Guest Post: Unifying Women and Mothers Through Dance

The following guest post is from a loyal reader, Camille. I asked her to write this account for Dance Advantage because I appreciated her passionate support of dance and its role in community. I knew also that she was employed as a dance teacher in Scotland, doing a job very much the same yet also very different from that of many dance instructors. She will tell you more about this work in her own words but I feel it speaks to the affect dance and movement can have on the soul and on a group of people. Occasionally, I like to step away from the technical, instructional, business, and material side of dance to remind myself and those reading of the unifying and universal power of dance. As Camille will reiterate, I hope this reminder will encourage those of us who hold keys to find their own unique ways of unlocking this potential in dance.

As I walk to work with my son Soren, the sky is very dark, though it’s only just before six in the evening. I’m glad I have this time to spend with him and that while I work he is nearby in a room, where childcare is provided, just down the hall from where I teach. It’s cold, like many Scottish nights, and I’m glad we’ll be indoors soon. The warmth I feel at work is doubled by the many beautiful and dedicated women I work with. Tonight I am greeted by Karen Gordon, a group member and professional photographer who does volunteer work with the women in the group (you can see her great work of the women and children dancing below). I then bring Soren to the childcare and see Saba. She preforms with the women and is dropping off her son at the creche as well. He has just arrived from Africa and Saba is very happy that they are together now. We hug and I meet and hug her son. He is beautiful and practices his English with the caregivers in the childcare. It is the perfect way to start my evening.

About mIN

I am a dancer, and teach dance at the Maryhill Integration Network (mIN). It is an organization for families (primarily women and their children) who have relocated to Glasgow due to dangers and unrest in their own countries. War, political unrest, violence towards women, and religious persecution are just a few of the reasons refugees are forced or choose to leave their homes and seek another. Their families are in danger, they fear for their lives, and they want a safer life for their children and for themselves. The women and children come to the network to make friends, participate in artistic collaborations, cook, share stories and, most importantly, integrate into their new homes. In many ways this job is a dream come true. Not only am I teaching dance and doing what I love but I can also bring my children and be a part of something even greater than (dare i say) dance: the cause for women, freedom and humanity.

Movement and dance are main ingredients for moving mIN forward as a community voice and performance group. I’ve had the opportunity to work with the women for the 16 Days of action for violence against women campaign and share my choreography with the city, as well as teach weekly classes with the children.

Leading with Love

The leading woman behind this network Remzije Sheriffe is someone that I respect more than my words are able to express and I sat down to interview her to give readers some insight into her beginnings, hopes, struggles and triumphs as a artistic facilitator and coordinator for mIN. I also hope that her effort will encourage other organizations to provide such positive environments for women and children as well as unite cultures through dance.

We meet just before work and, because Remzije was a journalist in Kosova before coming to Glasgow, I’m a bit nervous, though I know this isn’t necessary given her unconditional love for all who take part in the organization.

Language of the Body

After arriving in Glasgow, Rema (as friends and coworkers call Remzije) began a project called Kelpian Castle which involved the performance of Kosavoan and Glaswegian stories, combined and enacted by children for their community. This was volunteer work yet very telling of where her life and career would unfold. From the beginning of her stay in Glasgow she knew the importance of integration and had a keen sense for how to do it. Language barriers are usually a struggle when a new refugee arrives at the network. Rema knew that, through dance and movement, those involved could make friends and support each other despite their difficulty to communicate with spoken word. She understands greatly the power of movement and body language.

When Rema began her work with the Maryhill Integration Network she was well prepared to take it to new heights because of her volunteer work and her strong public relations as a journalist. Performances have multiplied as the women involved learn the beauty of sharing their life experiences on stage through poetry, contemporary dance, music, and theatre. Dancing and its choreographed lifting, supporting and embracing – I’ve found these very themes translate into real life as deep friendships are made.

