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.