Ready, Set, Stop: How To Teach Mind-Body Skills By Not Moving

When teaching children I sometimes need everyone to be still.

Being still, “freezing,” or not moving is a skill. I am sure I have said to a child at some point while teaching, “Stop moving” or “don’t move.” And I am equally certain that a majority of the requests were met with more wiggling.  How can we as teachers or parents encourage stillness in another way?

Not moving requires action

When a person “freezes,” he or she is using a great amount of muscle and brain power. I tell my students that they are in charge of their bodies. Their brain has the power to tell their bodies what to do, and their muscles have the ability to make this happen. Instead of NOT doing, I ask them to DO.

“Do something amazing while you stop moving, have superpower control over your body. Connect your mind and body together to “freeze” and become as still as a statue.”

Explore what it means to not move

I confide in them that this is a very difficult task. When you stop moving, gravity wants to take over. Your muscles have to fight gravity in order to keep still. This means your muscles are working just as hard as if you were doing jumping jacks or push-ups.

To illustrate this, I ask my students to become aware of how their body FEELS as it works against gravity. I ask them to put their hands above their heads and then to be still. I remind them, “you are in charge of your body,” “your brain tells your body what to do,” and then we wait. I commend them on how hard their body and mind is working to keep their body still. Then I ask “how do your arms feel?” Their arms will feel tired, and might even feel sore from working so hard. I tell them the muscles in their arms are fighting gravity; gravity wants to pull them down. The longer their arm muscles resist gravity, the stronger they become! Adults might call this an isometric exercise.

Show them they have the power to not move

I ask my students “What is the muscles job?” I ask them to tap on their upper arm or bicep muscle and then I direct them to bend their arm at the elbow a few times. “The muscle made the arm move by contracting and lengthening. Muscles are in charge of moving bones and keeping bones still. The more we activate our muscles the stronger they get!”

I encourage my students to use their brain as well as their muscles, and ask them to stand very still on one foot. At first the kids get very silly and fall down a lot. They might even say that they have a hard time balancing. Then I give them control. I tell them, “You are in charge of your body. If you feel you are falling, tell your brain to tell your body to put your foot down.” The result is amazing. Not only do the kids balance longer but they quietly put their foot down if they are falling and try again. Permission and personal control are powerful things.

Your brain tells the muscles in your body to hold your bones very still. Your body fights gravity using your muscles. With each second that you are still, your body is working. And the longer you hold your body still the stronger your muscles will become. All of this is ultimately controlled by your brain, giving the command. The ownership and control is up to the child.

Engage Body & Mind

Children are not in charge of many aspects of their lives. The power of controlling their bodies is a very important one. And instead of telling a child “don’t move,” try something empowering and fun that will help them develop important body skills. Give them permission to use all the muscles in their body at once to accomplish stillness. Explain to the children in your life how hard this actually is, how much brain and muscle power this takes, and how much they are doing by not doing. They’ll want to impress you with their amazing not moving abilities!

How do you encourage your students to be still?

Can you think of other ways to reinforce the idea of having control over one’s own body?

Teacher’s Top Three: Little Movers

Maria Hanley holds a Master’s degree in dance education from New York University and a Bachelor’s degree in dance performance from Slippery Rock University in Pennsylvania. She is an independent dance educator around New York City and is currently a teaching artist in public elementary schools for New York City Ballet. In addition, Maria teaches tap and creative dance at Mark Morris, she is a movement specialist for 2-3 year olds at York Avenue Preschool and teaches the ballet program for young families at the Jewish Community Center in Manhattan. Recently, Maria has started her own creative ballet classes called Maria’s Movers for young children.

You may remember the feature I did on Maria’s blog Move.Create.Educate., one of my favorites because Maria is journaling her daily experiences, inspirations, and challenges as a teacher. This time, I wanted to pick her brain a bit and find out which three CDs she just couldn’t live without in her work with young children. Here’s what she had to say:

“If you are a teacher you probably know how hard it is to find great music to use in your classes that are all on the same album. Here are my top 3 picks that have it all. They are creative, inspiring, and leave a don’t-forget-it-at-home impression on me. I am always looking for new music to spice up my classes, so I hope these will help you! I tried to feature a little something for everyone!”

