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make your day dance

In winter, the kids are sunshine…

January 25th, 2010 · ·

Among 185 kids per day, there’s a lot of sunlight.  There’s…

  • Yusuf, 4th grade. When his teacher was teaching the class a song and having them do it as a round, he said, “This is just like the canon we did in dance!”
  • Anisah, 5th grade. She was with us from kindergarten through 3rd grade, and then her family moved to Malaysia. This month she came back!
  • Muna, 4th grade. Every day, she races in, with a huge hug and a greeting.
  • Jessica & Cindy, kindergarten. They peer around the corner each morning before school to see if I will let them come in and dance before school. And I do.
  • Ayub & Justin, 5th grade. At the end of class, they’re always the last to leave, practicing flips & turns & tricks.
  • KJ, 5th grade. Barely controllable, but he’s such a beautiful mover!
  • Kenyon, 5th grade. Trouble last year, but trouble no longer, he works hard & shares ideas.
  • Hasen, autism class. He said, “Hello.”
  • DaJohnna & Satori & Benet & Sophia & Misa. Knocking on the door to dance every day at recess.
  • Matthew, 1st grade.  He moves so slowly, with absolute concentration, when everyone around him is busy & moving fast.

I could go on & on, because this is the time of year when they really start to dance…!

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Dancing for Dr. Martin Luther King, Jr.

January 16th, 2010 · ······

Context: I taught this series of lessons this week in response to a late request for some dances for the school’s Martin Luther King, Jr. Day assembly (scheduled for & completed this past Thursday).  My initial response was “no can do!” because I’d already planned my classes — focused on introducing the choreographic devices of diminution, expansion, and canon by manipulating phrases built on the concept of directions.  But over the weekend, with a little time to mull, I decided I could maintain my emphasis on choreographic devices while manipulating phrases built on quotes from Dr. Martin Luther King, Jr.

So I started with my new groups on Monday, we worked through four 30-minutes classes, and they performed Thursday afternoon. There were only two classes that met 4 times before the assembly, so those were the classes that performed. My only regret was that the process had to be fairly prescribed — with more time, the kids could have had much more input in the choreographic process!

Grades: 3rd & 5th grade

Teaching points
Choreographers can build a dance from the ideas and images of words.  Choreographers use diminution and expansion as strategies for building dances. Choreographers use canon as a strategy for building dances.
Dancers rehearse in order to do their best in performance.

Targets:

  • Build a movement phrase based on a quote by Dr. Martin Luther King, Jr.
  • Manipulate the phrase using diminution & expansion.
  • Learn & practice the use of canon.
  • Rehearse & perform a short dance including the original & manipulated phrases.

Lesson 1 : Choreographers can build a dance from the ideas and images of words.

  • Identify the teaching point.
  • Warm up using a yoga sequence that progresses through named yoga shapes. This is a warm-up my students already know, so it was an easy way to introduce the idea of building a dance based on words.  The yoga sequence goes like this: mountain, tree, bird, woodchopper, big X & spiral (this is a transition, not an identifiable yoga shape), boat, V-sit, slide, whale, snake, cat, child, swallow, downward dog, mountain, moon, bow & arrow & eagle. The shapes come from a few books I have on yoga-for-kids — this one & several others that seem to be out-of-print — but there are various books with named shapes.
  • Go over the quote from Dr. Martin Luther King, Jr.  I used different quotes for the 3rd & 5th graders:
    • We must combine the toughness of serpents and the softness of the dove, a tough mind and a tender heart. [3rd grade]
    • We have learned to fly in air like birds and swim in the sea like fish, but we have not learned the simple art of living together like brothers. [5th grade]

3rd graders' quote

3rd graders' quote

5th graders' quote

5th graders' quote

  • Highlight the main words & learn movements for them.  I used movements based on American Sign Language, cause it was early Monday morning, and my creative juices had not begun to flow. I checked on a website for some basic signs, using synonyms for signs that I couldn’t replicate from the website or signs that didn’t seem to fit the dance phrase.
  • Practice the sequence together.  [I asked the 3rd graders to word with a partner to make up their own movements for the words serpent, dove & heart, so most of the gestures were in unison, while those three varied among the duets.]
  • Have students break into smaller groups & practice the sequence together.
  • Homework:  Learn the sequence, so we can play with it tomorrow!

