In an effort to raise some valid points about raising strong girls, be careful not to mistakenly encourage girls away from a stereotypical 'female' activities, like dance that is very effective in reaching the goals listed in the attached link.
While dance in America is not exclusively for girls, it attracts girls far more than boys. Despite that, when taught correctly, dance builds strong sense of individuality (even in ballet), gender neutral roles (in modern dance, jazz, tap, folk and other genres), emotional resiliency, physical power, attention to detail, a healthy way to express one self, discipline, and so much more. These days, dance students dance about social issues as much, if not more than traditional ballet roles.
There is as much team effort in dance as there is in sports and no one keeps score, which is even better! Every lesson of dance requires a student to try new things, to move themselves past their own obstacles, and refine skills.
The formations and spacial awareness required of a dancer is similar thinking to that of an engineer. The exploration and experimentation required of a dancer is similar to a research scientist. The communication skills required of a dancer are worthy of a storyteller's. Dance is one of the most creative professions there is. While is is not valued and as financially rewarding as other professions, it is rewarding in so many other ways that other professions cannot claim.
Within the profession of dance, students can move into design, stage management, journalism, dance medicine, arts administration, and so much more. It is not limited to an elite few who become ballerinas (who by the way must master their mind, body and emotions...far more than most professions). Yes, do encourage your daughter to be creative, follow her dreams, work like an engineer or scientist, while learning to communicate with the international language of dance.
If you dance or have danced you know what I mean. Beware of and respond to writers who inadvertently put down dance.
October 26, 2011 3:04 AM
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Tuesday, October 25, 2011
Monday, September 12, 2011
Who is a Good Teacher? Who is a Good Learner?
Is a good teacher the one that gives your child high scores? Is a good teacher the one everyone likes? Is a good teacher the one that favors your child? Of course not, but people are fooled all the time by these experiences.
Is a good learner one who makes few mistakes? Is a good learner one who adapt quickly? Is a good learner one who scores well? It could be easy to say, yes, but the truth is not necessarily.
In my opinion....
A good teacher brings more to the educational experience, yet the learner is responsible for a large part of the reciprocity. Together many types of intelligences come into play in that relationship, some of the teacher's and some of the student's. Fortunately, neither must possess all to have an effective exchange and measurable growth from the relationship.
Those intelligences are:
linguistic
logical-mathematical
spatial
bodily-kinesthetic
musical
interpersonal
intrapersonal
naturalistic intelligence
existential intelligence
emotional intelligence [EQ] and
transformational intelligence
A teacher is only as 'good' as the student's receptiveness; and a student is only as 'good' as the teacher's giving. A good teacher can impart knowledge in a variety of ways, while a student's avenue for receiving information and processing it is more limited because of inexperience.
What a teacher gives can only be useful, if it is received then incorporated into the student's existing pool of knowledge. What a student receives is determined by his / her 1) trust, 2) openness and 3) capacity to process it. Therefore, it is up to the teacher to be sure the student has or can create those three traits / fertile ground for learning to grow.
A good teacher inspires the courage, curiosity and commitment to learn in each student by addressing how they learn which varies from student to student and day to day.
The world cannot and should not adjust to the individual at every turn, but helping students identify their strengths and weaknesses with empathy and humor will build trust in how to process and produce with less fear and more joy.
Reading the atmosphere, anticipating and following the student's face and body language give the alert teacher many clues to the receptiveness of any student and indicate the most effective strategy in reaching that student.
A good teacher becomes a better teacher not from experience alone, but from the desire to reach and give to students. The combination of experience and desire foster further growth in the teacher. One more key to a teacher's betterment is the absorption of what students give back. Some give more than others, but all give something. A good teacher facilitates increasing amounts of 'give back', a reflection of a student's growing confidence.
Goodness is not a finite definition of either the teacher or the learner. It is a launching point for betterment. It starts and continues as a two-way street.
Is a good learner one who makes few mistakes? Is a good learner one who adapt quickly? Is a good learner one who scores well? It could be easy to say, yes, but the truth is not necessarily.
In my opinion....
