Richard Maddock Music — CD Review and Giveaway!

Richard Maddock is an accomplished musician as well as a seasoned dance class and exam accompanist. He is currently Head Accompanist at The Pia Bouman School of Creative Movement and Ballet, in Toronto, Canada and has written, performed, and engineered eight CD’s for dance in the last three years. I recently came across Richard online and he graciously offered five of these discs for review here, on the blog.

To top it off, he agreed to donate nine CD’s to give away to nine lucky Dance Advantage readers!

Music for Movement and Imaginations

Ballet Class & Creative Movement (for children ages 3 and up)

I’m not currently teaching preschool ballet, but this is a CD I wish had been around a few years ago when I was teaching younger children! Dance teacher and collaborator, Kelly Jones-Hart has developed a class structure that effectively blends the conceptual exploration of creative dance with basic ballet technique. And with over 40 tracks, there is plenty of material and alternatives to spread over many classes. The disc provides brief notes on each track explaining its possible uses in class. The notes are not a how-to manual. Some familiarity with creative dance methods would certainly increase the variety of ways you could use the musical material. However, plié, tendus, relevé, ballet walks, sauté – it’s all here – forming a cohesive lesson format whether you are comfortable with creative movement concepts or simply looking for a way to enliven your children’s ballet classes.

Musically, the selections are simple but engaging. Composer, Richard Maddock knows when to keep the beat “readable” so that young dancers can stay in time with the exercise. And, he is playful, adding flourishes and fun when trying to inspire little imaginations. There are a variety of “freeze” dance selections with random pauses, and a group of compositions designed for Enchaînment (combination of steps or concepts). These often switch tempo or meter and could be applied many ways to whatever you are working on with your students. Also included are seven “Dance-a-Story” arrangements. In these, the music changes and progresses in a way that suggests a plot or sets a scene. Two sample stories are included in the album notes and a general outline is offered for the others but, the music itself will encourage your own creativity.

Although this is most certainly music for young dancers, I appreciate that the musical cues and changes are subtle and that the compositions have an elementary sophistication compared to some of the “baby ballet” albums out there. Because of this, the CD could be functional for children’s classes well beyond the preschool years, extending the usefulness of this album.

For further detail or to preview some of the tracks, click the image above.

Ballet Studio Inspirations: Volume Two and Volume Three

Richard creates from a colorful palette of musical hues. His compositions for dance classes are expressive. It is easy to find inspiration in the material for the choreography of exercises because he paints attractive landscapes of sound. But, it is the lyrical quality of the songs that also make these tracks enjoyable to dance to. They encourage the student to perform the exercises rather than just complete them, which makes a teacher’s job easier in the long run.

Volume Two includes 14 compositions, beyond the 31 barre and centre selections, which are recommended for pointe work. And overall it has rather lengthy tracks, particularly for barre. As a result, this CD is probably more appropriate for advanced students than beginners. Containing an hour and 20 minutes of music, the disc offers plenty of selections to mix and match for different lesson plans. What I found unique about this album was its delicate orchestrations. Though the piano is the focus, there are textures added beneath which suggest the richer dynamics of an orchestra without overpowering the dancers during class.

Volume Three, on the other hand, is special for its purely piano sound. Recorded on a Concert Series Grand while corresponding class exercises were performed, this album more closely resembles the experience of having a live musician at your disposal, a luxury that few dance studios enjoy. Though in the notes it suggests that the music was composed to compliment a pre-professional level ballet class, I feel that this CD might be more adaptable to varying levels than the previous disc. The shorter tracks have much to do with this. The compositions, consistently featuring 64 bars of music, also seem more symmetrical overall.

On both discs, it is helpful that the selections are ordered and titled according to how they might be utilized in a class. However, the compositions could be easily rearranged (perhaps on your iPod or mp3 player) according to preference. I also appreciate that the liner notes include the time signature of the piece, how many bars (measures) are available, and note changes or breaks in pattern. Knowing these details can make choreographing exercises a much smoother process.

For further detail or to preview some of the tracks, click the images above.

As Creation Unfolds: Part Three and The Garden Within

While the first three albums are definitely designed for class use, these two albums include longer compositions more suitable for creative or improvisational dance, or composition. Again, I visualize landscapes as I listen to Richard’s work. Most tracks have a contemplative quality.

As Creation Unfolds Part Three is the shorter (i.e. fewer songs) of the two albums. However most of its tracks are well over four minutes long. A favorite on the disc is “The Newborn Fawn.” Its skipping rhythms make it the most dance-y of the compositions and, as the shortest track, it could certainly be used for a lilting ballet in your next recital. “Woodland Nymphs” is another standout. I instantly recognized this one as a great fit for a creative dance class. Beginning with gentle pauses and gradually increasing in tempo, I picture children making shapes and exploring in a scarf dance. Incorporating several changes in texture, the music seems to have “events” that could easily be turned into a story dance.

On The Garden Within, the selections “Oh What Wonders” and “Gently Guiding,” in particular, produced movement images and motifs in my mind as I listened. Their lyrical melodies and slightly more stirring tempos make them relevant for phrases or class choreography. My most pleasant surprise came at the end of this body of work, however. The final track, “Moving Forward” is underlined with percussive elements. This, coupled with its Asian-inspired gongs and chords, give the song a Cirque du Soleil vibe. What I find most compelling, however, is the tempo fluctuation in the piece. Of all the tracks on these two albums, this is my favorite.

