This is an archive. I have retired, and dancepulse.org is no longer being actively updated. If you have questions about old posts or dance education, please contact me via email.

dancepulse

make your day dance

Time — urgent vs. sustained

September 27th, 2009 · ····

I’ve had the opportunity to be thinking about time lately, both quantitatively & qualitatively — an opportunity that’s arisen from a drastic cut in the quantity of my instructional time this year.  Not surprisingly, I perceive this cut to be affecting the quality of instruction.

To cut to the quick, and at the risk of sounding whiny, I have eight 30-minute classes this year instead of six 40-minute classes.  Even before you consider the fact that classes often arrive late, thus cutting instructional time even further, there’s a vast different between what you can accomplish in 30 vs. 40 minutes.  In either case (30 or 40 minutes), there’s a certain amount of warming up, physically & mentally, that has to happen — an introduction to the day’s lesson & the guided instruction. In a shortened amount of time, what gets left on the cutting room floor is the independent work — the admittedly messy, inefficient & often time-consuming part of the lesson where students engage & have time to be creative.  But wait, wasn’t that the most important part?! The part where I quit teaching, and students do the learning?

Back to my ruminations on time…

In dance as in all activities, quantity of time can be measured — in counts, meter, minutes, duration.  But in dance & movement (as in all activities again I suppose), the quality of time — a person’s attitude toward time, as revealed in the movement — is far more important.

Let’s look at Time Qualities as delineated by Rudolf Laban. Described by Valerie Preston, one of his interpreters, in A Handbook for Modern Educational Dance (MacDonald & Evans, 1977), the Time Qualities are as follows:

“A sudden movement can be described as “urgent,” “sharp,” “staccato,” “excited,” “instantaneous.”  It can be felt as an immediate discharge of energy or as a decisive arrival at a new place. The sudden quality can continue after the body has arrived and is experienced as a feeling of urgency.

“Continuous suddenness appears as shivering, fluttering or vibrating and is an invigorating quality, but an exhausting one if continued over too long a period.

“A sustained movement can be described as “slow,” “smooth,” “legato,” “prolonged,” “lingering.” It can be felt as a gradual change from one situation to another or as an unhurried departure. The whole being indulges in time, extending this experience to the pause after motion has ceased.”

Thus, the mover’s attitude toward time is expressed naturally in movement.  Imagine the difference in your own movement in these 2 situations:

  1. On the day of a crucial early meeting, your eyes fly open to the sudden realization that your alarm failed — and you might still make it if you leave the house within minutes.
  2. Alternately, waking on an unscheduled Saturday morning when the sun shines lazily through your blinds, you stretch & roll over, beginning to think of coffee & the morning paper.

We’re not just talking about fast vs. slow.  The perception that one’s time is short leads to a sense of rush & urgency — which is possibly invigorating, but likely to be exhausting if continued. The perception that one has enough — plenty — of time makes a person unhurried, even indulgent.  The difference is frantic vs. relaxed.

So what does this have to do with education?  …we can teach & learn quickly, but we’re not at our best when frantic & pressured. The Writers Workshop, which I spent a week studying for inspiration in late August, asks for sustained periods of writing time for children — in order to improve learning. So the hurry of 30 minutes per class is at complete odds with the goal of providing students with time for sustained creative work.

Knowing all this, but stuck with my schedule, I’m left with trying to create an unhurried feeling of sustained learning within a brief modicum of time. So far, I haven’t been able to quell my own feeling of urgency, but perhaps it’ll come…

→ 7 Comments

Thank you, dance network…

September 24th, 2009 ·

A remarkable & intriguing performance by Jerome Murat — and one of those things I only know of because I’m a member of DEAW & daCi.  Grateful when people find tidbits to share!