Maria’s Top Three

1. Wee Sing and Pretend

This is my all time favorite. I use this in all of my preschool classes, creative dance classes, and baby ballet classes. It has everything from a dinosaur dance to a song about a washing machine. Every song takes young dancers on a new adventure, or to a new place. I love it most because it gives room for their imaginations to grow, my philosophy as a teacher of young ones.

Note from Nichelle: Incidentally, I happen to use this CD with my little ones too! The variety of topics is a really nice feature. To adult ears, I have to say they may not seem like much, but my kids got really attached to the ones I used in class most often — particularly Row, Row, Row Your Boat and Jack-in-the-Box.

2. pas de tot

This CD is a great addition to a PreBallet class. I use it for everything from teaching the positions to across the floor steps like chassé. There is a song for every exercise and it even repeats the song over for teaching the other side or repetition of a step. I love to use the Reverence song to end my class. It’s such a refreshing CD to have on hand whenever you are looking for the perfect song!

3. Tap Your Troubles Away

I love this CD because it has something for every level. I use it for the little ones, right up through the teenagers. I find it to be progressive through the exercises and many of the songs have an even beat for counting purposes. I love to choreograph combinations and parents day showings to this CD. A well rounded CD for any tap teacher!

Bonus!

Maria couldn’t resist sharing a few more recommendations. Check these out too!
Baby Jamz: Nursery Rhymes, Vol. 1: Solange Knowles
Wake Up and Wiggle: Marie Barnett

Do you teach little movers?

What are your Top Three?

Confessions of a Busy Dance Mom

Do you have one of ‘those’ moms at your studio?

You know, the one who doesn’t read the notices about payments due, rehearsal schedules, or performance times?

Or do you have one who drags their feet and doesn’t sign up until the last minute?

What about the mom who calls you all the time, emails constantly or has a million questions?

You might have more than one at your studio!

Communicating with parents is one of the most frequently reported challenges and problems that dance teachers and studio owners face when it comes to running a successful business.

Guess what? I am one of those moms!

I’m probably a great example of some of the moms at your studio. A mom who can barely find the time to get the lunches packed and get to school on time, let alone read the many papers and emails and notices that come home on a regular basis.

Here’s just a few reasons why:

• My 3 year old daughter recently refused to go to dance class in anything except her fleeced footed PJ’s and absolutely freaks out at the idea of me putting her hair in a ponytail.
• My minivan is what I call my ‘mobile office’. Some days it seems like I get in and out of my van to drop-off, pick-up, drop-off, run errands, pick-up about 20 times.
• I get invited to dozens of events by email: pampered chef parties, scrapbooking events, birthday parties, girls nights out, volunteer days at my kids school, parent committees, the list is endless. If I can RSVP to half, I’m doing well.
• My dining room table on most days serves as a place to fold laundry.
• I run from work to soccer practice then to music class. We have school and dance class and work again. Then it’s over to the studio, back to my home office, and school again. My google calendar looks like a puzzle of appointments!

It’s no wonder that communicating with parents is a top concern and complaint of dance teachers and studio owners!

Can you relate? There’s good news here…

Teachers and Studio Owners, increase your success in effectively communicating with parents by keeping them engaged and involved through a variety of modes of communication.