The Garden Within and As Creation Unfolds Part Three are both filled with lovely compositions. They are a pleasure to listen or meditate to, making them ideal for relaxation, yoga, or stretching (inside or outside of class).

For further detail or to preview some of the tracks, click the images above.

All CD cover images are the photographic work of Kim Fiocca.

Here’s How To Enter:

Sorry, the giveaway is now closed!

Winners have been contacted

♫♫♫♫♫♫♫♫♫♫♫♫

Richard Maddock Compositions
Inspiring CDs for Ballet Class and Choreographic Work
www.richardmaddock.com

Five Favorites: Music for Children’s Dance Classes

Today I’m sharing with you a list of five albums from my own class music collection. I have put these to use and would recommend them for classes with young children. Enjoy!

Contrast & Continuum — Music for Creative Dance Vol. I-IV

by Eric Chappelle

Designed specifically for creative dance, this set works well with curriculum ideas offered in Anne Green Gilbert’s Creative Dance for All Ages: A Conceptual Approach. However, the rich variety of styles, sound textures, and tempos offered here could be used for any creative dance curriculum. The album liner notes also offer movement ideas and uses for each track. These are also available as pdf files on the site below. As I tend to mix and match tracks depending on what I am teaching, I cannot make an “if you can only buy one” recommendation. You can sample the music and decide for yourself or purchase the whole set at Ravennaventures.com.

Rhythms on Parade

by Hap Palmer

This collection of songs are beneficial for teaching rhythm. The songs are designed for use with musical props like rhythm sticks, shakers, bells, or tambourines – great additions to preschool movement classes. However, most could be adapted for movement-only classes by encouraging children to put the rhythms in their body. Songs include explore tempos, meters (how many kid songs are in 5/8?), rests, and instruments. And there is even a class “transition song” that encourages children to “come up and choose an instrument to play.” You may also want to check out Hap Palmer’s other selections including his Holiday Magic album.

Sweet Taps

by Rosemary Boross with Bruce Stephen Foster

This truly sweet collection of candy-coated songs is great for covering tap fundamentals like cramp rolls, shuffles, heel drops, and more. The vocals provide combination choreography and rhythms that are geared toward older preschool and young elementary/primary students (CD notes recommend its use for children 4-8). However instrumentals are provided. My only complaint is that these are not separate tracks as on Boross’s Fantasy Garden Ballet Class series, also found at Kimbo Educational.

Soulville

by Little Monsters

Sometimes even the little ones just want to rock. Little Monsters covers classic soul tunes like ABC, Dancing in the Street, and Mustang Sally on this album. Adults provide lead vocals while children provide back-up. Unlike big-name compilations that similarly cover pop songs, the production is slick and the vocals don’t have that nails on a chalkboard affect! I’ve used these in class for a fun free dance, across-the-floor, and recital music. You can purchase the CD at Amazon by clicking on the image or at the very cool Little Monsters Records web site where you can keep an eye out for new music.

Positio

Whitefeather Productions

This CD’s short tracks and clear and even tempos have proven helpful in pre-ballet classes. All of the 29 music selections are classical favorites, providing plenty of music for introductory barre work, center, jumps, and traveling movements. Whitefeather has a number of ballet CDs for various levels. These can be purchased on iTunes or at their website www.whitefeatherproductions.com.

What are your favorite albums for children’s dance classes?

When Should My Child See A Doctor for Dance Injuries?

Most injuries in dance don’t happen suddenly. Instead, students often suffer from chronic overuse injuries. Some minor impairments can be treated without visiting a physician. Too often, though, smaller injuries become more severe because proper care is not administered early or because dancers continue self-care despite warning signs that more specialized care may be necessary.

Parents and teachers of children and teens want to know, “What are the warning signs that a dance student should see a doctor?”

1.  Here is what you need to know…

Pain = Cause for Concern

Pain is our body’s way of telling us something is wrong. Even the youngest children (3 or 4 years of age) can tell us where and when something hurts. Unfortunately, sometimes dancers learn very early to overlook or ignore pain. Teachers and parents can create an environment in which students develop a mindset to recognize and respect their body’s warning signals. There is no gain in ignoring pain.

2.  Here is the answer to the question…

If the pain, discomfort, or problem persists beyond 2-4 days, your child should see a doctor.

Acute Injuries

These are usually obvious because they come about as a result of an incident. Landing wrong from a jump. Falling from a lift. Slipping while crossing the stage. Severe injuries like broken bones obviously need immediate attention and a visit to the doctor. For most common ailments…

1. First aid suggests the R.I.C.E method (rest, ice, compression, and elevation) for strains, sprains, swelling, etc.
2. In addition, staying hydrated and eating well promotes healing.
3. See #2 above

More about treating common dance injuries

Overuse/Chronic injuries

Overuse or chronic injuries are sometimes triggered by an event that is allowed to persist without proper rest or rehabilitation. However, often they are caused or aggravated by other circumstances (this is a great list, adapted from this one about kids in sports):

• growth spurts
• imbalance between strength and flexibility
• inadequate warm-up
• excessive activity (for example, increased intensity, duration, or frequency of training)
• improper technique
• unsuitable floors

Signals of Chronic Pain

Deborah Vogel (thebodyseries.com) offers these four signals of chronic pain, as well as an excellent explanation of  how dance injuries start in small ways, in an article about a hamstring/sciatic injury. I highly recommend you read her words for yourself.

1. Pain that gets progressively worse during working out.
2. Pain that comes after you work out and the next day comes back after less working.
3. Pain that is accompanied by a certain movement (e.g. arabesque).
4. No real sense of “pain” but a definite restriction of movement.