Lesson 2: Choreographers use diminution and expansion as strategies for building dances.

Beginning to manipulate the sequence

Beginning to manipulate the sequence

  • Identify today’s teaching point.
  • Explore a key dance element related to the movement sequence.   For the 3rd graders & their quote about “toughness” & “softness,” I lead students through an exploration of powerful & delicate effort actions — punch, float, press, glide — both with & without their voices (shouting “powerful” & whispering “delicate”).  The 5th graders worked on the details of the basic phrase, so when they performed in unison, it would really be unison.
  • Practice the sequence with music.
  • Explain diminution & diminish the long sequence to a short one, by highlighting 4 key words, e.g. tough, mind, tender, heart for the 3rd graders.  Practice the shortened phrase.
  • Explain expansion & expand the shortened phrase spatially, either making the gestures larger or abstracting them by turning or moving them through space.  Practice the expanded [short] phrase.
  • Create a sequence, combining all the versions: twice through the full sequence, twice through the shorter phrase, twice through the expanded short phrase. [The 5th grade sequence was a little different — 2 full sequences, then the expanded short phrase 4 times.] Practice.
  • Homework: Practice the diminished, expanded phrase.

Lesson 3: Choreographers use canon as a strategy for building dances.

  • Practice the dance thusfar with music & narration.
  • Introduce the use of canon.  I show students two video exemplars… I use the short broom dance at the beginning of Stomp Out Loud, in which the dancers have unison moves, everyone’s different rhythms, and some moves they do in canon.  I watch the kids to identify what the dancers are doing… unison, different, or canon (the canon section’s short but clear).  I also show them Bourrée from Mark Morris’s Falling Down Stairs. Bourrée has a section of unison hand gestures, a floor section [for which I introduce the concept of the costume designer & ask the kids to notice the costumes, cause I know they’re going to think they’re a little weird], & a canon section of hand gestures.
  • Practice the diminished, expanded phrase in canon, multiple ways (this group leads, that group leads, 8-count offset, 4-count offset) — for as much time as possible, so they get comfortable.
  • Add a canon section to the end of the sequence so far & practice.
  • Create an ending to the dance, if there’s time.
the 3rd graders' dance sequence

the 3rd graders' dance sequence

the final class before the assembly

the final class before the assembly

Lesson 4: Dancers rehearse in order to do their best in performance.

  • Day of performance!  Set the stage for doing our best…
  • Rehearse, fix the ending, practice the canon, run the whole dance several times, answer questions, troubleshoot problems… My 5th graders decided they wanted to end by improvise the ending by using any of the gestures from the dance sequence.
  • Videotape the 3rd graders to catch one version without the boy who doesn’t have permission to be videotaped for the school’s website.
  • Many congratulations and much encouragement…

The performance went fine, with a volunteer videotaping.  I like the fact that the kids really knew & understood the quotes after working with them so thoroughly. When I get a chance, the videotape will be uploaded to the website, and I’ll link to it here.  It could be awhile…

Meanwhile… if I haven’t made the process clear & you’re interested, just ask!  And if you have a good idea for MLK Day, do share!


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Teaching Portfolios

January 13th, 2010 · ··

Well, this is interesting!  …the why’s, how’s, and where-to’s of making a teaching portfolio from Chicago Artists Resource, via 4dancers — which is also a good resource for useful items of import.  So I’m going to stash this information right here on my blog where I can find it again, just in case I ever have time to pursue it (which would not be today)!

And you can find it here too!

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A single clear teaching point

January 10th, 2010 · ····

With my classes cut to 30 minutes this year, it’s been more important than ever to define a single clear teaching point for each class, so I’ve taken to writing on the board the kernel of learning I want the kids to grasp. I start with it, I teach to it, & I end with it. On Friday this week, when I was too busy in the morning to write on the board before the first class, my 3rd graders came in, looked at the board, and said with dismay, “What are we going to learn today?  It’s not on the board!”

So I wrote it on the board, and we started class on the same page: Dancers use unison & canon as strategies for choreography.

Although I don’t always nail a succinct point, here are some that have succeeded:

  • 1st & 2nd graders: Dancers use powerful & delicate energy.
  • 1st & 2nd graders: Dancers can tell stories through narrative dance.
  • 1st & 2nd graders: Dancers use near & far range to show ideas.
  • 3rd & 4th graders: A good artist creates patterns.
  • 3rd & 4th graders: Choreographers put phrases together smoothly to build a dance.
  • 5th graders: Dancers use expansion & diminution as strategies for choreography, followed the next day by Dancers can use math to diminish a sequence.
  • 5th graders: Dancers warm up & practice to improve their technique.