A good teacher brings more to the educational experience, yet the learner is responsible for a large part of the reciprocity. Together many types of intelligences come into play in that relationship, some of the teacher's and some of the student's. Fortunately, neither must possess all to have an effective exchange and measurable growth from the relationship.
Those intelligences are:
linguistic
logical-mathematical
spatial
bodily-kinesthetic
musical
interpersonal
intrapersonal
naturalistic intelligence
existential intelligence
emotional intelligence [EQ] and
transformational intelligence
A teacher is only as 'good' as the student's receptiveness; and a student is only as 'good' as the teacher's giving. A good teacher can impart knowledge in a variety of ways, while a student's avenue for receiving information and processing it is more limited because of inexperience.
What a teacher gives can only be useful, if it is received then incorporated into the student's existing pool of knowledge. What a student receives is determined by his / her 1) trust, 2) openness and 3) capacity to process it. Therefore, it is up to the teacher to be sure the student has or can create those three traits / fertile ground for learning to grow.
A good teacher inspires the courage, curiosity and commitment to learn in each student by addressing how they learn which varies from student to student and day to day.
The world cannot and should not adjust to the individual at every turn, but helping students identify their strengths and weaknesses with empathy and humor will build trust in how to process and produce with less fear and more joy.
Reading the atmosphere, anticipating and following the student's face and body language give the alert teacher many clues to the receptiveness of any student and indicate the most effective strategy in reaching that student.
A good teacher becomes a better teacher not from experience alone, but from the desire to reach and give to students. The combination of experience and desire foster further growth in the teacher. One more key to a teacher's betterment is the absorption of what students give back. Some give more than others, but all give something. A good teacher facilitates increasing amounts of 'give back', a reflection of a student's growing confidence.
Goodness is not a finite definition of either the teacher or the learner. It is a launching point for betterment. It starts and continues as a two-way street.
Wednesday, August 24, 2011
Opening Yourself to Review, Assessment and Goal Setting.
No one wants to be stagnant, but few are comfortable pushing past the familiar and safe. Everyone wants to be creative, yet the distinction between new and imitation is hard to discern. Few want to be reviewed, yet many want to succeed.
What can be done? If you are not used to self assessment, step outside yourself and acquire some input. Dancers and other artists rely on this. They need an 'outside eye' to guide their creativity, and make their expression reach an audience.
1) Learn to 'read the air' of your immediate surroundings. Pay close attention to the response of others around you. Notice their body language their facial expressions and their comments (if you are lucky that they elicit something more than polite neutral remarks). Notice if others engage with you or check out. Dancers tune into the stillness of their audience and the tone of the applause.
2) Do not expect others to recognize the mini-achievements you make until they amount to a collection of progressions. Until then, watch for the tiniest of personal break-throughs. Pat yourself on the back when you notice the slightest advancements. Be careful not to admonish yourself for not being 100%. As a side note, you are supposed to face adversity and difficulty; so that when you can, you will truly be able to help someone else along their life's challenges. Dancers are famous for being critical of themselves, yet learn to persevere past their inadequacies to achieve exceptional feats.
3) Ask for feedback and advice. Then be sure to incorporate some or all the input, otherwise you will not be given much more in the future. Some give helpful considerate input, others just seem to lend criticism. Do not get discouraged. Sift through the well-intended, but negative comments as much as you do with the cheers from your fans. Find some sensible ground to navigate your course. Dance teachers, coaches, critics, and audience members may all have different tastes and opinions, but dancers learn to navigate the discrepancies and nurture their art form.
4) Take a chance. Be an individual. Often the crowd culture will hold you back. Do not be afraid to look funny, fail, or find new acquaintances to support your goals. Some of the greatest mistakes are in fact successes: chocolate chip cookies, popsicles, silly putty and more! Skepticism is one way friends and family 'protect' us from failure. There is no such thing as failure if you learn from it and get back on course. Dancers learn that if you stumble, you make it part of the dance. You can apply a similar philosophy to your life.