It is normal to have temporary muscle soreness after a challenging class or when working in a new way. Anything that persists, particularly in the ways mentioned above, should be discussed with a physician or dance/athelete specialist. This should be done sooner, rather than later (see #2 above).

A Note on Anti-Inflammatory Drugs

These are often overused in the dance community. Sometimes a doctor will recommend them and they can help bring down swelling. However, they are misused when taken to “get through a class” or otherwise mask pain (see #1 at the top of this post).

Reinjury

Dancers often re-injure themselves when they return too quickly to activity. Temporary muscle soreness can sometimes improve with a return to class. However, if moving makes it feel worse, the body may need more rehabilitation time and/or medical attention.

After and injury, always ease back into activity. It is better to be safe than sorry. Dancers don’t like to hear this when they are eager to get back or feel pressure to return to class but, remind them that temporary setbacks are just that – temporary, and not worth permanently injuring oneself.

“An ounce of prevention is worth a pound of cure.”

Prevention

Of course, preventing injury in the first place is ideal. Although sometimes this is not entirely possible there is a lot a parents can do to keep their dance students injury-free.

Find a studio that is committed to safety

• What is your studio’s philosophy?
• Is there proper flooring (i.e. – something sprung or with some “give”)?

Find a studio that is committed to quality instruction

• Do the students spend a reasonable portion of their class warming-up (not stretching but individual body-part and full-body exercises that encourage blood flow)?
• Are students encouraged to master foundational basics before moving on?
• Do students receive individual attention and feedback from their teachers?
• Etc… (see this series for more on quality instruction)

Encourage dancers to stay hydrated

• How much water is really necessary is debated, however, there are many active dancers that probably do not drink enough water. Here are some suggestions to improve water intake.

Encourage healthy, balanced nutrition

• I know this can be a tough one for families and kids on the go but it is so important! Here are some good pointers on healthy eating from kidshealth.org. Another great resource: nourishinteractive.com

Some other things you can do

• Encourage rest and proper sleep habits
• Encourage a positive outlook
• Remove the stress and pressure to “work through” or “push on” through injury
• Try cross-training with other activities (not to load extra onto already tired kids but to promote balance in the body; you might even speak to your child’s teacher or studio owner about alternatives within the studio)

Check Out These Related Articles!!

Learning How to Gauge Injuries Can Prevent You From Being Sidelined

This is an excellent article from Dance Spirit magazine. It offers easy guidelines about when to sit out and when to see a doctor.

Talking to Your Doctor About Injuries

Another one from Dance Spirit, this article lays out exactly what doctor’s need to know from dancers. A dancer’s “normal” may be different than a non-dancer due to the type of training dancers receive. Physicians need to know what you were capable of before your injury. This article has a lot of great information and stresses that dancers should not minimize their pain, as is their tendency.

Breaking Tiny Foot Bones

Stress fracture signs and treatment on Ballet Shoes and Pointe Shoes Blog.

Class Planning Part One: Developing a Curriculum Outline

When I visit forums or other areas online where dance teachers congregate, I find many questions regarding how to plan lessons and design curriculum. There are certainly a variety of methods for doing both and many teachers work from a codified syllabus. For those of you who may be searching for new ideas or needing some pointers in outlining your own lessons or program of study, I am sharing my methods for doing so.

Lesson Plans will be discussed in Part Two of this series.

Designing Curriculum

Approach for Young Children

There are many approaches to teaching young children, in all methods the objectives are generally the same: To introduce and practice age-appropriate movement skills, to prepare students for working and functioning within a classroom environment, and to instill a love of dance. Though it can vary, young children generally reach similar levels of motor skill, muscular, and cognitive development at or around the same time. If you are planning a curriculum for these younger age groups it is essential that you have some familiarity with childhood development. Pushing students to perform skills that are beyond their muscular control can damage their bodies.

Mastery Approach

After age six or seven, age-appropriateness on many levels is no longer as crucial (exceptions would be pointe work or other extreme physical activities prior to growth maturity, appropriateness of choreography and music subject matter). Instead, development is better measured through prerequisite skill mastery. Though advancement may occur at different speeds, a new student at 15 begins and progresses in much the same way a seven-year-old who is new to dance does. Designing a curriculum, then, becomes more about appropriate sequence of learning.

Moving Backward

When designing short-term curriculum, I generally work backward. In other words, I begin with the goal, the endpoint, the ideal, and then decide how to get there. If I am designing curriculum for a workshop the aims may be fewer and less grand than if I’m planning curriculum for a full year of study.

Let’s say one of my final goals is to present a dance, I try to decide which skills I’d like to include or which performance qualities I’d like to see, and give special attention to these in the classes leading up to the performance. In fact, for ease in preparation, I often create entire phrases or combinations of movement for class with the intent that these (or something very similar) will go directly into a final performance work. I do the same in lesson planning, making sure to include exercises featuring movements found in the final combination.

This backward method of planning is not that original. After all it is difficult to figure out how to get somewhere until you know where you are going. The whole idea may even seem obvious but it is a process that I’ve neglected myself at times (regretfully). If you’ve ever found yourself trying to pound a skill into your students and wondering why they are not improving, this is a good time to reassess your goals and determine if perhaps they’ve missed some key building blocks along the way!

To build curriculum for a class or course of study, ask yourself the following questions:

1. What do I want the students to be able to do by the end of the year(s)/month/semester/session?
2. What skills are necessary to reach each of the above goals? (List them all, even obvious ones)
3. What skills must the students have familiarity with (if not mastery of) to accomplish these goals?