Work as a Calling

Rema faces the challenges that come head on. How the women will all arrive at rehearsals, dress rehearsals and performances, where there children will be during all of this, involving the children who are ready to perform, getting funding, costumes, choreographers (like Natasha Gilmore, deserving of her own post for sure), musicians, publicity…. this list goes on. During all of this she is also working with practical matters of English class, helping with forms, and encouraging those around her to have a public voice and feel of worth in their new surroundings. It’s lovely to see how her practical work parallels her artistic endeavors and that the women involved experience integration happening at many levels. Rema has great women to help but these are the demands of her job. She views her work as a calling in life.

On Women and Mothers and Dancing

Through all of this, Rema knows that family is first. This allows for mothers to feel the safety of coming and knowing that they are understood. This allows me, a dancer and a mother, to work there. This is why I love my job. All of it!

The editor asks: Where are the keyholes in your community and how will you use dance to unlock them?

From Page to Screen to Classroom

Mao’s Last Dancer

Watch on YouTube

At age eleven Li Cunxin’s life was changed when a delegation from Madame Mao’s Beijing Dance Academy selected him to be taken from his home, a village near the city of Qingdao in northern China, and brought to Beijing to study ballet. In 1979 at age 18 he was selected to perform with the Houston Ballet as part of a cultural exchange. After falling in love with both America and an American woman, Li defected to the United States, and rose to fame as one of the world’s ballet stars.

Li Cunxin (pronounced Lee Schwin Sing), performed with Houston Ballet for sixteen years and in 1995 became a principal artist with the Australian Ballet. In 1999 he retired from ballet, supporting his wife and their three children as a stockbroker. In 2003 his autobiography, Mao’s Last Dancer, was published and became an instant success, remaining on Australia’s bestseller list for over a year and a half.

In 2004, Houston Dance Critic Molly Glentzer in her review of the book for Dance Magazine stated, “Li’s tenacity is an inspiring lesson to any reader, dancer or not. It’s the stuff of which great movies are made. Expect this one soon, and bring Kleenex. But read the book first.” A handful of years later, Li’s story is now a motion picture. It has already done well in Australia but unfortunately distribution in the U.S. is still speculative. The film is directed by Bruce Beresford (Driving Miss Daisy), written by Jan Sardi (Shine, The Notebook), and choreographed by Graeme Murphy and his creative associate and partner, Janet Vernon.

See also the book review at Ballet.co

Stars of the Film

Though the production team is largely Australian, the filmmakers of course had to look worldwide for the right cast. The movie’s plot spans several years, requiring not one but three actors to play Li Cuxnin as a boy, a teen, and as an adult. The Birmingham Royal Ballet’s Chi Cao was selected to play the adult Cuxnin. His shared history of having trained at the Beijing Dance Academy and known for his virtuoso performances, Cao was an natural choice for the role.

Cao appeared last month as a guest artist with the Houston Ballet, playing the Nutcracker Prince for four performances in their annual production. HB blogged about it here and Cao talked with Molly Glentzer for the Houston Chronicle about his film debut.

Other notable actors in the film include Amanda Schull (Center Stage) and Bruce Greenwood as Ben Stevenson (Captain Christopher Pike in last year’s Star Trek). You can see interviews with more of the cast and crew at the film’s website and YouTube channel. Read a review of Mao’s Last Dancer via the Hollywood Reporter [link].

Classroom Applications

Li Cuxnin’s story is available in multiple formats. The picture book version “focuses on two stories from Li’s childhood that hold a particular appeal to young children – tying wishes to a kite and a fable told to a young Li by his father of a frog in a well. Both stories illustrate how as a child Li longed for a life away from the hardship of his village.”

[Read more at Suite101: The Autobiography of Li Cunxin: Book Review of Mao’s Last Dancer and The Peasant Prince].