Conversely, if you are comfortable with self assessment, and can do it without beating yourself up, notice when you are sometimes on target and when you slip. That is the place where you are likely to make a break-through. Start there with your efforts. Progress is on its way, but it needs to be nurtured and carefully guided. Weed out the distractions and stay the course. Impatience is a common obstacle. Small frustrations, too, can steer us away from a success that is often right around the corner.
Aim for consistency. Achieving a goal is the first step; the ability to live the goal requires the ability to repeat it. Pulling-off a quadruple pirouette once is exciting, but worth nothing unless a choreographer knows the skill is reliable. Practice, practice, practice! Turn your 'can't' into 'could.' Be an example to others to make it stick. Sometimes teaching someone else reinforces your ability. Soon you will have confidence in yourself and not only will you achieve goal #1, but you will have experience to apply to future goals.
At first, do not seek the goals that are not near your capacity to achieve right now, but do not lose site of them either. Wanting to be a professional dancer is out of the question at the age of six, but a goal such as that is achievable. Consult with a school that is known for nurturing those dreams and helping their students realize them. Then, allow these goals to take shape or evolve into a new dream as you go through life. When you open yourself to review, assessment, and goal setting with others, you close yourself off from isolation, struggle, and the likelihood of a rougher road.
What can be done? If you are not used to self assessment, step outside yourself and acquire some input. Dancers and other artists rely on this. They need an 'outside eye' to guide their creativity, and make their expression reach an audience.
1) Learn to 'read the air' of your immediate surroundings. Pay close attention to the response of others around you. Notice their body language their facial expressions and their comments (if you are lucky that they elicit something more than polite neutral remarks). Notice if others engage with you or check out. Dancers tune into the stillness of their audience and the tone of the applause.
2) Do not expect others to recognize the mini-achievements you make until they amount to a collection of progressions. Until then, watch for the tiniest of personal break-throughs. Pat yourself on the back when you notice the slightest advancements. Be careful not to admonish yourself for not being 100%. As a side note, you are supposed to face adversity and difficulty; so that when you can, you will truly be able to help someone else along their life's challenges. Dancers are famous for being critical of themselves, yet learn to persevere past their inadequacies to achieve exceptional feats.
3) Ask for feedback and advice. Then be sure to incorporate some or all the input, otherwise you will not be given much more in the future. Some give helpful considerate input, others just seem to lend criticism. Do not get discouraged. Sift through the well-intended, but negative comments as much as you do with the cheers from your fans. Find some sensible ground to navigate your course. Dance teachers, coaches, critics, and audience members may all have different tastes and opinions, but dancers learn to navigate the discrepancies and nurture their art form.
4) Take a chance. Be an individual. Often the crowd culture will hold you back. Do not be afraid to look funny, fail, or find new acquaintances to support your goals. Some of the greatest mistakes are in fact successes: chocolate chip cookies, popsicles, silly putty and more! Skepticism is one way friends and family 'protect' us from failure. There is no such thing as failure if you learn from it and get back on course. Dancers learn that if you stumble, you make it part of the dance. You can apply a similar philosophy to your life.
Conversely, if you are comfortable with self assessment, and can do it without beating yourself up, notice when you are sometimes on target and when you slip. That is the place where you are likely to make a break-through. Start there with your efforts. Progress is on its way, but it needs to be nurtured and carefully guided. Weed out the distractions and stay the course. Impatience is a common obstacle. Small frustrations, too, can steer us away from a success that is often right around the corner.
Aim for consistency. Achieving a goal is the first step; the ability to live the goal requires the ability to repeat it. Pulling-off a quadruple pirouette once is exciting, but worth nothing unless a choreographer knows the skill is reliable. Practice, practice, practice! Turn your 'can't' into 'could.' Be an example to others to make it stick. Sometimes teaching someone else reinforces your ability. Soon you will have confidence in yourself and not only will you achieve goal #1, but you will have experience to apply to future goals.
At first, do not seek the goals that are not near your capacity to achieve right now, but do not lose site of them either. Wanting to be a professional dancer is out of the question at the age of six, but a goal such as that is achievable. Consult with a school that is known for nurturing those dreams and helping their students realize them. Then, allow these goals to take shape or evolve into a new dream as you go through life. When you open yourself to review, assessment, and goal setting with others, you close yourself off from isolation, struggle, and the likelihood of a rougher road.