The above image contains samples of various goals. Your opinions and experiences may often dictate what is considered necessary, though some skills have inherent prerequisites.

Moving Forward

When I’m working on curriculum that spans multiple years of training, I often work in a more progressive manner, though the end goals are always in the back of my mind:

1. I list skills in the order I think they should be learned (including variations like facing barre, then one-hand on barre, then from 5th position, then in center, etc.)
2. Then, I place these skills in two columns, according to level: Essential and Overlap. Essential Skills are those requiring mastery in order to move on to the next level. Overlap Skills are those of which students are developing a working knowledge. Overlap usually appear in the Essential column of subsequent levels.

Abstract Skills

Some skills are more abstract than others (for instance musicality, performance quality, etc.) but I like to consider these when focusing on curriculum planning – setting a few goals in these areas which I will strive to incorporate into daily/weekly classes. I do this simply because I don’t want to forget them. They may seem obvious to me but not to a less experienced dancer. “They” say that certain things can’t be taught – but I believe even these less tangible skills can be improved through thoughtful practice and encouragement.

*These tables are not intended to be used as curriculum. They are just rough examples of how a chart might look. Your curriculum would be more thoroughly planned and would probably make more sense!

Have you ever designed your own curriculum? How did you go about it? Can you think of other methods or tips to share with readers?

A Celebration of Dance Moms

On this special occasion, I’d like to share some stories I’ve collected from dance moms, dance teachers, and dancing moms. I hope they brighten your day!

My Story

My son is almost 2 years old. When I was pregnant with him, I taught classes in ballet, jazz, and tap nearly every day. My youngest students loved to pat, kiss, and hug my belly! As he grew within me, I often wondered what he felt and heard as I chassé’d, balancé’d, and skipped around the room! I’m still not certain, but there is no doubt that he is a very musical little guy that loves moving! From the time he could sit, he would bounce to a beat. He sways and swings to music, and he even tries to copy the b-boy moves he sees on Hip Hop Harry. I adore watching him move and should he ever show an interest in formal classes, I relish the thought of being able to support him in that endeavor.

Little Star

One of my fellow Twittermom Dance Moms, Tracey, is also a dance teacher. She shared an endearing story with me that I think most moms will appreciate!

I had a very shy child in one of my preschool ballet classes. It was so hard to get her to participate in the routine or to even learn it. When recital time started and it was her time to go out on stage. She looked at me and said, “But Miss Tracey, I’m scared.” I knelt down to her and said, “Do your best smile and have fun and remember you’re the star!” She stood there with her head down. The curtains opened and her eyes got so big. She stepped in front of the class and did the whole routine! (I didn’t think she even knew it!) The music stops and she’s blowing kisses bowing to the audience screaming “Hey, Mom! Miss Tracey said I’m the star!” I will never forget that as long as I live..the power of words.

Chips Off the Block

A good friend of mine, Suzanne Gerety, is a mom entrenched in the dance biz – she helps her own mother run her very successful dance studio and she runs DanceStudioOwner.com, a great site that provides the necessary tools SO’s need to operate a thriving business (you can read more about the site here). Apparently, she is rubbing off on her children!

My 4 year old son and 2 year old daughter love it when I play the tunes on my iPod. We dance around the kitchen and my son looks at his reflection in the dishwasher and he says he’s a ‘hip-pop’ dancer [yes 'pop']. Too cute. They particularly love the revival songs from the kids movies including “I like to Move it’ from Madagascar and “Kung Fu Fighting” from Kung Fu Panda. Watching them dance together is not only a highlight of my day, but they really think they’re putting on a show and ask me to sit in the chair and watch.

From Babes to Ballerinas

Twitter pal, Catherine (@cpmomcat) is a long-time dance mom. She shares two of her favorite “ballet mom” stories:

My daughter was performing as a Polichinelle in the NYCB Nutcracker and, of course, we were not allowed to video tape.  A classmate’s grandmother snuck a video during a performance, but her eyesight was so bad that she recorded my daughter instead.  So, I had a nice video of my daughter with only a small twinge of conscience.

My three daughters studied ballet, and while my two older daughters loved every minute of it, Sarah, my youngest, dropped ballet in favor of horses.  Being the youngest, she was dragged along to rehearsals, etc. and at one photo session, one of the four little Swans was delayed and the photographer was about to leave.  The A.D. came over to us and asked if Sarah would put on a costume and her sister’s pointe shoes and pose with the three young swans who were waiting, worried that they would not be photographed without a fourth.  He assured us that going up on pointe would not be necessary, that she was almost the exact right size and, of course, my daughter agreed to help out.  After several lovely shots with four little swans, and lots of praise for retaining her good posture and technique, Sarah turned to the A.D. and said, “So . . does this mean I’m in it?”  The entire room burst into laughter, but that didn’t bother Sarah.  To this day, she claims that she could have leaned the dance and could have performed it the next day!  That was the first and last time she had pointe shoes on her feet – I wish I had a copy of those photos.

A Series of Unfortunate Events

Melsmomma at DanceMom.com offered this story from the trenches:

During my daughter’s first year of competition 7 yrs ago, on the morning of a competition in Raleigh, NC, I was taking a shower at the hotel while my daughter was getting dressed. I was all soaped up and trying to shave my legs. I reached out to grab the shower bar to steady myself, my hand slipped, and I fell backwards… out of the shower… in all my glory… onto the floor. It made quite a large thud! My daughter ran to the bathroom, opened the door and saw me laying butt naked on the floor. She put her hand over her mouth and tried not to laugh as she asked me if I was OK. Luckily, I wasn’t hurt, although I could have died! I asked my daughter not to tell anyone and of course, she did… EVERYONE !