Cuxnin’s autobiography Mao’s Last Dancer is also available in a Young Reader edition for teens. Teachers might use any of this literature to explore movement or develop choreography with students. Below are a few of the major themes presented in these stories about Cuxnin’s life. They might be summed up and explored as follows:

• Overcoming Hardship
  • Challenge students with a difficult phrase or combination. Reflect on Li’s perseverance despite hardship and ask students to come up with a plan (see this post on goal-setting with dance students) for improving or learning this combination in a way that addresses both the physical and mental (or emotional) battles that must be overcome.
• Oppression vs. Freedom
  • Improv or create a movement study of bound versus free flow in movement.
• Chinese Culture and History
  • Research Chinese Dance and the influence of ballet on the art form. View video or read about the Chinese Cultural Revolution. You may find these teacher’s notes from Penguin Books helpful [download the pdf]. Choose movement or music that reflects your findings.
• Adapting to Change
  • Coming to Texas in the United States from China was a big transition. Have students create two lists of adjectives – one describing Li’s life in China, the other his life in America. Have them improvise or develop movement or actions that build upon these lists.

What are some other ways you might tie-in the books or movie in your classes?

Have you seen the movie? What did you think?

Keeping Rhythm Fascinatin’ — How to Make Tap Dance Come Alive

Today, I’m proud to introduce our new columnist, Sarah Mason! Sarah brings a wealth of experience as a dance educator, ensemble director, and  tap dancer to Dance Advantage and will be a regular contributor to the blog. Read on, and I know you’ll be as excited as I am to welcome her to Dance Advantage. Look for Sarah’s TAPography articles to appear bimonthly.

-Nichelle

Tap is such a loaded topic these days. Ask any hoofer, long-time tap teacher or dance aficionado what the state of affairs are in the tap world, and you get a different answer every time. For the pop culturist, tap is a gimmick, as referenced by So You Think You Can Dance and other reality TV shows. For the hoofer, tap is a way of life that many people in the dance world at large don’t seem to understand. For the die-hard student and pre-professional, tap is on the up and up with festivals, national TV appearances, Broadway, and more. And for the tap teacher… well, for the teachers it isn’t exactly business as usual anymore.

Over my last 20 years of teaching tap, the students have changed. The atmosphere in class is different. The expectations are different. And above all else, the attitude and commitment level are different. I could point a finger at the current generation of kids and their “entitlement syndrome”, but that certainly isn’t changing any time soon, and it doesn’t fix our problem. We can look at ourselves, however, and see what we can do to remedy the situation in our classrooms.

It is a very short list of tap teachers that teach tap in way that embeds it in the heart and soul and fosters a love for the art form at a profound level. Ballet teachers like that? Much easier to come by. Lyrical? Contemporary? Jazz? They’re a dime a dozen these days – teaching classes that are emotionally charged and full of gripping content that draws those elusive adolescents in and keeps their attention. Most tap teachers are ballet or jazz teachers that happen to teach tap, as well. Some are underqualified, some are even disgruntled about it – and it’s no wonder, as tap takes a back seat to ballet, jazz, hip-hop, etc. these days. So few kids call tap their “first love”, that it doesn’t warrant an investment in a good teacher by studio owners.

So what is it about tap that makes both teachers, students and studio owners apathetic? The happy dance… the feel good, tip-tap-toe signature has a big red target on it, just begging to be shot down by “critics” looking for meaning in their dance – including those young “critics” moving up through the ranks of the average dance studio. How then, can we as teachers instill the love of tap in our students in a way that ensures the future of this all-American art form? Here are some practical tools that I have tested and used successfully in everything from 3 year old classes to university courses, conventions and master classes. My preference has always been establishing long-term relationships with students and allowing their artistry to unfold over time, including founding and directing world-renowned youth company Footprints Tap Ensemble and establishing my own school, Pennsylvania Academy of the Arts.