Tuesday, August 23, 2011
Liberal Arts Education: Is It Undervalued?
A classical liberal arts education is becoming lost in the pursuit of 'advanced placement', degrees, credentials, and employment, but it is exactly what is needed to survive difficult times like these. Studying the arts and humanities is a road map to learning of oneself. It challenges people to incorporate logic (mathematics and philosophy), creativity (arts and sciences), and responsibility to others (history and civics). Once thyself be known, navigating challenging times is as simple as confidently turning to another facet of one's abilities.
Current education is becoming lop-sided. Mathematics is becoming less about logic and more about correct calculations. Philosophy? It is a rare person who has even scratched the surface of philosophical thinking. Science is getting a big push at the expense of art programs everywhere. Responsibility? Community service is on the rise at the individual level, but when hidden behind a group entity, responsibility submits to the bottom line more.
"The aim of liberal education is to create persons who have the ability and the disposition to try to reach agreements on matters of fact, theory, and actions through rational discussions." "The Aim of Liberal Education," DiText, September 1, 2003.
A classical education draws upon what is tried and true, not for this century, but for all centuries. In a classical setting, teachers are allowed to focus on their lessons for the students instead of their research. Class sizes are more intimate. Students are challenged to think, debate, and design plans of action with preparations to handle positive and negative consequences. "Too often we... enjoy the comfort of opinion without the discomfort of thought." John F. Kennedy
Now that undergraduate degrees, once the vehicle for a liberal arts education, are turning toward specific areas of study, one would think that high schools would hold true to a classic education, but alas, high schools are competing to increase the percentage of their students able to churn out information and score the highest. This approach creates an individualistic, competitive way of working which is not entirely bad if balanced with a collaborative and civic spirit born in a classical education.
The gradual departure from the classics in our children's education is slipping past parents who are busy trying to keep up, stay on track, and maintain their jobs. Unwittingly, we are creating a generation who does not understand the value of the arts and humanities because few were exposed to a proper arts education. This and the next generation will need a renaissance to save our civilization from another dark ages. We need a resurgence of artistic intelligence to fight for the humanities and minimize the stressful hoops we are creating for our children and selves.
You can do something about this. It took a long time for our educational system to slide to its current state; it will take as long to resurrect it. Children should not be made to wait. Be sure children you know are vested in a classical arts education where they grow up with discipline, self direction and personal reliance: the underpinnings of all arts.
Write back and tell others what you are doing to bring a renaissance to today's educational world. I lead an academic day school for serious students of dance, as well as an enrichment dance program for avocational students. In these programs I encourage searching for one's buried treasure, inspire students to lead with thoughtful exchange and example, and engage their artistry and technique in local touring seasons to renew the value of a liberal arts education.
I encourage you to write back and inquire what / how I do what I do. I am not secretive or competitive. The more people that embrace and take action to further a liberal arts education the better.
Current education is becoming lop-sided. Mathematics is becoming less about logic and more about correct calculations. Philosophy? It is a rare person who has even scratched the surface of philosophical thinking. Science is getting a big push at the expense of art programs everywhere. Responsibility? Community service is on the rise at the individual level, but when hidden behind a group entity, responsibility submits to the bottom line more.
"The aim of liberal education is to create persons who have the ability and the disposition to try to reach agreements on matters of fact, theory, and actions through rational discussions." "The Aim of Liberal Education," DiText, September 1, 2003.
A classical education draws upon what is tried and true, not for this century, but for all centuries. In a classical setting, teachers are allowed to focus on their lessons for the students instead of their research. Class sizes are more intimate. Students are challenged to think, debate, and design plans of action with preparations to handle positive and negative consequences. "Too often we... enjoy the comfort of opinion without the discomfort of thought." John F. Kennedy
Now that undergraduate degrees, once the vehicle for a liberal arts education, are turning toward specific areas of study, one would think that high schools would hold true to a classic education, but alas, high schools are competing to increase the percentage of their students able to churn out information and score the highest. This approach creates an individualistic, competitive way of working which is not entirely bad if balanced with a collaborative and civic spirit born in a classical education.