To make matters worse, later that morning at the competition, while trying to apply my daughter’s fake eyelashes, I accidentally glued one of her eyes shut! A mom got it undone rather fast. Then during lunch, I walked over to the corner to a fast-food restaurant to get lunch. While walking under a group of trees, a bird pooped on my head! My fellow dance moms decided I was bad luck that day!

Still My Baby

Another DanceMom.com user shared this with me. I think it eloquently sums up the mix of pride and joy and bittersweet emotions all moms experience as we watch our little ones grow. May you enjoy a wonderful Mother’s Day with your young dancer(s) and your families!

Last night I was watching my daughter’s ballet class (from the window so she couldn’t see me). They had learned a new combination, and she was waiting for her turn to go across the floor. As each girl went across, my daughter was watching and marking it from her place in line. About halfway through her wait, she let loose with a huuuuuge yawn which reminded me so much of how she used to yawn when she was 2 years old. So cute! But what cracked me up was that she just kept right on marking all the way through this gigantic yawn. It was the contrast of advanced-level semi-bored robo-ballerina vs. sleepy-head little girl ready for bed. After I got done laughing, I just wanted to hug her.

She’s officially a senior in high school as of today, but if I watch carefully I can still see my baby once in a while.

Thanks moms, for sharing your stories!

Do you have one you’d like to share? Place it in the comments below this post!

Appraising the Value of Praise

One of the desires of a teacher or a parent is to create an environment within which self-esteem can grow in a child. The goal is to build confidence in a healthy way so that they can better deal with the every-day adversities and challenges that life brings, both as children and adults. Often, parents and teachers take action by providing children with plenty of praise, accolades, and awards. But, is there such a thing as too much praise? Is it possible for praise to backfire? How can one instill confidence without creating a dependence on external approval?

Too Much of a Good Thing?

Most experts seem to agree that empty praise like “Good job!” or “You’re awesome!” is ineffective because children recognize that these statements are not always accurately or sincerely offered. It has been found that students praised for being smart are less motivated to achieve than those appreciated for working hard. They believe their intelligence to be unchangeable rather than something that can be improved upon, in turn affecting their performance:

“Kids who get too much praise are less likely to take risks, are highly sensitive to failure and are more likely to give up when faced with a challenge.” – Why Praise Can Be Bad For Kids, ABC news

As you can see, because of such findings, it has often been surmised that too much praise can be a bad thing (as noted in the quote above). However, similar outcomes might also apply in students who are continually criticized. So is too much praise really the problem or is it something else?

Descriptive and Appreciative vs. Evaluative

A statement is evaluative any time we use “good,” “poor,” or “excellent” to label a person, skill, or effort.  Assigning a judgment tells the dancer how they should feel about themselves or what they did. Faced with continuous evaluation (be it positive or negative) by others, a student begins to depend on this feedback for forming opinions about themselves (self-approval/disapproval).

Evaluative Statements provide only temporary results. Sooner or later a student will find they cannot live up to your assessment. They may try to prove you wrong or, become discouraged, remembering all the times they weren’t “great” or “sweet,” or, feel disappointment any time their pirouettes are not deemed “wonderful.” Children labeled as “good” at something are less likely to discover exactly what their strengths or weaknesses are and therefore cannot build upon these things. Their improvement may slow or stop altogether or, they may focus only on this area, striving for more approval.

Why Do We Evaluate?

There are many reasons we fall into a cycle of evaluative praise or judgments. One, it’s easy and requires little thought. Another, more subliminal reason is because it creates dependency. It makes our opinions about what is good or bad matter and encourages the student to conform to our ideals, keeping us in a position of authority.

Can You Be More Specific?

Professionals in the field of education encourage teachers and parents to be specific when offering praise and, to avoid labeling children. Recognizing that students respond better when the focus is on the effort or work involved, it is presumed that the type of praise, not the amount, affects performance and motivation. “Your pirouettes look great!” is more specific than “Great job, Alison!” “Brooke, you’re spotting really well.” is clearer still. Even more effective, because it focuses on the work involved, might be something like “Hayden, you’ve been working hard on your alignment at the barre. Your pirouettes look wonderful!”

However, consider the power of a statement that avoids evaluating even the skill itself and, instead, simply describes and appreciates their accomplishment. For instance:

EVALUATIVE — “Hayden, you’ve been working hard on your alignment at the barre. Your pirouettes look wonderful!”

DESCRIPTIVE — “Hayden, thank you for working so hard on your alignment at the barre. Your turns have really improved!“

Descriptive and Appreciative Praise may seem unnatural or more cumbersome at first. It is likely that you will occasionally find yourself offering an evaluative statement – don’t be too hard on yourself! As you know, practice is key to forming positive habits and change. Like the comment to Hayden above, many times only a slight change is needed to make a remark more descriptive and less evaluative. It won’t take long until you’ve mastered the technique!