1. If there is an important date or deadline that I should know about please deliver that communication to me in a variety of ways, more than one time.
   • Post announcements in the studio, announce it after class, post it on the studio website, email me. I need more than one reminder and it’s not that I don’t care, it’s that sometimes I just cannot record that date into my calendar at that moment or the form could be lost among many others.
   • Thank you for going out of your way to let us know about important dates and deadlines.
2. Ask me what I can do to help. Seriously.
   • Believe it or not, even in the midst of the chaos with a couple of kids most moms want to be involved and help out.
   • Do you need a parent volunteer at the show?
   • Need someone to steam costumes or maybe email moms I know to let them know spots are still open in dance class on Tuesday mornings? If you don’t ask, I think you have it all handled, by all means ask. If I can’t help this time around, I’ll make sure next time.
3. I’m looking to the internet first, you should be too.
   • With my busy life, one thing has made my life easier: the internet. I like to register my kids for their activities at off hours, I check my email from my smart phone, I Google everything and I’m communicating with my friends and work colleagues on social media.
   • Thanks for keeping your website up to date, posting important news, and keeping in touch online. It really helps me know what is going on at the studio. Even better, I like to let my friends know and I’m happy to share it with them.

Lastly, and MOST importantly: Thank YOU

I am one of ‘those’ moms who may not say it often enough, or perhaps even at all.

Thank you. All I want for my child is to see them succeed and be happy. Thanks for making dance class fun for my kids. I appreciate the time and thoughtfulness you show with your enthusiasm and praise.

Dance class is a highlight of the week for my child. You create that moment each and every week.

From all those moms and parents out there that may not say it, thank you for all that you do to keep the joy and magic of dance alive in the world.

Back to School — Props and Classroom Aids

Dance classes (and the experience of your students) can be enhanced with the use of props and classroom aids. Hopefully in this list of products you will discover new ideas or places to shop for items.

A portion of the links below are affiliate links. You can recognize these links as they are marked in PURPLE, whereas other links are in the usual DA red. You can learn more about my affiliations and why I participate here. Thanks in advance if you choose to support Dance Advantage by purchasing items via these links.

Also below, there are links and tips for homemade props as well as other products that I find unique and interesting. Products marked with a star are products which I own or have received for review.

Improvisation

Nylon Juggling Scarves (pk/12)

Great for movement explorations (fast vs. slow; sharp vs. smooth; free vs. bound), balancing, or body part activities. Dancing with this simple prop can sometimes bring an inhibited dancer out of their shell. You could also make your own using chiffon fabric (I’ve been told nylon tricot, which does not fray, or polychiffon, which will need hemming or fray glue, are best — tulle which is cheap just doesn’t move well).

Spectrum™ Ribbon Wands 36″ long (pk/6)

Ribbon wands can be useful for improvisation and choreography. Not necessarily an every-week activity but a fun treat! You can also get a six-pack of Multi Colored Ribbon Wands (each wand has 2 colors of ribbon instead of one color) from the same company as above. If you’re feeling industrious, here are some excellent instructions for making your own. Or, for if you are in a pinch you could use crepe paper (minus a wand is okay). It is inexpensive and the kids can take it home (tip: with little ones who might try tasting the paper, get light colors or white).

Visual Aids

Sometimes a picture really is worth a thousand words. Growing up, my dance instructor had hand-drawn images on the wall describing alignment/posture and movement concepts. Fortunately, she was a quite capable artist. There are, however, a few ready-made resources out there for those who have not the time or ability to decorate their studio walls with visuals.

Markers

Spectrum™ Poly Markers, 9″ Circles

For children’s classes, having some sort of space or spot marker is essential! S&S Worldwide has some really cool markers that could be used in a variety of imaginative ways. There are stars, feet, hands, arrows – straight, curved, a little funky. Or, get their Super Spot Marker Easy Pack.

Once again, there are creative homemade alternatives. PE Central suggests mouse pads or silicone pot holders (they also have some other ingenious ideas for movement activities – I like their ribbon wrist band idea). For spots, I’ve used the rubber foam waffle/mesh material used for shelf lining – you can sometimes find pre-cut placemats in this material. You could also try carpet squares/remnants.

Spectrum™ Half Cones (Set/6)

Cones come in handy for leaping activities (including leaping courses), for marking boundaries, to line up behind, and to dance around. Different sizes or colors can be used for different things. Use your imagination! Around the holidays, my cones become decorated trees and we bound over them like reindeer. The link above is for half cones but here is a link for 12″ cones.