Comments Off

New year, new challenge: learning about autism

September 17th, 2009 · ···

Perhaps related to economic pressures, our student numbers jumped from 320 to 380 this September. Sixteen of our new students belong to two self-contained classrooms & are diagnosed as severely impacted by Autism Spectrum Disorders. I’m learning quickly & first-hand what that means, since I provide 30 minutes of instruction for 8 of the children every day. But I’ve got a lot to learn…

Whatever “classroom management” a teacher may have devised for working with 30 students in a regular classroom is pretty worthless when faced with eight 5 to 9-year-olds who are non-verbal, don’t look your way & respond to neither names nor instructions. Engaging songs & hand jives with a sure-fire history of capturing the attention of kids?  They go unnoticed, as these darlin’s wander the room, browsing for switches to flick or objects to carry.  Needless to say, the 10-minute break before their class includes a room-check:  a sheet to cover the electronics, pen basket onto the top shelf, everything on my desk shoved out of reach.

Of 90 minutes I’ve had with this week’s group, we’ve had about 15 good ones, in 1-3 minutes increments. I define a good minute as one when I’m not dancing all by myself.

On the positive side, of course, I do believe they need what I offer, if I can just figure out how to invite them along. And success has a whole new standard…

  • Last week after 3 days of working on “clapping conversations” (I face a student one-on-one, and we take turns clapping), 3 of the 8 did something that I was able to qualify as a response.
  • Yesterday Harry quit wandering & accepted a scarf, which he waved & tossed for a good 3 minutes.
  • Today when the scarves came out, 6 of 7 were willing to sit in a circle in order to receive one, and most of them managed to follow my lead on waving, turning, & tossing. A truly stunning moment was when I put my scarf on my arm instead of in my hand — they were all with me!

As I head down this path, I’m grateful for help in all forms!  So far, I’ve met the OT assigned to our building — perhaps he’ll have some helpful insights.  In addition, I’ve made email contact with several other dance educators who work with special needs children, and I’m hopeful they’ll have much to share!  And I’ve gained a small but illuminating window into this world of uncertainty by reading Ten Things Every Child With Autism Wishes You Knew, by Ellen Notbohm.

If you have insights, advice or experience to share, please do…!

→ 6 Comments

An anecdote

September 2nd, 2009 · ···

Last week while learning the particulars of Writers Workshop, I had to write a “personal narrative” in order to work through the process.  Personal narratives — stories of small & true moments — are foundational in the Writers Workshop method.  Since the one I developed came straight from my life as a dance educator, here it is, with names of people I’ve never met.  It’s called…


Driving Home

“Yeah, I just about popped that girl that looked down her nose at us. She was lucky she looked away.”

“I bet they never seen anyone so black as us.”

“Oooh, but did you hear the audience clap for us at the end?”

“Yeah, we came on strong for the bow.”

“And when we were doin’ our dance too! They got real noisy when Taneesha and Zenalisa came dancin’ back into the sticks.”

“Oh yeah, we were sharp!”

“Hey, look at that dude on the corner – I think he’s my uncle!  Hey, guy!”

“He’s not your uncle!”

“Yeah, he is! Hey, comb your hair, fella!”

“You know, he can’t hear you with the windows closed!”

“Yeah, well, he’s a mess.”

The banter from the three girls in the backseat was like birds chattering on a wire, shrill chirps overlapping and piled on top of each other, as we drove them home, with my husband Rick in the driver’s seat and me riding shotgun. Of the performers in our group this evening, these were the girls without rides, whose parents worked, didn’t have a car, or couldn’t come. As we turned south onto the highway, the cacophony in the backseat continued. I stared out the window, exhausted from directing their energies through the rehearsal and performance, feeling lucky myself that Zenalisa hadn’t decked anyone, and relieved that a fall chill kept their voices inside the car.

“Hey Ms. R, I don’t want to go home. I want to go to Zena’s house tonight. Take me to Zena’s house.”

This was Taneesha, in the middle seat, in one of her loud, buoyant moods.  A tiny slip of a 10-year-old, she wore carefully polished fingernails, big hoop earrings, and was endearingly cocky. She was fragile, brittle, spunky, steely, all at once or in close succession. The three of them, Taneesha, Zenalisa, and Latreece were like sisters, close, quarreling, and quick to rally as a team if one of them were challenged. When Taneesha had her down times, they’d be all over her with sympathy.