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Lesson plan: Let’s do an improvisation!

January 2nd, 2010 · ·····

Context: In my years of teaching classroom teachers how to use movement in the classroom, I’ve always cautioned, “Never put on music & just tell the kids to dance!”  That would be wild-party-time not dance education, and the resulting chaos would likely discourage anyone from inviting dance into the classroom.

This year, however, I’ve been putting on music & just telling the kids to dance.  Well, not exactly.  But I’ve been teaching my 1st & 2nd graders how to improvise without much structure, and we all seem to be loving it.

Why my change of heart?  Several reasons —

  • …in order to get them to listen to classical music.  There’s a wonderful woman who visits monthly as a volunteer, in order to introduce all 350 of our kids (class by class) to composers of classical music — Bach… Beethoven… Tchaikovsky & The Nutcracker for Christmas… and she’s provided sets of classical music CDs for the classroom teachers.  But with all the academic demands on teacher-time, there’s not a lot of follow-up, developing relationships between the kids and their newly-found composer friends.  So this year, I decided to help them make a connection. Of course, with its dynamic changes, classical music is so good at inviting movement!  In order for students to actually listen to the music, though, listening & responding have to be the focus.
  • …in order to set the kids free as dancers.  I keep the instructions minimal (safety first!) & we reflect without judgment.
  • …in order to firmly establish the connection between dance & playfulness.
  • …in order to prepare them for really understanding how to improvise their way through a performance mishap — and life!

I was also prodded into these adventures with improvisation by attending a workshop given by the late Becky Ellis at the National Dance Education Organization conference in New York City last June.  As a dance educator for many years in Utah, Becky Ellis loved teaching the boys dance classes at Brigham Young University & recently had traveled to several conferences in order to share her work. She was a convincing advocate for using improvisation to encourage children’s — and especially boys’ — natural creativity, rhythm, and impulses for movement.  I’m grateful that I was able to see her group & hear about her methods before she passed away in late summer.

So, inspired by Becky Ellis, I spent some time at the beginning of the year concentrating on improvisation. Having established the format, I use it at least once a week, adding improvisational strategies as we go.

Grades: 1st-2nd grade, but there’s no reason it couldn’t be adjusted for any age. [Each lesson below is 30 minutes; if you’re lucky enough to have more time in each session, adjust & count your blessings!]

Teaching points: Dancers think about what their body is doing. Dancers use improvisation to practice & improve.  Dancers reflect (think back) on their dancing. [Timing for this lesson: just after the basics for dance classes are established.]

Targets:

  • Improvise in response to music
  • Improvise with other people
  • Learn & use strategies for improvisation: paying attention, playing with other dancers, becoming conscious of your movements
  • Reflect on the improvisation

Lesson 1Dancers think about what their body is doing.

  • Talk about how every art form has its tools, and the body is a dancer’s tool. Introduce the body parts, by naming, isolating & moving eyes, fingers, toes, knees, shoulders…
  • Pause Dance with Body Parts… introduce dancing & freezing on cues from the music (music=dance; silence=freeze), emphasizing & thinking about isolated parts for each segment of music.
  • Model mirroring while “thinking” out loud. Work with a student as a partner & talk out loud about your decisions… “let’s see, I’ve been moving my arms, so now I’ll move my feet for awhile.  Whoops! I moved too fast & he couldn’t stay with me, I better slow down a little.  Oh, that’s an interesting shape he’s making — I wouldn’t have guessed it would look like that from the way it feels…”
  • Student partners mirror each other silently in self space, noticing their thoughts. After a turn leading, ask the leader to tell his/her partner what s/he was thinking about.

Lesson 2: Dancers use improvisation to practice & improve.