The gradual departure from the classics in our children's education is slipping past parents who are busy trying to keep up, stay on track, and maintain their jobs. Unwittingly, we are creating a generation who does not understand the value of the arts and humanities because few were exposed to a proper arts education. This and the next generation will need a renaissance to save our civilization from another dark ages. We need a resurgence of artistic intelligence to fight for the humanities and minimize the stressful hoops we are creating for our children and selves.
You can do something about this. It took a long time for our educational system to slide to its current state; it will take as long to resurrect it. Children should not be made to wait. Be sure children you know are vested in a classical arts education where they grow up with discipline, self direction and personal reliance: the underpinnings of all arts.
Write back and tell others what you are doing to bring a renaissance to today's educational world. I lead an academic day school for serious students of dance, as well as an enrichment dance program for avocational students. In these programs I encourage searching for one's buried treasure, inspire students to lead with thoughtful exchange and example, and engage their artistry and technique in local touring seasons to renew the value of a liberal arts education.
I encourage you to write back and inquire what / how I do what I do. I am not secretive or competitive. The more people that embrace and take action to further a liberal arts education the better.
Monday, August 1, 2011
Patriot's Footbal Training Camp
I love watching athletes almost as much as I love dancers. Their movement is fascinating. When combined with a professional work ethic, it is amazing. I recently watch the Patriot's football team work out for a couple hours. The experience was riveting for me and the fans in attendance; but I know I looked at what was happening very differently than most.
While spectators cross referenced the roster of players with their practice jersey's, talked about potential signings and cuts, applauded the glamorous maneuvers, I remained steeped in the way in which the session was run, the workings of the staff, the work ethic of the players, and their body mechanics. I study and analyze movement in a flash. I delighted in the build up of short drills into more complex patterns. I was happily surprised to be right at home with the format. It mirrors a dance rehearsal.
Dancers, and athletes alike, build their physical skills, discipline their time, and train their mind to accomplish unearthly feats beginning in childhood. After years, those who persevere, are healthy, and learn the ins and outs of working with like-minded people take their training to a court, field, or to the studio and stage.
Before pros bring their work to the public, the practice or rehearsal time is key. These highly skilled people come to their training session or rehearsal previously warmed-up with years of skills in place only to unite it with team mates or cast members. In dance or athletics, the method is the same; the terminology is different.
I watched the aspiring football players, already drafted and considered pros, work together like a well choreographed production. By the definition of some, they have already 'made it.' because they are now in the NFL. But these players worked to improve, and earn higher ranking on the team as dancers do in a company. These football players worked in small groups on basic drills: scrambles, punting, hand-offs, catch and roll, passing and receiving like dancers working on sequences of choreography. The only music to keep these athletes in time was the whistle of the coach who kept them moving from drill to drill until they came together by offense, defense, special teams. First and second teams ran plays for some time, then at the coaches whistle, the players broke off into smaller groups again for practicing jump and roll, dive and slide, running patterns and more. There was little time spent on real tackles due to the new safety rules for the players, but is was fun when muscles memory of the experienced players caused accidental take-downs...all in good humor.
The only major difference between a training session and a dance rehearsal that caught my eye was the extensive support staff tracking every move, calculating every statistic on these players. The success of a dancer is not in the statistics, but in the unmeasurable depth by which they grab the audience by their heart strings.
While spectators cross referenced the roster of players with their practice jersey's, talked about potential signings and cuts, applauded the glamorous maneuvers, I remained steeped in the way in which the session was run, the workings of the staff, the work ethic of the players, and their body mechanics. I study and analyze movement in a flash. I delighted in the build up of short drills into more complex patterns. I was happily surprised to be right at home with the format. It mirrors a dance rehearsal.
Dancers, and athletes alike, build their physical skills, discipline their time, and train their mind to accomplish unearthly feats beginning in childhood. After years, those who persevere, are healthy, and learn the ins and outs of working with like-minded people take their training to a court, field, or to the studio and stage.