“Hey, Ms. R, are we gonna stop at Dick’s like the other night?”

“No, Taneesha,” I said wearily, “Remember the pizza before the performance?  You three ate a lot!”

“But don’t take me home, Ms. R. I wanna go to Zena’s. We moved, you know. My parents aren’t there anymore, where you took me on Thursday.  They’re at the new house. They want me to stay at Zena’s tonight.”

“They didn’t tell me that, Taneesha.  The permission they signed didn’t say that.”

We’d been there just the other night. Her duplex was upstairs, uncomfortably dark when we entered, but the switch at the bottom of the stairs lit our way to the door at the top, past torn carpet and litter on the steps. Her mom had poked her head out.

“Thanks for taking her!  How was it?”

“They did a great job!” I’d waved cheerily and escaped down the stairs as Taneesha ducked inside.

Tonight her insistences accelerated as we got closer.

“I bet you don’t remember the way, Ms. R! This is the wrong turn. It’s not down here. My mom’s at the other house, they moved all the furniture. They’re not gonna be here.”

Her persistence had my thoughts scrambling for a good option. The signed permission was all I had, and I couldn’t guarantee that a voice in a cell phone would be the right one, so I stared silently out the window. Without comment, Rick guided the car through dark streets, retracing our path from the other night. He was the insured driver, since the district didn’t condone teachers driving students. As we pulled up to the shabby two-story, we all saw the pack of young men standing around on the sidewalk. The girls reacted immediately, with urgent, wary voices, dropped almost to whispers.

“Hey, what are they doin’ on my sidewalk?”

“They’re nothin’ but trouble.  Why are they hangin’ out here?”

“Get away from her house…”

“They shouldn’t be here.  They don’t belong.”

There were three or four of them shuffling around on the sidewalk, dark against the dark night, with big jackets and baggy pants. In their late teens or early twenties, they were spread out along the sidewalk, talking and messing around. I’m thinking, “We’re going to stop here? And I’m going to get out?!”  My instincts screamed, “No!”

Our car pulled up to the curb, and with only a minor hesitation, I stepped out and opened the door for Taneesha. As we walked through the pack, she cussed and yelled at them to get away from her house. Shepherding her along, I didn’t even notice the car pulling away from the curb and easing up the block.

With her shout ringing in my ears, I walked briskly, Taneesha at my side. We climbed the steps, crossed the porch, and entered the dark hallway. The dim light brought the same litter to life as Taneesha clicked it on. She ran up the stairs and knocked. There was a muffled response, and she exclaimed, “They’re trippin’ again!” Another knock. “It’s me, I’m home.” Another muffled response, and she repeated with a disgusted grimace, “Ah, they’re trippin’!” The door opened, and she disappeared inside, leaving me helpless and uncertain on the stairs.

Turning away, I stepped briskly back out on the porch and walked quickly past the group again, with purposeful eyes straight ahead.  Just in time, the car pulled to the curb to rescue me.  I stepped in with relief, and Rick pulled away quickly.

After my shoulders had begun to lose their tension, after we’d gotten back on the highway and driven the other two girls home, and after we were driving home to our quiet, empty street in the north end, Rick told me why he’d pulled the car around the corner while I was walking Taneesha into her house.

“When Taneesha cussed at that crowd, Zenalisa & Latreece hit the floor of the back seat. They were expecting gunfire and stray shots!”

Rick had driven around the corner to calm their fears, and the girls had stayed on the floor of the backseat until the night silence, an absence of explosions, brought them out again.

The next day at school, the girls were their usual ebullient selves, nothing out of the ordinary. They chattered and quarreled, challenged and jumped to protect each other. But for me, what was driven home in that drive home was that home can be very uncertain, and that in their world, you have to be ready for gunfire.