  • Warm up with mirroring, either with teacher as leader, or in duets.
  • Introduce “improvisation”  — improvising is making up a dance as you go along, without planning it beforehand. Talk about how dancers improvise in order to play with movement, to get ideas, to improve their dancing.
  • Set up a few basic rules for improvisation: start with a shape at the beginning of the dance, change moves as the music changes, always look for empty space & don’t touch anyone else, make a shape & hold it when the music ends.
  • Let’s do an improvisation! Choose music with some dynamic changes, classical or a movie soundtrack. Start the music when they’re in a still shape, let them continue as long as it’s productive (30 seconds to 2 minutes, depending on the group), fade the music & encourage them to find their final shape.
  • Reflection — “Make a circle with room for everyone by the time I count from 5 to 1.”  [This may take a few tries at first — if they’re jostling to be next to you or a friend, redo it, reminding them that we’re an ensemble (a group working toward a single purpose), and our purpose is to make a circle, not sit next to a particular person.  Sometimes we have to redo it 4 or 5 times at first.]  Then reflect aloud about what you saw, usually without names: “I noticed one dancer who seemed to be thinking about how his arms were moving when the music started … I saw another dancer who was going really slowly when the music got quiet…” Ask a few dancers to share what they saw, without names [“What kinds of moves did you see? Do you remember how the music changed?  What happened then?”]
  • If there’s time, do a more structured improvisation, such as a Body Part Statue/Sculptor:  Some students are statues, some are sculptors.  A sculptor moves one body part on a statue & then copies the statue.  The sculptor then stays as the frozen statue, while the student who had been frozen becomes a sculptor and travels around looking for a statue to change.  [Anne Green Gilbert’s books, Creative Dance for All Ages & Brain-Compatible Dance Education, are chock-a-block with improvisational structures. If you don’t have them, get them.]
  • Reflection: Have them tell their partner how they decided which body part to move on their partner, whether they moved different parts on different partners, and/or how it feels to “make it up as you go along.”

Lesson 3: Dancers reflect (think back) on their dancing.

  • Introduce body shapes — round, twisted, straight, angular. Try them out by naming & making them.  Then generate a short list of what kinds of things are round, twisted, straight & angular, writing them on the board.
  • Let’s do an improvisation! again with the same simple structure (starting shape, moving into empty space without touching, changing moves with the music, ending in a shape), but ask them this time to think about what shapes they’re seeing & making.
  • 5 counts to a circle & reflect… Talk about how dancers not only think about their bodies while they dancing & improvising, they also reflect or think back on their dancing afterward in order to improve.  Again, I model by making a few comments & then turn it over: What kinds of shapes did you see & make?  How could we make better shapes?
  • Let’s do another improvisation, and see if it will be even better!
  • Another circle reflection… was it better? how? why not?
  • If there’s time, do a more structured improvisation, in which statues make fabulous shapes & travelers copy the shapes. At the end, ask them to show a shape they remember seeing & copying, and have the class describe the shape.

Continuing…

By now, “Let’s do an improvisation!” is established as a way of responding to music with movement, with a circle reflection following the improvisation.

It’s an activity that can be added to any class, encouraging them to add whatever new dance element we’ve been working on to their consciousness as they improvise.  Working on levels, I asked them to think about changing levels and/or being on a different level from other people. They’ve added stillness & slow motion as a variation. Sometimes we choose a theme, such as spiders, or toys in a toy shop, or I show them a piece of visual art to generate a main idea. One particularly good improvisation was generated by a painting of an underwater scene, using the elements of size/range (think big sea creatures, small sea creatures), speed & relationship (traveling in schools or darting in & around each other). They’ve also learned some improvisational strategies — for example, if they don’t know quite what to do, they can copy someone else [without bothering them!] — or do the opposite from someone.

Sometimes I use the phrase at the beginning to warm up, sometimes as a last creative activity, but the response to “let’s do an improvisation” is always positive.

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Lesson Plan: The Toy Shop

December 31st, 2009 · ·····

Grades: Kindergarten-2nd grade

Teaching points: Dancers use free & bound flow.  Dancers tell stories through narrative dance.

Targets:

  • Explore free & bound flow;
  • Participate in a story-telling dance.

Context: This lesson takes two 30-minute sessions, one to introduce/explore the element of flow and the other to develop/enact the story (or one session of more reasonable length!).  Kids love dancing the story, so it’s a great one to do in the days before any holiday — it’s festive & makes everyone smile, regardless of religion or heritage.  I also return to it at the end of the year, when we’re enjoying our last days of community before summer vacation by doing favorite stories & dances.

Lesson 1Dancers use free & bound flow.

