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RIFed! Dance education loses.

April 29th, 2009 · ·

I thought we were struggling to gain ground, but no, we’re slipping.  Dance in the public schools can ill afford to lose positions, and yet we are. Yesterday a colleague — a fellow member of the DEAW Board and an award-winning teacher– received the shock of a RIF notice (reduction in force) upon arriving at school.  Cut from the model arts program she helped build! Vulnerable because she’s #217 on the seniority list, and the district cut 220 positions. Perhaps she’ll find a new position, but she was needed where she was, doing what she was doing!

It isn’t just dance, of course.  The theatre specialist at the same school — an award-winning choreographer — was also RIFed. And some districts are cutting instrumental music…

Neither arts education nor dance education can afford this kind of  loss — and I’d go as far as to say neither can society! Our priorities are out of whack.

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Poetry Out Loud: in American Sign Language

April 27th, 2009 · ··

At the recent Poetry Out Loud National Recitation Contest in Washington D.C. (April 26-28), Tiffany Hinano Hill, a student at Oregon School for the Deaf, represented Oregon State. As the first contestant to use sign language to express a poem, Hill challenged the judges’ concept of Poetry Out Loud, clearly demonstrating the expressive power and accuracy of movement to bring words to life. Anyone who performs poetry would do well to study her performance and harness the expressiveness of their own movement. Hers is a performance that delivers more each time you see it.

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Sunday in Merida

April 18th, 2009 · ·

Saturday‘s sort of like every other day in Merida, in the Yucatan in Mexico… there’s dance that happens.

But Sunday’s the real thing.  By 10:00 am in Santa Lucia Park, people are beginning to gather and claim their seats in the audience, most dressed in their Sunday best. The band sets up and starts to play.  At the first organized note, couples step on the bandstand stage and join the rhythm, each in their own style.  The tall lady in green and her taller husband are the first on stage — not a moment’s reticence. Theirs is a stately dance, with economy of motion and slow, regal turns. Others are right behind them, with lighter, quicker steps.  A few are pretty casual, but just as comfortable. For several moments between dances, couples stop to greet each other or chat, but they don’t linger when the music starts again. They’re here to dance.

Check it out on Flickr

One woman arrives alone, clearly ready to find a partner, and it doesn’t take long. She and her partner dance in the corridor behind the bandstand, less conspicuous but with lots of company from others who came for a more private dance.

Wander several blocks south to the Plaza Grande, and there’s more.  Here there’s a clown for the kids, an announcer,  and one performing group after another. Traditional dancers do Yucatecan jarana dancing, in white huipiles and guayabara shirts… a Maypole dance, a bullfight dance, dances with bottles and trays on their heads, all of them couples dances, in a variety of formations, with clean footwork.

Dancing and music alternate throughout the day, with a little lull in the heat of the afternoon. [It’s over 100 degrees F.] Come back to Plaza Grande at 9:00 pm, and there’s been a shift again… bandstands on both ends of the street, and a crush of dancers end-to-end and curb-to-curb.  This time, no audience, but hundreds of couples, all ages, younger now, and maybe a few tourists.

This Sunday menu of music and dance happens every week. It’s a regular schedule, faithful to the notes in the guide books. There are additional events on Monday, Tuesday, Wednesday… and street-dancing isn’t even the whole picture — there’s a concert hall with a series of dance performances onstage, which I’d like to check out on my next visit.If I think of other cities & towns I’ve lived in, similar events are once-in-a-while, once-a-year, once-a-lifetime — not weekly!  What’s with a culture that schedules dance every day and all day Sunday?!  I have to think it must be a different adventure to teach dance in the public schools, in a culture that dances!

On the other hand, do I take for granted what’s available in my own hometown? When I think about it, there are a lot of dance events in Seattle… am I too tired at the end of a day to take in what’s happening nearby? Why is dance so marginalized here and seems so central there? What would it take to bring dance to the center?

Food for thought. Feel free to give some comments to chew on.

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Classroom management: space vs. energy

April 16th, 2009 · ··········

Spring break may still be on my mind, but it ends quickly. Immediately following spring break, we start choreographing dances for the End-of-Year Performance.  The assessments I did before spring break fulfill State requirements and provide data for evaluation of my own performance.  But the End-of-Year Performance is for parents, the staff, and especially the kids. They’re so ready to perform for an outside audience!