Putting it Together

Creative Yoga Games for Kids

This colorful set of 48 cards is a beautifully designed resource for teachers that want to incorporate the challenge and long-term benefits of yoga into their dance classroom. “Flash cards” for yoga and pilates are not new. However creator, Edna Reinhardt from Over the Moon Yoga & Dance Studio in Victoria, Australia, has created a unique educational kit, pulling the best from both yoga and creative dance practices to allow children to explore and create movement. The cards are big and bright with pictures of adorable children doing the described poses. Four of the cards offer activities to try, but Reinhardt has also packed a wealth of information and games into the accompanying booklet. She blends creative movement ideas with yoga in ways I never would have considered, yet they make a perfect pairing. If you have experience with teaching creative dance, you’ll be off and running with these cards, easily expanding their usefulness. However, parents and kids could also use these cards independently or in other social settings (pre-school, day care, parties, etc.)

Inflatable Dice

These dice would bring a level of fun to creating chance choreography, choosing words and improv suggestions. With the write-on and erase feature the sky is the limit.

If you’re not into inflatables, DanceDice.com offers ten sets of dice – Ballet, Jazz, and Tap in beginner, intermediate, and advanced levels, and one Creative Dance set. I’ve featured them before in my Holiday gift list.

Stretchy Stuff

Materials like jersey, lycra, and even ordinary elastic, are useful when working on energy qualities in movement. Simple loops of these fabrics can encourage experimentation with bound flow, sustained force, and strong movements (fast or slow). There are lots of possibilities. Even therapy bands can have dual purpose.

Octaband was created by dance/movement therapist, Donna Newman-Bluestein. Part, parachute and part stretch band, it could be used in a variety of ways in your classes, and an especially useful prop for classes with infants/toddlers or children with special needs. There’s a lovely story behind Donna’s creation of this object which you can read at the website. The video is a short clip of the Octaband in action.

Body Socks are another elastic experience that can help develop an awareness of timing (without visual cues) and are fun to improvise or choreography shapes and design. Need some inspiration? Check out the video at left, a work created by Alwin Nikolais in 1953. With a whole lotta lycra you can create your own body sock. However dance therapy companies like Dye-namic Movement are selling these and other stretchy products. And, I found LaceandFabric.com which sells lycra body socks at an incredibly reasonable price.

And More

There are so many props you can incorporate into your classroom, from musical instruments, to hoops, to beanbags. I encourage you to think outside the box and come up with some of your own creative uses for even the most ordinary of items. Props such as the ones above can enrich the focus of your classroom, taking it beyond pretend play and games to true educational movement experiences.

12 Tips for Teaching Tots

Managing, engaging, and interacting with young children in an active setting like a dance class takes a lot of patience and problem solving. Here are some strategies for dealing with the short attention spans and behavioral challenges typical of the preschool (3-6 years) age group. Whether you are an assistant or a professional I hope you will find these tips useful in your classes.

1. Add layers to the movement

When teaching basic dance skills, repetition is important. Keep skill practice interesting by layering your instruction with imagery. Find occasions to play pretend that will also enhance their understanding.

For port de bras exercise, you can ask children to pretend that the wind is blowing their arms out (for demi second), or encourage them to become pancakes and “flip” as they practice three-step turns. Bringing their attention to a special quality within the movement can improve their focus as well. For example, encourage them to “eat up the space” with large movement in leaps, make their whole body sharp like a knife during marches, or point out the level changes in jumps/sauté and have them try to make their highest level higher each time.

