Learning to Dance Through the Integration of Experiential and Observational Methods

------------------------ Carpe Diem, Seize the day! Let's not allow another moment to pass without acknowledging what we learned so far today. It is said, we learn something new everyday. What is it and how are we learning it? ------------------------ Nearly every time I start another class with my students I ask, What have you learned already, what corrections do you remember, and what goals do you have for today's class? I try to enlist each student's participation in their own learning, not relying on spoon-fed information to regurgitate back. I encourage my students to study themselves not in an indulgent way, but to have much to give the world through their art. Their job as a student is to remember their lessons and improve so they can ultimately have such command of their emotional, physical, and mental being to express whatever a choreographer imagines. To be the ideal muse requires intense study and in-depth learning. ------------------------ Observational learning is instinctual and often the dominate way people (including dancers) learn. Dancers cannot afford to depend on just this one way to build their talents. They must be willing to explore, experiment, and discover through experiential learning, too. Unfortunately, many dance teachers instruct young dancers to mimic movements and positions establishing a method not dissimilar to the 'monkey see, monkey do' effect. In this limited method of exchanging skill, young students miss the personal, artistic experiences of how, why, and emotional investment of the movement, then retain nothing to pass along to their audience except the imitated movement on the proper count of music, in the designated space on stage. ------------------------ Because it is hard for new dance students to tap into their imagination and courage to explore their possibilities, and even harder to manage a class of students trying to find their individuality in this art-form of dance, many teachers stick with measurable left brain approaches to instill a sense of dance. In this way, students who usually come from an educational system that approaches learning from an analytical way, continue in their right / wrong assessment of their artistry. I actually have to break down that barrier, teaching students, there is no right or wrong in dance. There is only clear and interesting. ------------------------ In an effort to impart artistry with technique, some teacher / student relationships alternate between observational learning and experiential learning. That approach leads to dividing the brain into right brain / left brain. It is better to merge the two sides of the brain into a coordinated expression. ------------------------ Experiential learning is one tool that dance teachers use to help a student deepen his / her skills. Yes, there must be some planning and organization that precedes the endeavor, much like a scientist collects materials, and sets a plan for carrying out an experiment. Both the dancer and scientist work from a level of curiosity with a base of anticipated results and openness to unexpected, but equally valuable discoveries. That openness to the unexpected is what leads to integrated learning of the right and left brain. Imagery combined with planning, inspiration paired with intention, and creativity blended with fundamentals bring brain activity from both sides into one. ------------------------ You can learn to dance best with both sides of your brain involved. Choose a teacher who engages both your artistry and technique.

Educating Children for the 21st Century May Benefit From a Look Into the 15th Century

The needs of the work force in the future change as fast as technology allows. We know how fast that has been; and it only advances faster with time. Unless any of you can look into the future and provide more than a predication, we will need to prepare our children to be creative and brave to evolve with the work force of the 21st century. ------------------------- People of the Renaissance (13 to 16th century) may just be the ones to emulate. Their way of thinking became more open to innovative ideas, reinventing methods in all areas of life, particularly arts and sciences..the most creative of all disciplines. ------------------------- To question common practice, search beyond the known, or look for answers not provided by the Church, government, and traditions of the day was as risky then as it is now. Consider Leonardo Da Vinci, a man who did not distinguish between art and science, math and philosophy. He explored them as he saw them: woven together, not separately. He created in all realms. ------------------------- Compartmental thinking and teaching each subject independent of other subjects was never as useful as society thought is would be. It needs to give way to whole education where students can realize the interconnectedness of the world. In this way, a student who might have felt inept in one subject will gain confidence approaching a difficult concept with supporting topics and concepts. ------------------------- Studying dance teaches 21st century students to pull it all together in their efforts to master their mind, body and spirit. As their body grows, they adjust to the longer limbs, stronger girth and mental capacity. As their experiences broaden, they incorporate more elaborate skills, coordinate more complicated intangible concepts, and strive for the refinement of details. They become willing to explore, experiment and persevere until the desired results are present. ------------------------- Many a past student has contacted me well into their adulthood thanking me for the dance education they received, reporting that they happily survived career changes more easily than their peers who complained that expectations were too high, hours too long, superiors too demanding, etc. They claim that their dance training gave them the work ethic to be unruffled by the demands of the 21st century work force. ------------------------- Dancers speak a universal language that will stand the test of time, as well as possess the creativity, discipline, and ability to evolve to every changing circumstance to excel. Students, study dance not necessarily to become a dancer, but to become a master of thyself and thus any task at hand. Employers, hire a dancer. Their nature is to actively re-tool and be ready for the increasing demands of any job. ------------------------- Be like a Renaissance person who strives for critical thinking, questioning, problem solving, assessing, analyzing, synthesizing and communicating information for the world at large. Avoid provincial thinking: 'If it was good for me, then it is good for my child.' Run from narrow thinking and the small focus of people who agree with you. Search out the challenges for yourself and in your children's education. Choose the Dancing Arts Academy where the study of arts and academics coincide deeply!