Everything has to start at once though, and all classes need to proceed steadily in the creative process. The first 3 weeks are a rush, as I try to scope out the pieces, pull the kids on board, and help them sketch out their dances for refinement and rehearsal. I’ve rarely done the same thing twice; each piece grows out of the personalities in a class, what they’ve studied, and what they need.  This year in the process of starting, I had a very close call and very narrowly escaped disaster…

Talking to teachers before spring break, I had decided that one set of 1st & 2nd graders would do a dance on weather — severe weather!  Kids are always interested in tornados… blizzards… hail.  And indeed, they were hooked. We spent the week talking about severe weather, defined the varieties of bad weather, talked about what to do in each instance, and voted on our favorite 3 for inclusion in the dance: tornados, hurricanes, and lightning. We had a name: “Weather Alert!”   We’d explored free and bound flow, and we’d reviewed leaps and chasses…

But somehow, after 4 days, I realized I’d been avoiding actually letting them loose as tornados and hurricanes. A structure for the dance was eluding me, and we weren’t getting started. At 4 am on Friday, I had a flash of insight — these are NOT the students to do a dance about severe weather. An onstage tornado with these kids will have the same effect as a real tornado — they’ll be swept away. I’ll have a Level 5 Hurricane on my hands. These kids are all ENERGY on the quietest day, and I haven’t the energy to contain them. What’s needed here is some focus on SPACE!

In class on Friday, I gathered them around me in a circle and admitted that I was troubled about our dance. The thing is, I said, we have such wonderful props that we aren’t using, and no one else in the school is using them. I just think, said I, that we ought to be using some of our props. But in order to use them, we’ll need to change our topic… to GEOMETRY! Will you experiment with me today, and see if you like the idea?  So we used stretchy bands, body bags, hula hoops, and by the end of class when I asked for a vote, they all agreed.

This week has been a breeze. Every day’s been productive, their dance is clear, and today they choreographed an entire section.  4-sided polygons with stretchy bands.

Whew.

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Merida: Saturday night on Paseo de Montejo

April 12th, 2009 ·

We arrived in Merida by bus on a Saturday, in plenty of time for wandering from our hotel down to the end of Paseo de Montejo, where the music and dancing are scheduled to start at 8.  Time is proximate in Mexico, so the performances didn’t start quite on cue, but the stage was up and the audience filling fast when we arrived. By the time the first singer took the stage, there was a healthy-sized crowd filling the street end, with food and craft booths on the sidewalks and the street behind.  The performers — sumptuously costumed and well-rehearsed — volunteer, and once the music and dancing started, groups followed one after another: a singer, a marimba band, and several dance troupes.

Acting on a recommendation from our innkeeper that the lady without any sign made the most delicious salbutes, we snacked while we watched the festivities. Finally, fatigued as we were, the performers outlasted us, and we could hear the music all the way back to the hotel.

Saturday night on Paseo Montejo

Saturday night on Paseo Montejo

Saturday night

Saturday night

Paseo de Montejo

Paseo de Montejo

Saturday night on Paseo de Montejo

Saturday night on Paseo de Montejo

Impossible to catch the footwork

Impossible to catch the footwork

The audience on Paseo de Montejo

The audience on Paseo de Montejo

A dance for a religious ritual, Paseo de Montejo

A dance for a religious ritual, Paseo de Montejo

Saturday night on Paseo de Montejo

Saturday night on Paseo de Montejo

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Domingo en Merida

March 25th, 2009 · ·

Look for me in Merida in the Yucatan on Sunday.

Frommers says, “Each Sunday there’s a fair called Merida en Domingo. The main plaza and a section of Calle 60 from El Centro to Parque Santa Lucia close to traffic. Parents come with their children to stroll around and take in the scene. At 11am in front of the Palacio del Gobierno, musicians play everything from jazz to classical and folk music. There’s a lull in the midafternoon, and then the plaza fills up again as people walk around and visit with friends. Around 7pm, a large band starts playing manbos, rumbas, and cha-chas with great enthusiasm; you may see 1,000 people dancing in the street.”

And the Moon Handbook says, “Music is heard all over Merida, and dancing is a way of life. Sunday is a wonderful day in Merida. Be sure to catch one of the many free performances throughout the day. The most popular is folkloric dancing presented in front of the Palacio Municipal.”

It sounds like Sunday in Merida’s not to be missed. For even a day, I’ll be glad to try a city where dancing is a way of life…

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Gathering fresh ideas

March 24th, 2009 · ·

The ArtsTime Conference usurped all of last weekend, but it was worth it.  I need all the new ideas I can get, cause I get tired of talking to myself!

I’m in at least my 12th year of teaching kindergarten through 5th graders, five days a week, 8-9 months per year. Figuring conservatively, at 6 classes per day, 20 teaching days per month, 8 months per year, that’s 11,520 classes over the past 12 years.  Yipes!  Someone, please tell me I’m wrong.

No wonder I get a little tired of my own moves sometimes!  Of course, to keep it fresh, I plan anew each year. But it’s a real treat to get out and gather some new ideas… new perspectives… new tricks. We have some wonderful dance educators in Washington State. I could wish they were more numerous, but we do have some great teachers.  The session I taught myself was small, but it turned into a lively conversation.