Tinikling from the Philippines

→ 2 Comments

Translating Writers Workshop

August 31st, 2009 · ······

Pedagogy changes constantly.  When I was a 5th-6th grade classroom teacher for a few years (15 years ago), the writing pedagogy sweeping through schools was characterized by 6 traits (content, voice, organization, word choice, fluency & conventions).  I was trained in teaching the traits & scoring writing samples using rubrics built on them.

Nowadays, however, the 6 have become 6 + 1 (add presentation). But even that’s obsolete!  Lately, the writing pedagogy that seems to be everywhere is Writers Workshop (developed by Lucy Calkins from Teachers College at Columbia University).  And while Writers Workshop acknowledges the 6 traits (+1) of writing, it’s more of a philosophy of teaching & learning, with quite a different focus.  So lately, my vocabulary & process haven’t been synching with writing instruction. It was clearly time for me to catch up!

Why?  Because when I’m teaching choreography, I try to use vocabulary & methods that parallel the way the kids are learning to write.  That way, 1)  our work in choreography reinforces their understanding of the writing process, and 2) the kids learn that the creative process plays out similarly in any art form.

So last week I spent 4 solid days learning about Writers Workshop. Naturally, I was the only dance educator in the midst of many classroom teachers & reading specialists. It’s a bit of a brain twist to spend 4 days trying to filter new information through my dance-and-choreography filter. Obviously, I’m not planning to try to teach writing — what I want to do is use the vocabulary and process of writing — where applicable — for teaching them to choreograph.

The biggest obstacle is that Writers Workshop uses the visible evidence of many drafts to help students learn how writing improves with refinement.  With choreography, there’s no good evidence of the growth — I don’t even want to think about the logistics of using video for every stage in the dance! However current it may be to put everything on YouTube, I’ve got parents in my population who won’t sign a permission slip.

There are some great points, however, that can translate from Writers Workshop to Choreographers Workshop:

  • a notebook for gathering ideas is good, and the logistics might even be workable if I can get to Office Max in time for the 20-cent composition books;
  • one teaching point per day!  not based on a vocabulary word, but as a complete sentence about what strategies dancers use;
  • keep the lessons really short, and the engagement period long;
  • modeling the problem-solving process by talking aloud;
  • offer opportunities for really sustained improv and/or choreography work, not just at the end of the year but frequently;
  • don’t make assignments; allow for choice in every task;
  • encourage an attention to detail in the movement;
  • work through the process as often as possible — from choosing a “seed” idea to drafting it into a dance, refining, rehearsing, and performing…

Sound familiar?  Yup, to me too. Why is it that I have to keep learning the same things over and over?  That’s OK.  It’s good to be recharged!

Comments Off

Life comes back to the classroom

August 31st, 2009 · ·

The first traces:

office corner functional again...

office corner functional again...

Barely begun, but a whole different state of mind compared with two and a half months ago.

Comments Off

A new year

August 30th, 2009 · ······

As the start of a new school year approaches, it looms large. I write lists to clear my brain. Then I have lists, as well as an overloaded brain. Most ominous among my thoughts is “What am I going to teach and how?” In the largest sense.  How am I going to organize everything I want the kids to experience and master, at six grade levels (kindergarten through 5th) over the course of a year?!  Including but not limited to:

  • the movement vocabularyof space, time, energy & body
  • motif reading and writing
  • choreographic form and devices
  • locomotor & non-locomotor skills
  • groups formations & cooperative skills
  • agility, alignment, coordination, balance, extension, flexibility & strength
  • dances from every inhabited continent
  • how those dances fit with history & culture
  • a bit about styles (ballet, hip hop, jazz, modern, tap)
  • audience skills
  • the creative process
  • rehearsal & performance skills
  • talking-about-dance skills
  • how to express non-verbally what they’re noticing, thinking, feeling & knowing about life & the world
  • how dance relates to music, theatre, visual art & writing.

The curriculum, that is.  Every other subject area has an abundance of written curriculum — step-by-step guides for teaching day by day at various grade levels.  A teacher in any other content area grabs the teacher’s guide, reads the lesson, gathers & prepares materials & is ready to go… all of which takes time!  Especially for a really good teacher, who probably has a lot of ideas about how to tweak the lesson or organize the materials.  Nonetheless, the foundation of a teacher’s guide — the scope & sequence of what to teach — is a wonderful thing.  [If it’s a good guide.  Aye, there’s the rub.]