How to Make Tap “Come Alive”

1. Do not use a graded syllabus.You are a good teacher, and you have a wealth of knowledge that your students are looking to sink their teeth into. If you must use it as a starting place, that’s fine. But please bring originality to your exercises, drills, etc. The format of my classes is always the same, however, at any given moment, I will allow myself to go in a completely different direction. Today, I had a great plan for a beginning/intermediate class, and I went off on a tone and dynamics tangent while teaching at Penn State. We ended up having a great conversation about tap shoes and how different styles are best served by different shoes. Really useful information for pre-pro college students! Let yourself feel the energy in the room and what needs to happen as you teach.

2. Remember where you came from. All good hoofers can give you their tap genealogy. During my childhood, I was taught by the fabulous Barbara Swanson, who was a protégé of Tommy Sutton, one of the three greats out of Chicago. My artistic mentor now is Heather Cornell, who was mentored by Buster Brown, Eddie Brown, Ray Brown, and more. Where did you come from? Where did your teacher learn? Giving students a sense of lineage gives them a sense of identity and purpose. They have a legacy to continue and someone’s history in their footwork. Don’t know where you come from? I’m happy to help you dig around and see what we can find. You’ll be amazed when you find out that just a few generations back, there were movie stars, headliners, vaudevillians and more!

3. Push the envelope. What is your ordinary pattern of teaching and choreographing? We all get into a rut of doing the same thing over and over again. Creative choreography concepts are hard to come by in tap when everything is “happy”… but it doesn’t have to be that way! One of the greatest pieces I ever choreographed was an über-slow waltz by Sarah Maclachlan exploring the concepts of death and the afterlife. IN TAP SHOES! There aren’t any rules that say you can’t try something new. Your kids will either think you’re crazy or they’ll adore you. Either way, you’ll have kept yourself fresh and kept them on their toes, watching for the unique and the unexpected things you throw at them.

4. Practice improvisation. My first improvisational experience could be graded as a nearly complete failure. At the age of 15, I was thrown into a circle with Jay Fagan, Bruce Stegman, Julie Cartier and a few others in front of the entire Chicago tap community. Not only is the moment one of the more humiliating memories in my life, but it is also preserved on video for all eternity. PLEASE, don’t allow your students to get caught in a situation like this. Far better for them to get their feet wet (so to speak) in class with friends than in front of a crowd or in a master class of strangers. I’ll be posting future articles about tap improvisation, so watch for more tips on how to incorporate this into your classes.

5. Stay hip. Use music they can relate to, even if it’s jazz. Give kids a REASON to love Michael Buble or Diana Krall – explain to them how sweet their phrasing is or how unique the arrangement is and how it differs from the original song. Many times, I’ll play multiple versions of a tune in class, and the room will divide down the middle between those that like one version and those that like another. It gives them a great ear for music, helps them to be critical of phrasing and meter, and it also encourages them to think outside the box when it comes to arranging, phrasing and creating their own works of art some day! Oh, and every now and then, humor them. Dance to Top 40 stuff (if you can find something clean enough to use in the classroom!), and let them do their improvisation to it. Classical music is a gas, too – they LOVE that they can tap to it. Mozart is brilliant for this, because they all know the melodies already. (More on this later, too!)

6. Keep yourself fresh. Commit to yourself that you will stay current in the tap world. Tap is not the same animal it was 20 years ago. It is a baby art form, really, and it constantly changes every time a dancer like Dormeshia Sumbry-Edwards or a Leela Petronio hits the stage. Your contribution is a part of that evolution, so don’t forget to keep your own voice clear and crisp. You have something beautiful to offer your students – keep your instrument well maintained and ready to create!

I’ll leave you with a challenge for November: Find your tap lineage for this month, and see if you can’t Google or look up your “ancestors” on YouTube. Leave your comments and/or links here. We’d LOVE to learn more about each other and all the rich history tap has to offer!

Ballet, One Exercise at a Time

Some people collect stamps, others collect toys, Tammy Stanwood apparently collects ballet exercises. It’s a good practice actually for teachers and students to record dance combinations for later use.

