observer, who does not have dance training, could also provide insight into whether your work is successfully communica ng with its audience. At the end of the process, a er the final performance, check the outcomes against the ini al criteria. Clearly iden fy the achievements and also the areas which may not have met the criteria. Describe how you will incorporate this knowledge into the crea on of your next work. Review and self‐evalua on are discussed further in the next sec on, Part 9: Con nuous Improvement and Professional Development

8.5 Evaluate the Process

CONTINUOUS IMPROVEMENT AND PROFESSIONAL DEVELOPMENT

PART 9


Great teachers think of their work as a voca on, not just a job. They always feel that their teaching could be improved, and seek feedback from others as well as being self‐cri cal. Improvement is an ongoing process encompassing learning, self‐reflec on, adjustment and development. For teachers, this includes self‐reflec on on their professional performance, and the impact of component aspects of this performance on the learning of their students. Recognising the effec ve aspects and acknowledging the weaknesses will help iden fy the next steps for con nued professional growth.

Self‐evalua on of your lesson plans, teaching prac ce and student learning outcomes typically involves thinking back on what happened during the lesson, and asking ques ons such as – 1. How can I improve my own teaching prac ce?

2. What went well and why?

3. What did not go well and why?

4. How could I change things that did not go well?

5. What do I need to remember in the future?

Answering ques ons like these will give you insights into the way you teach, helping you to deal with problems before they become major issues, adjust your teaching to suit group or individual requirements, and meet the specific performance criteria that you have iden fied in your planning. Carry out this process as soon as possible a er each class can save you trouble later on. When you start teaching, wri ng down the answers will help you think about them and it is a good idea to make this a regular habit. If you are teaching for someone else, you are likely to be required to submit something along these lines for review at some point, or to par cipate in a discussion about your teaching, so regular evalua on of your classes will be good prac ce. Right a er the class, everything is fresh in your mind, and you might think you will easily remember how to improve things that were not successful and repeat things that worked well. However class follows class in rapid succession, and we soon lose track of what happened in a specific class, what was good, and what we needed to adjust. If you use the same lesson plan in the future, some notes about how it went will be very helpful.

9.1 Review and Self-Evaluation

LEARNING ACTIVITY Thinking about a class you have recently taught, review your teaching practices and the outcome of the class. Include answers to the five questions listed above.

134

When you are an experienced and successful teacher, self‐evalua on and self‐cri cism are s ll just as important to ensure that your con nue to teach effec vely, although the process might not be quite as frequent and formalised. For your whole teaching career, you should regularly –

Evaluate your own teaching prac ce to iden fy your strengths and weaknesses

Iden fy ways to improve your teaching

Modify instruc on based on feedback and observa ons

Accept that you do not know all there is to know, and will always have more to learn, without feeling a threat to your professional standing

Set goals for your own teaching and learning, and check your progress

One of the best ways to evaluate your own teaching prac ces is to seek feedback from experiences teachers whose work you respect. Feedback from your employer, colleagues, students and their parents is also valuable. Feedback from these people will o en happen naturally in your normal conversa ons with them, but if it is not forthcoming, you should ini ate opportuni es to discuss and take advice from a range of sources. Make notes about the feedback you receive, and apply the advice or sugges ons to teaching approach. Discussing class content, problems with student progress and other issues with colleagues is a wonderful source of support, and they can frequently provide excellent advice and sugges ons. Try to schedule regular opportuni es for this type of discussion yourself, or request your studio owner to do so. You might even arrange for one of them to observe you teaching a class. Collabora ve review of their recommenda ons and your applica on of them will really reinforce their advice. Seeking feedback from experienced teachers is beneficial throughout the whole of your teaching career, and especially valuable in your early days of teaching, when you are s ll learning how to effec vely structure classes, accomplish everything you have included in your planning, manage behaviour and all the other requirements of effec ve teaching. As you gain experience you will be able to share your knowledge with less experience teachers. We know that feedback from students is important for their learning, but it is also important for your teaching too. It will help you refine the way you communicate with them and manage the learning environment. In a dance studio or school, feedback from the parents is also important, as they are the ones paying the fees! Generally it will be the role of the studio owner to deal with issues raised by the parents, but the rapport you have with them should reflect the posi ve learning environment you foster for their children, and hopefully the feedback you receive from them will also be posi ve. Another useful although me‐consuming idea is to digitally record your classes and visually review them. This is an excellent way of discovering habits and behaviours that you are o en unaware of.


9.2 Seeking Feedback From Others


Con nued professional development is essen al for increasing and improving teaching skills, and developing confidence in your work. Teachers should draw on current research and research‐based strategies in both educa onal prac ces and dance in their planning and delivery. Learning something new will keep you mentally s mulated and extended, and give you empathy with the learning experiences of your students. What are some of the benefits of professional development?

Increased knowledge and s mula on

Affirma on through sharing similar experiences and issues

New teaching tools, music, exercises

Shared knowledge and problem solving

Physical fitness

Personal enjoyment

Networking

Professional development can also be planned, to ensure that you keep your exper se current, and do not go for long periods of me without par cipa ng in some learning for yourself. Keeping evidence of your par cipa on is an important part of your professional resume. Some of the ways you can maintain and increase your exper se include – Membership of professional organisa ons associated with teaching, learning and educa on, and your area of

exper se

Par cipa on in workshops, conferences and other ac vi es run by these organisa ons. Prac cal applica on of what you learn at these events is also important. You may even be able to share ideas you have learnt with your colleagues

Regular par cipa on in dance classes and other movement classes such as Pilates and Yoga to maintain technique, coordina on flexibility, strength and so on

Learning different dance styles to provide alterna ve ideas about steps, technique, and crea ve ideas.

A ending live performances

Expanding knowledge of stagecra

Observa on of experienced teachers Review current research and apply new ideas to your teaching prac ces Research the historical background of the style you are teaching and the people who were key in its development

Read current publica ons such as magazines and blogs to keep up to date with developing trends and issues in

your industry

Read reviews of dance performances, performers and companies in magazines and newspapers

Read, read, read!

9.3 Ongoing Professional Development

136

Informa ve resources may include:

Interna onal Associa on for Dance Medicine and Science (IADMS) ‐ h ps://www.iadms.org

Na onal Library of Australia, Trove ‐ h p://trove.nla.gov.au/

Dance Australia – h p://www.danceaustralia.com.au

Dance Train ‐ h p://www.dancetrain.com.au

Dance Informa – h p://www.danceinforma.com.au

Dance Magazine ‐ h p://www.dancemagazine.com/reviews

DanceTeacher magazine ‐ h p://www.dance‐teacher.com

Ausdance– h p://ausdance.org.au

Dance Advantage ‐ h p://www.danceadvantage.net

Educa on Scotland ‐ h p://www.educa onscotland.gov.uk/resources



NOTES

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