  • Introduce the element of flow, by showing & saying the words free flow & bound flow, while moving first arms, then bodies with free & bound flow.  Note for students how their muscles feel looser during free flow, and their movements keep going without stopping.  Bound flow is characterized by a tighter feeling in the muscles, so that during extreme bound flow, their muscles are tight & hard.  In bound flow, the mover is able to stop at any moment without great effort.
  • Lead students in an improvisational exploration of free & bound flow, first by using the image of a water faucet turning on, turning off & dripping. Sound effects are good, with the sssshhhhh of the water juxtaposed to the silence of a closed faucet or a percussive “drip, drip.”
  • Change to imagery of a river, flowing freely, gradually icing over to frozen, with the ice cracking & moving from waves underneath.
  • Designate some locomotor/nonlocomotor moves to repeat as both river & ice, with free & bound flow (e.g., run, turn, swing).
  • Create bound flow statues:  model for students by making a shape & asking one student to try to move your shape, while you hold firm & resist. Then have them make a shape & resist being moved. [Depending on the group, you can take turns one by one, or you can show them how to work with a partner, with each alternating as the mover & resister.]
  • Play “rag doll“: Again model by lying on the floor & allowing one student to move your relaxed, heavy arm.  [Remind them not to drop your arm — and that the “rag doll” can’t relax unless s/he feels safe.]  I usually do this one-on-one because many of them need special encouragement in order to relax & be floppy. Once they’ve experienced it, they’re happy to either relax & rest, or try it on each other, while I’m getting to everyone.
  • Ask students to reflect on the different feelings of resisting & letting go.

Lesson 2: Dancers tell stories through narrative dance.

  • Warm up by doing a series of yoga shapes, experimenting with whether free or bound flow (loose or tight muscles) is more effective for maintaining balance & alignment, or whether some muscles have to work more during some shapes.
  • Have students improvise with free & bound flow by dancing with a scarf, cueing the changes between free & bound imagery with contrasting music. During music that flows, students let the scarf flow freely, holding it with one hand or tossing & catching. During music that sounds more percussive or controlled, students hold the scarf with both hands and move with it in a taut position.
  • Talk with students about how dancers can tell stories; invite them to help tell the story of The Toy Shop. Introduce the 2 kinds of characters: rag dolls & switch-on toys.  Rag dolls sit upright, with floppy arms & legs. Switch-on toys start in a frozen shape, only moving when someone switches them on by touching an elbow; when they run down, they freeze until they’re reactivated.
  • Give them home spots for the story & begin — I put plastic spots in 2 lines (“shelves”), one for rag dolls & one for switch-on toys, assigning students as I spread them out. Rag dolls are sitting down, flopping & droopy.  Students playing switch-on toys can be any kind they like… turtle, airplane, ballerina.  Once everyone has their place & shape, the story starts, with a reminder that they’ll be dancing & playing their characters silently in order to hear the story.  I adjust the vocabulary for the story as needed — with 60% of my students speaking a second language at home, I keep it spare & simple…

Once upon a time, there was a toy shop that specialized in rag dolls & switch-on toys. Every night before the toymaker left for the night, she would check her toys.  First she would check all the rag dolls to be sure they still had all their arms & legs after being looked at by customers all day [I’m the toymaker, and as I talk, I gently shake arms & legs on all the dancers in the rag doll row]. Then she would check all the switch-on toys. When she wound up each toy, it would dance around the shop and come back to its place [a touch on the elbow & a bit of a shove will get each student going].  But one night, there was a broken toy. The toymaker wound it up again & again, but it wouldn’t go. [I choose the broken toy as I go, usually a small child who’ll be easy to pick up.  I whisper to the child not to move.] So she picked up that broken toy [hopefully, the “toy” is stiff & easy to lift slightly off the floor] and carried it to the garbage, so she could toss it out in the morning [by this time, on the first telling, everyone is very alert, especially the “broken toy” who just got carried out into the middle of the floor]. Then the toymaker took one more look around, turned out the lights & locked the door for the night.