“I found the single most valuable way to learn how teachers put combinations together is to begin recording them in a notebook. Now, when you first start doing this you will not be able to recall every combination from class; begin slowly and jot down one or two barre combinations that you remember and one or two center combinations.” – Tammy discusses the practice of recording exercises on her site.

Her blog, simply titled Ballet Combinations, has become a space for Tammy to share her collection with others. Most I am sure come directly from her years of experience as a teacher. She’s taught ballet at Indiana University, University of Arizona, University of Kentucky, and Eastern Kentucky University, as well as the School of Lexington Ballet, School for Creative and Performing Arts in Lexington, KY, and Town and Village School of Dance in Paris, KY. On the blog Tammy also seems to write about whatever moves her or is on her mind in regard to dance training, education, and performance.

Perhaps you are feeling stuck or needing some inspiration in planning your ballet classes. Keep an eye on Ballet Combinations!

Update!

Tammy has a new space for her blog. It is called Inside Ballet – CLICK HERE!

Dance Little Sister — Working With a Younger Sibling

If you have a younger sibling, it’s bound to happen at some point – you’re performing with your kid brother in a talent show, Mom and Dad want you both to put something together for Great Aunt Matilda’s 80th birthday, or (yikes!) you are the assistant in your sister’s dance class and have been ordered to help her…

dum

dum

DUM!

PRACTICE.

As the older sibling, you’ve somehow been put “in charge” of getting results from the last person on earth who would want to listen to a word you say (except, of course, unless you’ve uttered a reportable offense for which you’re sure to be punished). So, how do you get the kid to cooperate?

1. When it’s time to work, don’t tell her. Just bring a CD player, iPod, or whatever to a place where she is nearby. Turn on the music and start working on or doing the dance yourself (don’t even acknowledge her at this point). If it looks fun (or maybe just because deep down she really does idolize you) she may want to join you or help.
2. While practicing, let her be the expert. Ask for her creative input, resist putting down ideas you don’t like and actually put them in the dance. If you are rehearsing, you might pretend to mess up on parts she already knows or “forget” and ask her what the next step is. Or, let her guess what comes next on parts she’s less familiar with. Even if it’s way wrong say “good guess but actually it’s this!” Make it a game – it’s okay if she knows you are pretending, if it’s silly enough she’ll probably play along anyway.
3. Offer incentives. Perhaps you have a goal in mind for how much more you want to accomplish today – perhaps three more steps, or 16 counts (Remember the younger your sibling, the shorter her attention span is likely to be). No, do not offer cash as a bribe. Try something like “Guess what? If we learn three more steps today, mom says we can put on a show for her!” If you’re not at the end of the dance, let her know that when she finishes with the parts she knows, she can dance however she likes until the end of the music. The excitement or possibility for positive attention from an “audience” or getting to do things her way may even carry her beyond your original goal. But, if all you get is three more steps, well, at least you got that far. Don’t push her to do more.
4. Don’t try to beat her, join her. Being bossy and controlling will not work. Forcing her to comply using threats because you’re bigger or older or more experienced will only be frustrating for both of you. Allow yourself to have fun interacting with your younger sibling. Try to be patient, funny, and energetic and you’ll see better results.



Image by The People’s Tribune via Flickr

5. Acknowledge achievement. When she does go along with you, remembers a step, or show that she’s eager (even if it is just a little bit), be sure to acknowledge her. “Thanks for watching so closely, you really got it that time!” or “You remembered the kick! Wow, you’re really working hard!’ It may sound silly but, saying thank you rather than good job is more effective. And, focusing on what she did, or the work she puts in is more effective than focusing on how beautiful she is when she does it right or how good she’s being for listening. Being pretty or good (something she already is, or can be, without much effort) isn’t usually enough to keep her dedicated to the task. She’ll more willingly put in time, creativity (and do what you want) when you show appreciation for her efforts, no matter how small.