Anyway, dance education has yet to produce a dance curriculum that guides a teacher in a spiral fashion through all grades levels.  No, we do it ourselves.  We have some great texts for doing it ourselves — books that are chock full of lesson structures, individual lessons, ideas & activities.  But the progression is all on the teacher. Perhaps, I’m alone in this, but I do it differently every year, always tweaking & trying new stuff.  Because I haven’t found the perfect scope & sequence.  Each year I feel like I’ve done some great things — and missed some important elements.  Or I’m better with some grade levels than with others. Or, a great opportunity — like a resident artist! — hijacks our direction, and we’re off on a new adventure. Or the kids need a particular kind of work…

But that’s teaching, isn’t it? So I’ll stop whining and continue my usual process.  At this point in the year, my brain is filled with the Everything I want to teach. And as school nears, my focus narrows down to “What am I going to teach the first week — and the first day?”  And as school opens, it’s crystallizes into the really easy stuff that has to come first — where to put your shoes, what to do when you arrive & how to be safe — during fires, earthquakes & dances!  And then we’re on our way…

some of my guides

some of my guides

this year's plan book -- empty

this year's plan book -- empty

Comments Off

Them’s marchin’ words!

August 21st, 2009 · ··

Encouraging words from Rachel Maddow at Jacob’s Pillow… yeah, that’s why I do what I do!

Comments Off

What a wedding dance!

August 3rd, 2009 ·

Check it out

→ 3 Comments

Doing a conference: strategies

July 27th, 2009 ·

I’ve been to four conferences in the past 8 or 9 years:   NDEO in Providence, Rhode Island (was that 2001?); NDEO 2003 in Albequerque, New Mexico;  daCi 2006 in The Hague, The Netherlands; and NDEO 2009 in New York City.   That’s not often enough that I know many people when I get there, but enough so that I have some strategies:

  • If you’re going, do a session.  Doing a session is the part that takes most of the time, trouble & energy, but the returns are huge. It’s the difference between feeling invisible & being visible, between listening & discussing, between receiving favors & exchanging gifts.  The process of pulling yourself together is always worth your time & trouble, and the energy you put out comes back in the response you receive from others. For example, in New York City I spent a lot of time, even up to the last minute, honing my powerpoint in order to keep it focused & unhurried; in return, I really enjoyed talking with the folks who attended, during & following the session — and even throughout the rest of the conference.
  • Don’t try to do it all. Focus your energies on what interests you the most, and plan some hours or days of respite. You will get tired — plan so you save your energy for the best parts.  For example, the workshops presented by faculty from the Dance Education Laboratory at the 92nd Street Y provided some great glimpses into their curriculum. However, much as I might have enjoyed seeing the 92nd Street Y itself, I skipped their open house & tour in order to see Keigwin + Company at the Joyce Theatre in Chelsea on my own.
  • Take along someone to play with.  You’ll find your attention a bit divided, but you’ll have a built-in excuse for recuperating. I did Rhode Island with a dear friend; Albequerque & NYC with my husband; and in the Hague, I rented a bicycle…
  • Go to conferences in places you want to be & plan a little extra time, so you’ll really get to visit. I spent 7 days in NYC for a 3-day conference — which meant I had a fabulous time eating hot dogs in lawn chairs in Times Square, seeing the Tony-winning musical “Next to Normal,” walking the Brooklyn Bridge to Manhattan during a thunderstorm, visiting my old stomping ground in the West Village, visiting galleries in Chelsea & the Upper East Side, and walking through Central Park, as well as doing a conference.
Eating hot dogs in lawn chairs

Eating hot dogs in lawn chairs

Walking across the Brooklyn Bridge

Walking across the Brooklyn Bridge

The Pride Parade

The Pride Parade

Back to my old stomping grounds

Back to my old stomping grounds

Comments Off