2. Keep the class movingA common mistake in teaching classes with young children is to spend too much time on a single activity. For students under six, five minutes on any one thing is usually the maximum. Generally, I try not to spend longer than 10 or 15 minutes in any one formation or on any one portion of the class (in a circle, across the floor, standing in lines, etc.). Children are easily distracted and their attention wanes quickly. Always plan more activities than you have time to include. If you see that you are “losing them,” do the kids and yourself a favor by wrapping it up and moving on to the next activity.
3. Light up the roomYoung kids enrolled in a dance class are there to have fun. It is not yet truly satisfying to “work hard” at something even if they think it will please you. If it doesn’t feel like playing, they’re far more likely to be inattentive. Therefore, it is imperative that your energy level be high throughout the class, that you vary the tone of your voice, and that you aren’t afraid to be a bit goofy or over-the-top. You should be the most interesting thing in the room! [Bonus tip on vocal volume: I sometimes like to whisper when students are getting too noisy because it adds an element of surprise and because they have to quiet down to hear me.]
4. Participate and model behavior With older children it is sometimes necessary to limit your demonstration or participation in the actual moving/dancing portions of class. Young children, however, take all of their cues from you. If you are asking them to pretend they are in a dark forest as they creep around the room, then you must be in that forest with them at least part of the time. If you want them to perform with 100 percent of their energy, then you have to give 150 percent. Modeling behavior is also important for showing children how to behave. Ask the students what is the proper way to sit or stand while waiting on their spot or number, then show them, and then have them practice it with you.
5. Offer “Dancer’s Choice”The freedom to choose is empowering, particularly for children who are learning to become independent in their thoughts and decisions. Try to include a chance for your dancers to make a choice at least once in each lesson. However, be careful about offering unlimited possibilities. Children do best when they have an “either/or” alternative. This can be as simple as occasionally allowing children to choose if they’d like a blue spot or a red spot to stand upon (just make sure when offering these types of choices, you have enough of each so that no child gets “stuck” with something). Every so often allow the class to vote for doing échappé or balancé for this lesson, practicing the other next week. You can also offer opportunities for children to make decisions in their movement. For instance they may choose between dancing sharply or smoothly (quickly/slowly, happily/sadly) around the room. They may choose to make a round shape or an angled shape (balanced/off-balanced, big/small) when they finish their exercise across the floor. [In fact, this ability to choose is what makes creative dance a powerful introduction to movement and dance for children (and, in fact, all people).]
   

   Photo by Marjon Kruik

6. Enlist and recruit a misbehaving childA chronically misbehaving child can be like a little thorn in your side. If you’re familiar with the advice to keep your enemies closer than your friends, this tip is similar. Instead of constantly reprimanding the child, enlist his/her help in some way. Ask her to be your helper when handing out props, or recruit him to make the check marks in the attendance roster. Sometimes your faith in the student as you offer them this responsibility is all the incentive they need to behave better. If you can identify the portions of class which are most difficult for this student (during recital practice, across the floor, etc.), these may be your best opportunities for recruitment.
7. Avoid making promises you can’t keep (line leader problem-solving)Children are a lot like elephants – they never forget! Therefore, I’ve found it best not to make too many promises that I can’t (or won’t remember) to keep. When there is turmoil over who gets to be line leader, it may seem a grand solution to promise a child that “next week” they’ll be the leader. The problem is that you’ll rarely remember that appeasing promise. Instead the victim of your faulty memory will remind you after you’ve already broken your promise and then more promises will need to be made. Some teachers use a detailed chart or system for choosing line leaders. My solution may not be perfect but I typically choose (at will) a line leader during the warm-up circle. When the decision is made long before the moment of actual leading, it seems to lessen the disappointment of not being chosen. I make it clear in our classroom rules/procedures that this is a privilege they can lose due to poor behavior. Should this occur, they must choose the new line leader that will take their place. I try to be fair, but my selection process is typically rather arbitrary. When met with discontent, I reply kindly but firmly “I know it is disappointing not to be chosen this time but you’ll get a turn another day!” (Notice I didn’t say “next time.”)
8. Offer positive feedback at every opportunityChildren respond well to positive feedback. Continually be on the look out for things that are being done well. This gives the class a chance to model the appropriate behavior. If the majority of the class is messing around, look for that one child who is doing SOMETHING (anything) right and single them out rather than reprimanding the whole class. You’ll definitely get more mileage out of saying something positive (“beautiful arms, Suzie” “that’s a high jump, Becca!”) than overstating negatives. Try to be specific. “Good job” doesn’t have much power all on its own so really keep your eyes open for specific things that are being done properly.
9. Limit negative attention A child will eventually stop responding to his/her name if it is said over and over in a negative way. In fact, if a student receives negative responses a lot at home they may already be well-practiced at the skill of “tuning you out.” Interestingly, you may need to hone your own skills in this area because it is often better to ignore bad or distracting behavior (if no one is getting hurt) than to draw attention to it. Negative words like “No,” “Stop,” and “Don’t” should be used sparingly — usually only when there is risk of danger or injury. For some children, negative attention is preferable to no attention at all, in other words, they will look for ways of getting your attention if you don’t first give it in a positive manner (as mentioned above).
10. Say what you want to see, even if you don’t really see it For instance, let’s say no one is pointing their toes. Instead of saying “Point your toes!” say “Thank you for pointing your toes!” or “I see beautiful, pointed toes!” and you may be surprised that suddenly the children all point their toes (even if they wouldn’t have if you had specifically asked or told them to). Use the same method for all kinds of behaviors, including waiting quietly, keeping hands to oneself, quickly changing shoes, etc. [This tip transformed my teaching. The concept may seem obvious, or perhaps just a silly matter of semantics, but it is powerful. I can't take credit for the "Say and see" wording or concept, however. It comes from one of my favorite resources, Creative Dance for All Ages by Anne Green Gilbert. In fact, many of her ideas have worked their way into my teaching and are likely to show up elsewhere within this list.]
    