The toy shop was dark & quiet.  But then [I turn on some music & sit down to become one of the rag dolls for a few minutes], the rag dolls began to wake up.  First they shook their arms, then their heads, then they pulled their legs underneath themselves, took a few floppy steps, and …fell down! They got themselves up again and flopped and fell over to the switch-on toys and began to wind them up. The switch-on toys came out to dance & play with the rag dolls. [You judge how long to let the dancing go on…]

Then the toys gathered around the broken toy in the garbage and without ever touching that broken toy [model by standing about 3 feet away & wiggling your fingers toward the broken-toy child], they worked on its head, its shoulders, its knees & its feet. Finally, one of them touched its switch & away it went.  It was fixed!  All the toys danced through the night… [Again, you judge the length… the switch-on toys should be starting & stopping, with other toys reactivating them. When it’s time to continue, fade the music.]

until morning came, and all the toys went back to their places.

When the toymaker came in the next morning, she looked around, and everything was just as it should be.  Except… the broken toy was gone from the garbage… and the broken toy was back on the shelf [no matter how many times the kids have heard they story, they enjoy watching me react with amazement & puzzlement over the broken toy…]!  And when the toymaker wound up that broken toy, it was fixed!  It danced around the shop & came back to its place… and that toymaker never did know what happened in the night!

Often at this point, the children supply an ending… “We fixed it!” “It was magic!”

  • Immediately, have the switch-on toys sit down to be rag dolls, the rag dolls stand up & choose a switch-on character, and retell the whole story. Everyone gets to play each character, and the second time they can dance a story they know.
  • If there’s time, do a final open-ended improvisation about a toy shop. Each of them can be any toy they like… they start on the shelf… when the music begins, they wake up, play & interact silently… when the music stops they return to their shelf.  After the final frozen shape in the improvisation, give them a slow count of 5 to make a big circle with room for everyone and have them reflect & talk about what they saw & experienced during the improv.
  • If there’s no time for the final improv, have them reflect & talk with a partner about their favorite part of the story… or their favorite character… and ask a few students to share.

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Holiday dances? Which holidays?

December 29th, 2009 · ··

Holidays in the public schools… now there’s a topic with little agreement!  There are proponents for including all of them… for celebrating the most visible… for distinguishing between education & celebration… for celebrating none… There are legal opinions, personal opinions & curriculums… Many questions, but no prefect answer.

When I was growing up, holiday projects at school heightened my anticipation of Christmas.  We sang carols, performed a Christmas play, created wreaths, Santa Clauses, stockings & Christmas trees…  Christmas imagery overwhelmed, despite a thriving Jewish community in the region. My first teaching job echoed the atmosphere of my childhood, with a single Hanukkah song representing diversity among the carols.

But now, diversity is a defining thread among my students. Many students celebrate Christmas; some also honor Kwanza.  The New Year might be the most universally celebrated holiday among students, but it’s confusing to keep track of when to celebrate it!  Although many probably enjoy the Gregorian New Year (January 1) as an occasion to party, my students’ celebrations — including excitement, candy, gift envelopes, and lion & dragon dancing — stretch from January through February.

The Chinese New Year or Lunar New Year occurs at the new moon of the first lunar month, somewhere between January 21 & February 21 (Feb 14 in 2010).  The Vietnamese New Year, or Tet Nguyen Dan, largely follows the Chinese calendar [except on a few confusing occasions, like the year 2007]; but in Seattle, Tet in Seattle involves a two-day extravaganza on some date near the Chinese New Year — February 6-7 in 2010. Evidently, the Lao New Year, or Bpee Mai, & Cambodian New Year, or Chol Chnom Thmey, occur from April 13 to April 15 as harvest celebrations (think southern hemisphere), but it’s the Lu-Mien New Year to which my students often invite me — it probably occurs on the Saturday before the Chinese New Year, but I never know til I hear from students. I do love the dancing, both traditional & up-t0-date:

Meanwhile, among my Muslim students, their most important holidays seem to fall in September-October & December & are highlighted by excitement [again], extra prayers, fasting & henna-painted hands.

So as a teacher in a public school, I don’t much touch holidays.  I could try to teach about them all, but chances are, I’d miss someone. I could try to teach the ones that go with the seasons (celebrating light in winter, or the abundance of harvest…), but the dates for those change with the hemisphere.  I’ve even had occasion to become cautious about using the word “celebration,” since I’ve had children who had to go sit in the library during anything labeled as such.

If I were a classroom teacher again, I’d go with students reporting to each other about their favorite annual holiday or their reasons for not celebrating. But as a dance educator with limited contact time, I go with festive, in the merry & joyous sense of the word.  Festive includes dances & dance-stories that are unrelated to any particular holiday or belief, but bring smiles to everyone’s face.  We do them the day — or week — before a vacation, as a way to celebrate — whoops! rejoice or observe our happiness — at the upcoming days at home with our families. Everyone’s facial expressions are characterized by an upturning of the corners of the mouth, and no one has to go sit in the library alone.