Before pros bring their work to the public, the practice or rehearsal time is key. These highly skilled people come to their training session or rehearsal previously warmed-up with years of skills in place only to unite it with team mates or cast members. In dance or athletics, the method is the same; the terminology is different.
I watched the aspiring football players, already drafted and considered pros, work together like a well choreographed production. By the definition of some, they have already 'made it.' because they are now in the NFL. But these players worked to improve, and earn higher ranking on the team as dancers do in a company. These football players worked in small groups on basic drills: scrambles, punting, hand-offs, catch and roll, passing and receiving like dancers working on sequences of choreography. The only music to keep these athletes in time was the whistle of the coach who kept them moving from drill to drill until they came together by offense, defense, special teams. First and second teams ran plays for some time, then at the coaches whistle, the players broke off into smaller groups again for practicing jump and roll, dive and slide, running patterns and more. There was little time spent on real tackles due to the new safety rules for the players, but is was fun when muscles memory of the experienced players caused accidental take-downs...all in good humor.
The only major difference between a training session and a dance rehearsal that caught my eye was the extensive support staff tracking every move, calculating every statistic on these players. The success of a dancer is not in the statistics, but in the unmeasurable depth by which they grab the audience by their heart strings.
Wednesday, May 18, 2011
Jacob’s Pillow makes Dance Interactive!
Dance people tend to work with less emphasis on time and budget and do whatever it takes to bring an idea to life. Money is rarely the motivation for the dance industry. Colleague-ship is! Ideas are born in an artists heart, and created with support from a vast number of generous people helping with the working, reworking, and development of creative projects. This generous spirit draws in colleagues who collaborate to move creative projects into reality. I do no know what or how many people it took to bring Jacob's Pillow's new project to life. I do not know the financial output, but I am sure it is due to the discipline and dedication that is so well known in the dance industry.
From this generous spirit, Jacob's Pillow provides so much for the international dance community and is one of the most successful in maintaining itself, passing along the legacy for generations to come. Kudos to them for launching this innovative project and lucky for the world for having access to it.
Those of us who give and those who receive, as in this Jacob's Pillow project, help insure the future of dance so that together we can continue making in roads toward bridging communities and solving some of the world's issues. Because dancers are universal communicators who are very effective in stirring emotions, illuminating an issue, and sometimes inciting action, they can easily work politically, socially or simply to beatify. Whatever the means and motives, dance often makes inroads toward understanding. This is why dance is so important. That is why this Jacob's Pillow project is a big deal. Dance is universal in the way that is can communicate and bridge people together.
'Dancers don't have problems; they solve them' is an understood mantra from the youngest dancer student to the masters passing on their legacy. Solving problems is what the world needs. We have so many of them. The imagination of people in the dance industry is often seen in choreography, sometimes in media projects (like Jacob's Pillow's), and sometimes addressing world problems.
Thank you to Jacob's Pillow and the many other parts of the dance industry for their support in upholding the traditions and propelling innovation in the international dance community.
I love the dance industry, full of imaginative, generous, and responsible people who dedicate themselves to the universal language of dance. Everyday my work as a dance school director grows out of the inspiration around me: from the legacy that was entrusted to me by my predecessors to the eager hearts that await guidance and exchange of ideas in my class, as well as from my colleagues who share their teachings and performances to the audience members who share the experience.
Jacob’s Pillow makes Dance Interactive!
From this generous spirit, Jacob's Pillow provides so much for the international dance community and is one of the most successful in maintaining itself, passing along the legacy for generations to come. Kudos to them for launching this innovative project and lucky for the world for having access to it.
Those of us who give and those who receive, as in this Jacob's Pillow project, help insure the future of dance so that together we can continue making in roads toward bridging communities and solving some of the world's issues. Because dancers are universal communicators who are very effective in stirring emotions, illuminating an issue, and sometimes inciting action, they can easily work politically, socially or simply to beatify. Whatever the means and motives, dance often makes inroads toward understanding. This is why dance is so important. That is why this Jacob's Pillow project is a big deal. Dance is universal in the way that is can communicate and bridge people together.