    Photo by Dianna Mullet

11. Assign objectives that heighten anticipationRepetition and routine are extremely important in a class for children, however, if the same skills are done the same way each week, the children are bound to get bored. Even if you work on the same skills each week,  you can still give the kids creative objective that will increase their anticipation toward participating, As in layering, these “assignments” are easy to change from week to week. For instance, if you practice gallops across the floor, tell the class they must gallop a special desert to their friend on the other side. When taking turns, ask each child what kind of desert they are offering. Next week, perhaps they’ll take a special balloon to the other side. Just make sure you inform the class of what you’re going to ask and what you expect of them before the exercise. Something to the effect of, “Now we’re going to do brush walks. When it is your turn, I’m going to ask you your favorite color. Keep it a secret until it’s your turn! After you tell me, you can do your walks across the floor and pretend to paint that color with your feet.” This method gives the children something to look forward to and think about as they wait for their turn.
12. Use distraction and redirectionWhen children begin to get bored , are tired of waiting, or are seeking attention they often complain, ask to do something else (like visit the restroom or get water), or fidget. During moments in which it is important to finish an exercise or task, refocusing your students’ attention, or distracting them is key. If a student is hounding you for a water break during arabesques be clear and firm that “Right now we’re dancing.” Then, in an energetic tone, swoop in with something that will refocus their attention like, “In fact, I’m pretending to be a beautiful bird while I do my arabesque! What kind of bird are you?” Waiting for a turn can be difficult, sometimes just having something to hold while standing by can be calming for a child who is forced to sit tight. When asking large classes to take turns crossing the floor, I have offered the next children in line something sensory like scarves (or a stuffed animal) to hold until it is their turn, at which time they pass the object to the person behind them who is waiting. In a class which has an especially hard time waiting, each child could keep a scarf and you could suggest different ways of using it as they practice a skill.

BONUS TIP!!!

Keep a few things in your “back pocket” — It can be hard even for experienced teachers to phrase things in the clearest way possible, make up creative suggestions or distractions on the spot, or switch gears when needed. Therefore, think about the skills you practice in class and come up with a few images for each that you can whip out at appropriate moments. Try to anticipate problems or situations that may arise and rehearse your manner of giving instructions just as you would rehearse the combination that you are giving the class. Always have a few “crowd pleasers” handy to gather scattered attentions or revive a spiritless mood. Keep these things in your “back pocket” so that they are there when you need them.