Here are some simple guidelines:

• Use “Thank you for…” instead of “Good job.” to show your appreciation for their work/attitude.
• Describe specifically what you see, hear, or feel - “Your spotting was really crisp and clear.” vs. “You’re a great turner.” or “Your comment to Jill hurt her feelings.” vs. “What a mean thing to say!”
• Stick to the facts about how you feel - “When you talk in class, I feel frustrated that I have to talk over you to be heard. It concerns me that you won’t hear what I have to say.” vs. “It is really rude to talk while I’m talking. You obviously don’t care about your dancing.” (I, I, I instead of you, you, you)
• Present a bigger challenge – “Now, try a triple pirouette!” vs. “Excellent double!” This works for a negative, too. If the students are spinning like tops but not maintaining their turnout don’t congratulate them for getting a quadruple, ask “Can you keep your legs turned out and still do the quad?”
• Avoid labeling – “Thanks for helping me put away the props!” vs. “You are so sweet!” or “I don’t appreciate your tone.” vs. “Alright, Ms. Attitude, that’s enough!”

With your conscious effort to select words that are encouraging without being controlling, that focus on the deed not the doer, your students will be able to form their own opinions about themselves, their actions, and abilities. By fostering, rather than fashioning their healthy self-esteem, your students can feel secure, capable, and supported and will become more confident and responsible as a result.

Further Reading

• Praise That Builds a Child’s Self-Esteem
• The Power of Praise
• Why Praise Can Be Bad For Kids
• Montessori Classroom – Descriptive and Evaluative Praise
• Can Adults Praise Children Too Much? (some alternative opinions presented here)

Practice some Descriptive Praise right now!

1. List three things that you might want to praise your students for in your next class.
2. Then, select ways you might state your praise descriptively.
3. Look for opportunities to use the phrases you’ve prepared/practiced in your next class.

Be sure to list your three phrases below in the comments so that others can see some more great examples!

And, let us know if you use or try this technique in class and share your results or thoughts!

Children and Dance

Throughout my career as a teacher I have had the opportunity and the pleasure to work with very young dancers. I’ve enjoyed being able to spark imaginations and encourage little ones in their discovery of movement and dance. These young students have taught me a lot too! When working with small children one must break-down and dissect movements that have for years been ingrained in one’s body and mind. It is a process that usually led me to new discoveries about myself, technique, and creativity. Young dancers have also taught me many valuable lessons in patience, working with parents, and not taking myself too seriously!

Some of what I have learned, I have shared in posts here at Dance Advantage. Here are the links and a short description:

Dance of Independence

This article discusses situations a teacher or parent may encounter with the youngest dancers (preschool children) as they begin their dance experience. It offers some solutions on dealing with children who are not willing to participate at first, or hesitant to allow their parent(s) to leave. It also gives parents an idea of what they might encounter with their own child and help prepare them for dealing with their child’s, and possibly their own, feelings of uncertainty.

Creative Dance

I am a strong advocate of utilizing creative dance principles, not only in programs for young children, but for all age groups within a dance school. If you are not familiar with creative dance, its purpose, or its methods, this post serves as an introduction. If you know or have experience with creative dance, this article may assist you in discussing the benefits of creative dance with parents or others, and hopefully encourages you to consider its use for older dancers as well.

Fostering Artistry in Young or Beginning Dancers

This post offers an observation inspired by a post on another blog. The observation that dancers in studios are rarely asked to make art, to make their dancing personal, and to express their own thoughts and feelings through dance. Look for the follow-up to this editorial (long in the making) that will offer some solutions  or suggestions as to how artistry can be fostered in young dancers.

The following posts relate to children and their pursuit of dance as a career. In many other careers, this discussion would not fit in a post about children but dancers often must start early if they want to pursue a life in dance or ballet.

What it Takes: Becoming a Ballerina

More accurately, this post offers insight and links that discuss what it takes to become a professional ballet dancer. It is important for students and parents of students to understand the challenges and pathways to becoming a professional performer in dance. And, in ballet, an early appreciation for the rigors of this pursuit is particularly helpful. Many youngsters dream of a career in ballet, and it is healthy to have some perspective of what that entails so one can make informed decisions. This post has recently been updated and re-vamped, so if you’ve seen this post before, you may want to take another look.

Everyone Starts Somewhere

Just a sweet reminder that everyone, including New York City Ballet dancers, start somewhere.

Bloggers Unite: Something Out of Nothing

I do not consider myself well-versed in international or global affairs, policies, politics, wars, or history. As a dancer, an artist, and citizen of the world I am curious about these things. However, probably like many of you, I am easily overwhelmed by all there is to learn and understand as I try to sift through the vast amount of information available to me. As an American, I find it easy to become engrossed in the multitude of distractions available to me in my life of privilege and relative security and, as a result, “tune out” the world. My heart, my conscience, and my curiosity, however, reminds me that there is a larger world out there and encourages me to investigate cultures and experiences beyond my own. As a blogger fortunate to have at least a few of you paying attention to what I say, I would be remiss of a certain responsibility if I never encouraged you to do the same. Therefore, despite my lack of knowledge on the subject, I have chosen to participate in the Bloggers Unite event, Refugees Unite. To do so forces me to explore and research a topic I could have otherwise “tuned out” and by sharing what I find, it is my hope that you, too, would “tune in” and be willing to investigate the issues for yourself.

Ibdaa Dance Troupe

As this is a dance blog, I do my best to stay true to my mission of educating and sharing through articles that enhance your experiences as a dancer, student, teacher, and/or parent. I attempt to find stories and subjects with which you can connect. In researching the subject of refugees, I quickly discovered the Ibdaa Dance Troupe, a group of girls and boys that are residents of the Dheisheh Refugee Camp near the city of Bethlehem in the occupied Palestinian (Israel’s) West Bank, who share their experiences and message through dance. According to their website, the dancers “perform Palestinian traditional folkloric dance, or debka, as an artistic way of preserving and sharing their culture and history while simultaneously voicing the rights and struggles of the Palestinian people.”