'Dancers don't have problems; they solve them' is an understood mantra from the youngest dancer student to the masters passing on their legacy. Solving problems is what the world needs. We have so many of them. The imagination of people in the dance industry is often seen in choreography, sometimes in media projects (like Jacob's Pillow's), and sometimes addressing world problems.
Thank you to Jacob's Pillow and the many other parts of the dance industry for their support in upholding the traditions and propelling innovation in the international dance community.
I love the dance industry, full of imaginative, generous, and responsible people who dedicate themselves to the universal language of dance. Everyday my work as a dance school director grows out of the inspiration around me: from the legacy that was entrusted to me by my predecessors to the eager hearts that await guidance and exchange of ideas in my class, as well as from my colleagues who share their teachings and performances to the audience members who share the experience.
Jacob’s Pillow makes Dance Interactive!
Tuesday, April 12, 2011
I See a Future for Everyone With Out a Crystal Ball
I couldn't be a teacher if I didn't have hope for each student's future. I believe with diligence, curiosity, and time, every one I teach will have a solid future...maybe in the dance industry, maybe not. I believe each individual should have their choice of professions and not be limited to what others dream for them. Every profession requires what dance training brings out: discipline, diligence, attention to detail. All jobs will be more enjoyable with the emotional resiliency, creativity, and manners that are mastered with long-term dance training. Life will be healthier with the good posture, active life-style, and rigor that a dance education instills.
It is my happy task to be sure that each student will have the nature and skills to be employable in the dance industry should they reach for it. Whether a dance photographer, journalist, therapist, designer, manager, teacher or performer, introducing my students to these vocations in the dance world expands their dreams. Why take such a serious approach? Because dance is no less important than math, science, or language. Few students become mathematicians, scientists or language scholars, yet, society highly regards their pursuit for the intrinsic value in life. Regrettably most experiences in the arts are relegated to 'enriching' rather than fundamental. It's purpose has been lost and a child that is superficially educated in any area has less of a chance to fulfill his / her potential.
I am never discouraged if a student aims for a profession unrelated to their study of dance, nor do I teach them any differently than the one shooting for a career in dance. Similarly, I do not get overly excited when a student announces their dream to work in the dance industry. 1) students change their goals all the time. 2) dance training is really training for any profession. I remain undaunted in my pursuit to give students a full and well-rounded education in dance. I am happy that a student has an aspiration that motivates them. Studying dance fits into any future plan.
It is my happy task to be sure that each student will have the nature and skills to be employable in the dance industry should they reach for it. Whether a dance photographer, journalist, therapist, designer, manager, teacher or performer, introducing my students to these vocations in the dance world expands their dreams. Why take such a serious approach? Because dance is no less important than math, science, or language. Few students become mathematicians, scientists or language scholars, yet, society highly regards their pursuit for the intrinsic value in life. Regrettably most experiences in the arts are relegated to 'enriching' rather than fundamental. It's purpose has been lost and a child that is superficially educated in any area has less of a chance to fulfill his / her potential.
I am never discouraged if a student aims for a profession unrelated to their study of dance, nor do I teach them any differently than the one shooting for a career in dance. Similarly, I do not get overly excited when a student announces their dream to work in the dance industry. 1) students change their goals all the time. 2) dance training is really training for any profession. I remain undaunted in my pursuit to give students a full and well-rounded education in dance. I am happy that a student has an aspiration that motivates them. Studying dance fits into any future plan.
Monday, April 11, 2011
Teaching How to Dance is Different From Teaching How to Be a Dancer
Teaching how to dance is similar to teaching how to speak a foreign language. There is vocabulary, punctuation, and intonation to master. There is style, expression, and meaning to convey. There is form and order; but teaching how to be a dancer involves immersing students in the culture of artistic demeanor as well, including: independent discipline, balanced with trusting camaraderie, and creative collaboration. The ability to dance and being a dancer are vastly different.
Friday, March 18, 2011
Thursday, March 17, 2011
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