Practicing Magic

Working with young children can be extremely challenging and I have found that classes for dancers under six or seven require the most preparation, the most energy, and the most patience.

A young lady with whom I discussed some of these principles described her surprise at this by stating, “I had this big idea of how the kids would act and how the class would be, and this is more hard work than what I thought.”

She is very right that it is a lot of hard work. However, when one learns to effectively manage a classroom of tots, the process is also very rewarding and a lot of fun. Improving skills for working with preschool children is not a magic trick. It comes down to thoughtful practice and assessment of what works and what does not. Watching a child enjoy dance and get excited about movement — now that is magical!

Tell me what you think of these 12 tips! Other teachers reading the blog will welcome your thoughts, and so will I!

Everyone Starts Somewhere

Just ran across this video from New York City Ballet’s YouTube channel and felt it serves as a reminder for all the students out there that everyone starts somewhere.  I hope you find it inspiring.

Dance of Independence

As children prepare for preschool and begin to participate in more structured activities, dance class may be the first time some are separated from their parents.  Parents of these young children may be unfamiliar with the procedures of a dance class or operations within a particular studio.  These parents, whether they have had experience with dance in their youth, as an adult, or not at all, will each have their own expectations for their child, the class, and the teacher.

Jumping In

For a child new to dance, his/her initial days and weeks can be quite daunting.  This is particularly true for a very young student who has yet to even attend formal schooling.  The new environment and unfamiliar faces can be frightening at first.  While some children jump right in with both feet, many children take a more cautious approach, using the first few classes to watch or participate minimally. It is important to reassure this student and his/her parents that taking time to warm-up in a new situation is quite normal.  In fact, children may take several weeks to feel comfortable in a class.  Much can still be absorbed and learned through this observation, therefore, pushing or forcing the child is not necessary.  Gentle encouragement may help shy or frightened children adjust but most will participate when they are ready because often, no matter how intimidated, few kids will endure missing out on the fun for very long. Read more

Creative Dance for Children and Beyond

Creative Dance for Children

A creative dance class designed for children will help them prepare for a future in dance and other physical activities. In class, dancers are provided with the opportunity to use their imagination, creativity, and self expression while developing skills that are the building blocks of all movement and dance activities. They learn good listening skills, proper classroom etiquette, and how to move safely with other children, as well as learning respect and tolerance for others. Young children enrolled in creative dance learn and practice basic motor skills (locomotor and nonlocomotor movements) and use a variety of music and props which enhance self-awareness, control and coordination. These experiences are offered with consistent structure and provide many opportunities for mastering skills. This creates a sense of predictability as well as a safe place for the younger child to learn cooperation, increase self-esteem, and attain a sense of accomplishment.

Early childhood educators encourage preschool and kindergarten programs that are designed for the mind of a young child because it has been found that most children under 7 or 8 are not ready to be taught focused subjects while sitting behind a desk for long periods. Dance is no different. To benefit from the intense focus and concentration of a ballet class which is very structured and contains extended periods at the barre, it requires a physical and mental maturity not available to most younger children. Children under 7 or 8 are typically neither interested in nor ready for this kind of learning. Creative dance is perfectly suited to offer preparation of the mind and body for a younger student, gradually helping them to learn self-control and increase their ability to focus. This prepares them for the rigors of technique class, just as preschool readies students for reading and math.

What is the difference between pre-ballet and creative dance?