The dance troupe is just one of the arts programs offered to children and teens at the Ibdaa Cultural Center, which is a grassroots program that seeks to empower the women, children, and youth of the Dheisheh camp. Opportunities to explore art, dance, drama, and music are rare among the 59 refugee camps in the occupied region. The programs provided at the center offer young people the chance to express themselves and develop creativity in a positive and peaceful manner. It is a stark and refreshing contrast to the violence and uncertainty that surrounds them. Ibdaa, which in Arabic means “to create something out of nothing,” reflects the hope that survives among this community of people despite the tumultuous environment in which they live.

The people currently living in the Dheisheh Refugee Camp include some of those originally displaced in 1949 by the Arab-Israeli war, as well as their second and third-generation descendants. The camp currently houses around 12,000 people in an area less than a quarter-mile squared (under half a square kilometer). Many of them have and will live their entire lives in the camp. The Ibdaa Dance Troupe, however, has had the opportunity to tour throughout the world. They stopped in several United States cities in 2003 and 2005 , and have performed for members of the United Nations, world leaders, and the Pope. They dance their stories and they dance with purpose, hoping to bring awareness to the Palestinian perspective, culture, and sometimes brutal realities. The story of this dance troupe was documented on film and is available for purchase here (This review contrasts The Children of Ibdaa documentary and another film which highlights youth from the Dheisheh camp).

Neither the Israeli or Palestinian governments have been free of blame throughout the many years of fighting in this war-torn area of the world.  In response, we are often asked to take sides.  The Idbaa troupe presents their perspective through dance. They remind us of the innocent lives that are sometimes caught between sides, of human beings born into and trying to survive within a land in turmoil.  These dancers are young people who have chosen not to “tune out” the hope for peace in their own hearts and to fight their battle with creativity not violence, despite all that they live through. Regardless of one’s individual beliefs or our government’s policies regarding the Israeli-Palestinian conflict, these are voices that deserve attention.

Additional Reading about Ibdaa Dance Troupe

• Palestine Embodied is a news article featured in the Dec 2003 edition of Dance Magazine.
• Dancing for Peace
• Dancing the Spirit of Palestine
• Freedom Dance
• Middle East of Eden

More Information on the Dheisheh Camp and Palestinian Refugees

• UNRWA (United Nations Relief and Works Agency) – Dheisheh
• Global Flux – Living in Limbo
• Refugees.org – Israeli-Occupied Territories
• Israeli-Palestinian conflict – the basics on Wikipedia

Refugees Unite

The cause which is the focus of today’s event is Refugees Unite, however, as the core initiative of both Bloggers Unite and Refugees Unite is information, I chose to highlight the Ibdaa Dance Troupe instead. Refugees Unite is a non-profit that is worth checking out.

(from the Bloggers Unite homepage)

Refugees United is a non-profit organization that helps refugees relocate family and friends through the use of the internet.

Refugees United provides refugees with an anonymous forum to reconnect with missing family. By registering with nick- names, scars, former locations and other markers only identifiable to family and close friends, everyone can remain ‘invisible’ to all but relatives.

• All refugees are welcome, regardless of conflict, place or time.
• Refugees United is an independent, non-political, non-religious NGO.
• No third party is involved. No official papers need to be filled in.
• The service is free of charge, easy and safe.

The Refugees United search engine is the first of it’s kind. Visit Refugees United to see how it works and to learn more about the work that Refugees United is doing.

If you have something to add that will further educate or inform myself or my readers on this sensitive subject, I encourage your response. I just ask that you try to do so in a positive manner rather than an inflammatory one. Thank you.

Blog Action Day: ASTEP Toward Ending Poverty

Today is Blog Action Day, “an annual nonprofit event that aims to unite the world’s bloggers, podcasters and videocasters, to post about the same issue on the same day.”  This year’s aim is to raise awareness and trigger a global discussion about poverty. I was particularly excited about this topic because it is one that has been on my mind for the last several years.  It is a complex issue and one that I have been working to understand while doing my small part to increase awareness.

There are many political and activist organizations which offer resources and calls to action that I would encourage you to explore, and I will include a short list at the conclusion of this post. While I certainly appreciate and value the work of these organizations, I have always felt that change begins with one person reaching out to another. Sometimes it seems easier to throw money at problems, hoping to stick a finger in the dam of global poverty.  However, there are groups who seek a different approach – to reach out and help one person or one small group of people gain access to the things we sometimes take for granted. Building one well in one community, offering a small loan to one individual so that they can grow their business and in turn help others and the economy within their community, reaching out to one child to give them hope for their future.

“One person can have a profound effect on another. And two people…well, two people can work miracles. They can change a whole town. They can change the world.”

-Diane Frolov and Andrew Schneider, writers of the TV show Northern Exposure

ASTEP in the Right Direction

When people make a one-on-one connection with someone in need it can alter their lives (and consequently, the lives of others) forever. This was the case for Mary Mitchell-Campbell, a successful Broadway music director whose volunteer work in India inspired her to make an impact on worldwide childhood poverty.  She founded ASTEP (Artists Striving To End Poverty), an arts-based nonprofit that works directly with disadvantaged children, seeking to empower them through the arts. ASTEP has been a work in progress since about 2001, but received non-profit status two years ago and currently leads programs in the U.S., Africa, and India, connecting “artists who wish to share their talents with children who can benefit from artistic encounters.”