Back in the studio/classroom, my kids are enjoying the fresh input as well — updated music, different combinations, a novel approach… a welcome lift for all of us, at this point in the year.  Just in time for finishing our Classroom-Based Performance Assessments (see my previous post, 3-16-09) and starting on our End-of-the-Year Performance choreography and rehearsal.

from a high school in Highlinemore into dancing together than doing tricksa credit to their teacher -- great job, Maya!

Next professional development stop:  the NDEO Conference in New York City, in June.

Oh yes, and one of the performers from Foster High School’s Pacific Islanders Dance Group (performing at ArtsTime) is one of my former students.  Hooray, Amanda!

lively fresh dancers, with great confidence and smiles

lively fresh dancers, with great confidence and smiles

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Assessing dance while unleashing creative chaos

March 16th, 2009 · ··

Anyone happening into my classroom this week might think, or yell, “What’s going on here?!”  Get the creative juices bubbling in 28 children, and you’re gonna have some moments of chaos…

Students in intermediate classes just now are completing Classroom-Based Assessments in Theatre & Dance, which call for the choreography of solos. As quiet and focused as the process may be during directions and question-answering, it’s wild once the choreography begins… Our stage, generous enough for group improvisations and lines crossing the floor, is more akin to a public swimming pool on a really hot day as soon as 25-30 students start rehearsing independently.  There’s noise, jumping, diving, spinning, and general commotion. There might even be one or two running on the side of the pool (or doing something equally verboten according to dance class standards, like tagging someone hard as they go by). Anyone’s first impression on walking into the room — and mine too, even though I’ve been there all along — would be that they’re totally out of control.

But look again. Most of them are miraculously avoiding collision; some are avoiding collisions while doing fabulous leaps and turns; most of them look like they’re concentrating. A few are talking, but as I think to admonish them back to solo work, I overhear them giving each other advice: “I’ll watch first, then you watch me” or “you didn’t hold your final shape long enough,” …following the natural creative process of trying something out and getting feedback.

Most of them are working…!  Hard. Tomorrow I teach them how to score choreography according to a rubric, and then, understanding what’s called for, they really get focussed. Final step is videotaping their dances — a step they claim to hate but actually seem to enjoy.

By the end of the week, the hubbub will be over, I will have captured their abilities on tape for this moment in their development, and almost every one of them will have successfully created, performed, and explained their own dance. Despite the extraordinarily noisy process, that’s what going on.

*5th graders are doing “Poetry in Motion,” choreographing dances based on poetry.  One 3rd-4th grade classes is doing “Greetings, Sister City!“, a theatre assessment adjusted for dance with the addition of a choreography rubric emphasizing movement. And the other 3rd-4th grade class is doing “Shape It Up,” choreographing dances based on geometric shapes.

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Mid-year: What have we learned, and where do we go from here?

March 8th, 2009 · ·····

From September through December, we danced.  January was music and percussion month. This last Friday, we finished a month of theatre (2 sessions of 2 weeks each).  Having played with, discussed, mastered?, explored, and pursued theatre vocabulary and skills, we’ll return to dancing tomorrow.

First & second graders have now developed skills of observation, sensory memory, emotions, and imagining, along with determining characters, setting, and story development in Strega Nona and The Musicians of Bremen.  Third, fourth & fifth graders have delved into voice skills (projection, articulation, rate or speed & expression) & movement skills (gesture, body movement, facial expression & blocking), while creating tableaux, dialogue & action to tell stories (Ming Lo Moves the Mountain, The Funny Little Woman, The Magic Fan & Musicians of the Sun).  My most challenging group will perform scenes from The Funny Little Woman tomorrow morning for the rest of the school.

Everyone knows what an ensemble is — i.e., a group that works together toward a single goal, in music, theatre, dance, fire drills, and classroom learning!  Are we perfect?  No. Far from it. But we do have a common vocabulary.

I anticipate well-projected, emotionally authentic articulations and facial expressions of both joy and disgust tomorrow, when we return to dance.  Joy? — many have been wondering when we’d be dancing again. Disgust? — I find children to be hugely conservative, often needing to be dragged from the pleasure they know toward the pleasures they will soon (re)discover.

Today… lesson planning — a task I always hate to do and am always glad I did. A good plan can turn 40 minutes of teaching from desperate classroom management into an exciting ride on the flow of the kids’ energy.  A thought which is meant to inspire me to get it done! To work.

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Contagious fun: Liverpool Street Subway Station Dance

March 3rd, 2009 · ··

And the whole point was to infect people with dance:

Liverpool Street Subway Station Dance, on January 15, 2009

and the creative impulse behind it

Watch both videos!

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