Traditionally, pre-ballet is a class that introduces dancers of about six to nine years of age to the ballet class format (barre, centre, traveling), movements, and techniques (including turnout). It prepares these young students for more intense and detailed ballet instruction. Many schools that teach “pre-ballet” to children younger than 5 or 6 are combining a large helping of creative dance (or something else) with very basic basic ballet instruction like feet and arm positions. This is because ultimately children younger than five or six are not capable of standing still long enough to learn true ballet technique and do not have the muscular control to safely perform most ballet movements. Some dance studios may label preschool classes as “pre-ballet” or “creative dance,” however some classes have little to do with either. These may skim the surface of both disciplines, providing follow-the-leader games, pretend play, and sing-along songs that have little “meat” when it comes to learning the concepts of movement or moving. While these movement experiences are not without value – participants do learn classroom etiquette, following directions, and other skills – they offer little meaningful preparation for dance technique or for expressing oneself through movement.

While dance for young children should certainly be playful and fun, any program for this age group should be taught by teachers with experience and be specifically designed to match the needs of dancers who are in crucial stages of brain and motor development. Too often, this is backward in dance studios and the youngest children are taught by inexperienced instructors (sometimes teenage students) with no thought as to what is developmentally appropriate. In my experience, children enjoy exploration and the freedom to make choices. Most would prefer not to stand in a line and practice the same movements over and over. In creative dance, children are guided in the creation of choreography which is developed as a result of decisions and choices they’ve made during exploration of movement, and they are encouraged to discover rather than mimic. If I were choosing a program for my own young child, I would look for a school that offers a quality creative dance program through the age of six or seven and, if possible, beyond.

Is Creative Dance Just For Kids?

No, the concepts of creative dance are appropriate for any age or level of dancer and will enrich the education of dancers no matter what style or technique they study. This is because, through creative dance, dancers young and old are introduced to the basic elements of dance, including proper alignment, patterns, tempo, levels, rhythm, and spacial awareness. Activities frequently offer problem solving opportunities which increase in intricacy as the student grows and develops. The dancer is given multiple options about how, what and where he/she will dance. Creative dance students are given opportunities to utilize these decision making skills in improvisation and to create short or long pieces of choreography. Improvisation encourages the dancer to think on their feet, react to others, and expand their movement vocabulary. Choreography requires the ability to remember and predict a sequence or pattern of movements (skills essential to understanding mathematics, science and reading). Performances, both informal (within the class) and formal, help the dancer become more comfortable in front of large groups. In creative dance, students learn to appreciate their own individuality. As they observe and participate in class they witness that every dance and every dancer is special and unique, which builds confidence and self-esteem. Dancers also learn to work independently and in a group, and that perseverance and dedication lead to success. The skills developed in creative dance are all essential in life and in dance, convincing me that creative dance would be a beneficial (if not vital) portion of any dance curriculum for all age groups.

Learn More About Creative Dance and Teaching Improvisation

Websites:

Creative Dance Center – the school and program developed by creative dance leader and pioneer, Anne Green Gilbert.

International Association for Creative Dance – an organization built around the vision and techniques of Barbara Mettler.

Books and Video:

Creative Dance for All Ages: A Conceptual Approach

Teaching Creative Dance

First Steps in Teaching Creative Dance to Children

Choreography: A Basic Approach Using Improvisation

Dance Improvisations

Teaching Dance Improvisation – DVDs and videos by Ririe-Woodbury Dance Company

Fostering Artistry in Young or Beginning Dancers

I came across a new blog, Design Dance, that coincided with something I’ve recently been thinking about. The blog is for a dance school in Chicago that has a mission to offer classes that not only teach technique but also create an environment that encourages the young artist. Let me just quote a bit from their first post:

After 7 years of being a dance educator and seeing what goes on in studios, I’ve begun to make some guesses as to why this [a drastic shift in focus from dance as hobby/exercise/competition to dance as art form at the age of 18] exists. It’s possible that the reason dance is rarely viewed as an art-form for children the way other art-forms are is quite possibly because the dancers are rarely asked to be artists until they are adults. A painting class for children would never teach a class without asking the young artists to express themselves through painting, so why is it that dancers are not asked to make their art form personal and creative until they are adults?

This was a “Yes!” moment for me and in my comment on the blog, I explained why… Read more