To anyone who visits this site:
Please be merry & have a Happy New Year, whenever.

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The logistics of low-key

December 16th, 2009 · ··

Last year’s winter performance, scheduled for just about now, with a performance in the afternoon for the kids and another in the evening for families, was snow- and ice-stormed out. So this year, we decided on a low-key performance:

  • Audience: the kids
  • Performers: instrumental musicians & anyone who wants to contribute.

This afternoon.  Low-key, but it still makes for a logistically challenged day.

Kindergarten is contributing a song; everyone else has been too busy with academics. My dancers will contribute 3 pieces:

  • 2nd graders will use focus to tell the traveling dance/story Hoe Ana from the Rarotonga Islands in Tahiti (here’s one version, though ours is different & we don’t have costumes!)
  • 4th graders will highlight balance (on-balance, off-balance, counterbalance) in a combination to a piece from a Teaching Tolerance CD
  • 5th graders have been working on spatial relationships in Te Ve Orez, a dance from Israel.

But the logistics…

  • can’t open the stage door because the instrumental musicians will be practicing all day in the cafeteria (which is where the audience sits)
  • must set up the music for projection in the cafeteria during performance, but also have to use it all day for classes inside the stage (sound-proof wall in between)
  • 5th graders need to rehearse Te Ve Orez one more time during my planning time cause I haven’t seen them since last week
  • 2nd graders need to rehearse Hoe Ana together cause they never have
  • 1st graders need to have class in the gym, so kindergartners can use the stage
  • can’t open the stage door til after the autism class cause for them the space needs to be contained — their class finished 25 minutes before the performance starts
  • 15 minutes of which are recess, when I have to be outside supervising
  • chairs need to be set up for staff & parents, who may show up because there was a phone notification that went out last night to invite them.

I wonder what else will occur to me as the day unfolds?  I guess I’d best go find out.

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Dancing through thick and thin…

December 9th, 2009 · ··

November was a challenging month, and I’m still looking for December to work some special magic.  Upheaval and turmoil aside, the daily schedule continues… 25 kids, 8 times a day, five days a week… sometimes I wonder how. But classes get planned, executed, tracked & reflected upon. ‘Cause appropriate instruction is the difference between order and chaos, and when there’s turmoil outside of school, there’s got to be order in the classroom.  We’ve done…

  • body shapes & developmental moves (kindergarten)
  • range/size, speed, pathways & relationships (1st-2nd)
  • choreography from motifs integrated with ecosystems & cultural dances (3rd-4th)
  • the warm-up process & elements of technique in hiphop & cultural styles (5th)
  • breath, beach balls & BrainDance rhymes (autism).

A new twist for me this year in planning has been the concept of incorporating mentor works at frequent intervals along the way…  an idea I got from Writers Workshop, where stories & literary examples are chosen as mentor works to illustrate writing strategies.  In dance too, mentor works serve to exemplify creative strategies — but are valuable for so much more.  Most students have such a limited experience of dance — and many stereotypes. So mentor works provide background: what different dance styles look like, what a dance looks like on stage, the different movement signatures of men & women around the world, how to tell a story in dance, how the lights & costumes support a dance, what expert technique looks like on a variety of bodies… And for my kiddos, who have one dance teacher for 6 years, they get a glimmer of what it might be like to have a different dance instructor!

In thinking of mentor works, I include several categories of resources:

  • Cultural dances offer a wonderful array of steps, various dance elements, partner maneuvers & group formations.
  • Videos of people doing cultural dances provide visual support to help kids accomplish a tricky maneuver (like “reeling the set” in contra dance — much easier to do once they’ve seen it done).
  • Videos of performance dance illustrate dance elements, choreographic devices, the history of dance, contributions of key choreographers & superb technique.
  • Instructional videos, chosen carefully, give kids a chance to have a great work-out in a new dance style with a different instructor.

More to come on mentoring resources, as (if?) outside commitments thin out…

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Dancers are changing the world step by step

November 29th, 2009 · ··

This lovely story, via Anne Green Gilbert, deserves to be passed on — along with her greeting, which is the title of this post.

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