You Want Excellence in Education? Follow Your Teachers' Directions and Back Them in Their Efforts

American schools are constantly compared to an international standard, yet continue to fall short. Why?! We spend lots of money; we standardize testing, we grade, level, and offer a variety of courses. What is wrong? ------------------------- I have an idea. The respect afforded teachers in America is low compared to the countries where students are excelling. I spent some time in Japan where my daughter was teaching. The respect afforded her was drastically higher in every respect. If she suggested the parents do such and such, she could consider it done. If she provided feedback about a student, it was considered the truth. She answered to her bosses, not to the parents. The parents answered to the teachers. ------------------------- Who answers to whom in America? Hierarchy is detestable, but when all is said and done, we do have to acknowledge that people have expertise from which we can benefit and excel if experts are allowed to take the lead. It is great that Americans are raised to question and think for themselves, but it is spilling over to doubting the authorities in their field. ------------------------- Questioning, doubting, and not trusting specialists is making America insecure and continues to grow out of control. It is bad enough for individuals who are out of control in their own lives to try exerting control over others. It is multiplied when a family or government is out of control; it tries to exert control over an institution (school, police department, etc.) instead of dealing with what is within its realm. This misplaced effort to gain control stands in the way of making necessary improvements. I suggest the tables be turned. Let the school do what they do best and families return to managing their home life.

" Watch the Penny's and the Dollars will Take Care of Themselves"- DR Horton

I do not know about you, but I am careful about how I spend my money, time, and effort. Life is too short to waste any of it. When I spend money, I want to be sure it is on something that will generate a lasting positive effect or not break-down soon after its purchase. I choose my purchases carefully. If you are like me in that regard, look carefully at the investment you make in your choice of activities, too. Spend your money where it will not only give you a quality experience while you are engaged in it, but the lessons learned will far out last the experience. -------------------------- Let me pose a question, would you appreciate spending your time, effort and hard-earned money in an academic program that bases its value on fun? Would you like, a math teacher (for instance)to teach not caring if students learned their calculations and logical organization correctly and concerned themselves only with enjoyment? No! Why do that with the arts? -------------------------- The arts are the base of all humanity. They reveal the inner most parts of oneself to oneself, and deserve the same scrutiny of purpose as academics. Knowing and mastering the expression of ones emotions, requires more than honesty and courageous self discovery, self-discipline, and attention to detail. Because there is no score, goal line or end of period, there is no limit as to how far one can achieve; yet because the there is no score, goal line or end of period, it leaves society uncertain of its comparative value. Society supports that which we can measure, and hesitates to commit to anything that cannot be quantified. -------------------------- Time and time again, I listen to parents say, if my child likes it, I will pursue it seriously. My question to these parents is, how will you know if your child likes something if they are measuring the appeal of a program in a non-serious way? Frequently, I enroll children who are eventually dissatisfied with their start-up dance school finally seeing its short comings. By then, the (mental, physical and emotional) habits instilled by the non-serious program have to be corrected, requiring much more time and expense than if the students had studied at a serious school to begin with. -------------------------- Serious does not mean severe, boring or stringent. It means being in earnest, sincere and committing importance. Who does not want to spend their hard-earned money in a place where their investment will be met with equal importance? I gander to guess, not you! -------------------------- Take your self, your time and money seriously. Do not be penny wise and pound foolish. Invest your time and money in quality experiences. Know the real thing.

What is in (the coaching of) a 50 Second Variation?

I keep my office door open welcoming all questions. ------------------ Recently, a parent shared that she has been wondering, what her daughter has been doing all these months in her coaching sessions to learn a 50 second variation, with the incredulous tone that demonstrated humor in her 'out of the loopness'. In respect to her daughter's new journey of working with a coach on a classical ballet variation, I could tell she was wondering, but didn't want to ask, Doesn't she have it already? Being glad she voiced her curiosity, I smiled back and began to explain. Then I realized my timing was off. She didn't want to know now. She wanted to leave the experience in her daughter's realm. Terrific for her daughter and kudos to her as a parent. ------------------ Nonetheless, conveying all that coaching (a student or young dancer to performance level of a classical variation) entails is important. Every coach handles the process differently from dancer to dancer, but all of the issues are addressed. ------------------ The time involved is longer for the novice than for the experienced dancer. One dancer may be experienced with one kind of role and not another. To the outsider, dance is dance and one role is like another. To the insider, the subtleties between one classical role and another are large and grows more vast when comparing a romantic era role to a classical role or neoclassic role....not to mention character or contemporary roles. Each time a dancer embarks on learning the portrayal of a new (to them) choreographer's style, the process consumes more time. ------------------ Not dissimilar to a dance rehearsal, coaching sessions work on many facets of the dance: the repertoire and technique, the musicality and phrasing, the character development and acting, as well as the obvious physical, intellectual and psychological training to prepare for the stage and audience. Make-up for the role under bright stage lights is tricky and deserves special attention during the process. Even the costume's weight, dimension, and movement which impact the dancer's use of force, energy, speed, and characterization is worthy of devoted time. Not all concepts are presented at once nor are they presented in any particular order. ------------------ Unlike a dance rehearsal, the personalization of the process and the fine tuning of every detail is deeper and more intense in coaching sessions. Sometimes, only one small section of the dance is the focus of the first several sessions working and reworking epaulment (upper body language), and the lines of the movement in relation to the lines of the classical stage. Other times, the whole variation is taught; then the coach layers and weaves in the many facets of the role as the work continues. Through the process, the coach does not always work on the movement, the artistry, or the staging, instead focuses the performer on the mental, physical and emotional toughness to meet expectations. While the coaching process is broken down into this explanation, one cannot underestimate fostering the dancer's trust in their own instincts. ------------------ Knowing all the work of guiding emerging dancers from student to performer is difficult to relay because so much of the inner most experiences do not trickle down from body to body, but from a passionate heart to a trusting heart, from the coach's inspiration to the dancer's imagination, and from the studio to the stage. ------------------ Rarely does a dancer or coach feel the performer is ready by the performance date as there is always more detail to bring out, but at some point the dancer must go on. Rest assured in the value of the coaching process. With accumulating coaching seasons, the coach and dancer can dig deeper, produce more quickly and making the dancer more versatile and valuable to a company.