How does this combat poverty?

As you and I know, the arts have the power and potential to teach life skills (communication, self-expression, problem solving, decision making, perseverance) in ways that wind deeply into the heart, soul, and mind of the person/people whom they touch.  Essential life skills are typically what a disadvantaged or impoverished child lacks, limiting their future and opportunities as they grow into adulthood. Amazingly, hope is present in the most hopeless of situations. Anyone who has worked with the disadvantaged can tell you about this surprising phenomenon.  In these situations, however, it becomes difficult for those without opportunity to nourish this hope. The arts can provide the tools needed so that these children can invest in the hope they have for their future.

Hope is the thing with feathers
That perches in the soul.
And sings the tune
Without the words,
and never stops at all.

-Emily Dickinson

You Can Teach Anything with the Arts

ASTEP has designed programs for children in areas where war, disease, disaster, and poverty have ravaged villages and communities. These are places where childhood is marred by concerns that, in developed nations, even grown adults do not have to cope with; where trial and trauma has a psychological impact on the youth who live there. It is in this arena that the arts, and specifically ASTEP, have been able to make a positive impact.  ASTEP recruits artists, students, and professionals who volunteer to share their time and talents as teachers in the organization’s programs. Their workshops, camps, and projects are developed to serve the needs of each, particular community and help children there deal with their own difficult circumstances. Watch this video diary of how one weekend made a difference in the lives of some South African youth.

How You Can Help

If you’d like to know more about ASTEP, please visit their website and download the presskit.  If you’d like to get involved there are several ways to do so.

• Volunteer: artist opportunities are available in their active programs (currently in India, New York, and Florida) – click here for an application.
• Give Your Time: ASTEP runs a soup kitchen initiative in Manhattan every third Sunday of the month.
• Consider Donating: contribute money, supplies (like dance shoes), or equipment, or sponsor a volunteer.
• Become a Partner: combine the efforts of your non-profit with those of ASTEP.
• Purchase Tickets to ASTEP events.
• Assist the NYC Office: data entry and fundraising research opportunities available.
• Host a Benefit Concert: consider donating proceeds from your school’s dance recital!
• Set up a Change Drive: small change = BIG change.
• Purchase Items Online: Go to the volunteer page for links to sites which donate to ASTEP with the purchase of items, Broadway tickets, or even for searching online.
• Form an ASTEP Club at your college.
• Spread the Word: on your website or blog, at your studio, or to your friends.

Also, stay updated on ASTEP’s activities by signing up for their mailing list.

Worth Your Attention

Please check out these other organizations, all doing their part to bring an end to poverty.

The Girl Effect – Girls have the power to change the world! See more about Girl Effect projects and how you can give.

ONE.org – Join the fight against global poverty.

Stand Up and Take Action – Against Poverty and for the Millennium Development Goals. Stand Up October 17-19, 2008 and Take Action. Find an event near you.

Learn More

How much do you know about world poverty? Take this quiz and find out!

Investigate and learn more:

The World Bank’s PovertyNet

Global Issues.org – Causes of Poverty

The Skeptic’s Guide to Global Poverty (excerpt) – buy the book

What it Takes – Becoming a Ballerina

Originally this post featured a link to a news item that focused on a 12-year-old girl with aspirations to become a professional ballet dancer, and the sacrifices she’s made and will need to make in order to get there. The article is no longer available, however, so I have updated this post with some other links and information.

• Here is an interview with Courtney Lutz, a Canadian dancer with the Ontario Ballet Theatre. She talks of her path to becoming a professional ballet dancer, putting in half days of school to make room for dance, and times in her career when it hasn’t been easy to continue.
• Girls aren’t the only ones who work hard and make sacrifices while pursuing a career in professional ballet. An article about David, a 15-year-old, pursuing his education and a career in dance.
• Do you dream of dancing with New York City Ballet? Here are some helpful and realistic answers to  students’ questions about working, studying, and training with NYCB and the School of American Ballet (their official school).
• This forum offers an overview of the path(s) that dancers take to become a professional in the ballet world.
• A detailed account of the audition and training process at the Royal Danish Ballet School which are not unlike many other pre-professional ballet schools.
• Ten articles on the steps to becoming a professional dancer. Some of these articles are better than others and when reading keep in mind that these are the individual writer’s opinions. Most give you a sense for the work it takes to become a dancer and the challenges a professional faces.
• An interesting article that spotlights why someone may choose not to become a professional dancer.

In summary, the life and career of a professional ballet dancer is not easy and often requires much sacrifice for young dancers and their families. Although we like to think that with hard work and diligence absolutely anything is possible, the reality is that dance is a highly competitive field. Knowing one’s options, understanding the challenges, assessing and re-assessing one’s desires and goals, researching the paths of dancers and companies, and arming oneself with the best training possible are absolutely necessary if one hopes to pursue dance (particularly professional ballet) as a career. In dance, it is never too early to begin this process. To say that it is all work and no play would neglect the rewards and excitement of a career in dance, however, it is not a pursuit for one who gives up easily, desires immediate gratification, and wants a luxurious salary. It is also extremely helpful to have a balanced and healthy outlook and a strong support system, as ballet has been known to take a toll on a dancer’s mental and physical state.

In addition to the articles above, these books and DVDs offer some insight into the world of professional ballet.

Becoming a Ballerina

Getting Started in Ballet: A Parent’s Guide to Dance Education

The Dancer

The Children of Theatre Street – The Story of the Kirov Ballet School

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