I’ve used “her” in this example just to keep things simple. Believe it or not, this stuff can work for brothers too. Not knowing your sibling very well, I can’t say what will specifically work for you. You may have to get creative! But these are the keys to success:

• make it FUN
• ASK rather than tell (let her be the teacher, quiz her, or find out what she thinks)
• offer logical REWARDS for getting the job done
• do it TOGETHER (no bossing)
• and say THANK YOU!

Vote in the Global Dance Contest 2009

Sadler’s Wells, a top venue for dance in London, created a contest to search for new talent to perform live on stage. A team of judges has selected their favorite 10 videos from all the entries received and who wins is up to you! Vote for your favorite clip now by following the link below!

You can take a look at all the entries received here.

The prize for the Global Dance Contest 2009 is an expenses paid trip to London, including transport and accommodation costs to perform live on stage in January 2010 at Sadler’s Wells Sampled, and a cash prize of £2,000.

Sadler’s Wells – Global Dance Contest 2009

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.

Back to School 2009 — Student Edition

Hope you had a wonderful summer! Did you do some dancing? Are you excited for the dance season to begin (or has it already)? Here are some past Dance Advantage posts that will help to prepare you for the year ahead.

Getting Your Head in the Game

• Strengths and Weaknesses — We’ve all got ‘em! Read how to make the most of yours!
• I Can’t! — You CAN overcome the I Can’ts. Don’t miss this one!
• 7 Ways Dance is Like Learning the ABC’s — I challenge YOU to come up with the 7th!
• Approaching Your Teacher or Studio Owner — You don’t have to be proposing something BIG to make use of these ways to suggest your ideas to a teacher. Let your voice heard in a way that will make your teacher want to listen!

Choreography

• Strategies for Remembering Choreography
• How To Make Choreography “Your Own”

Performance

• 7 Secrets of Super Performers (Improving Your Performance Skills)
• What Is Artistry and How Do I Develop It?

Pretty Self-Explanatory!

• How to Be a Great Teacher’s Assistant
• How NOT To Ask a Question in Dance Class

More, more, more!

Tune up your Technique

There are articles and how-to’s in our Toolbox about turns, jumps, strengthening exercises, common corrections (like sickling) and more. Looking for something specific? Do a keyword search on the home page!

Brush up on Vocabulary

Confused or need to know more about the terminology used in your classes? Click the image below for related posts or do a search!

College Students

Check out the College Guide Series!

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.

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

Strategies for Remembering Choreography

Ever have trouble remembering what comes next in a dance?

One of the common struggles students face in class is recalling the sequence of choreography. Particularly, if you are a beginning student, you may not have yet developed the tools needed to quickly retain passages of movement. Everyone is different and you will need to find what works for you. The following are just a few techniques you might try the next time your teacher gives a combination.

Look for the Pattern

Choreography is not typically one, long, string of unrelated movements, though when it is given more quickly than you are used to, it can seem so. Generally you will be shown a sequence more than once. If you’re struggling to keep up with the rush of information coming your way, it may help to focus on the pattern first and worry about the movement second.

The pattern may relate to number of repetitions. For instance, 4 front, 4 side, 2 front, 2 back, 1 front, 1 side, 1 front, 1 back — it may seem an odd pattern, but if you’ve retained at least this, filling in the blanks will be easier.  Patterns may also be directional. Perhaps the choreography travels to the down-stage corner, faces upstage, downstage, then moves stage right.

Focus on One Aspect of the Choreography

Pattern is just one element of choreography. You might also choose to focus on other components, one at a time, to construct the sequence in your body and mind. For example, try focusing your attention on the feet alone if combining the arms, head, and rhythms all at once is proving to be too much information. This doesn’t mean you have to leave the other elements out altogether. Do what you can, but give yourself permission to let one thing go for the sake of absorbing the details of another. You can always layer the movements with more detail as you go.

Attach a Visual Image

Sometimes attaching a mental image to a step or series of steps can help you to put things in order. The movement’s name may offer clues – for instance Pas de Chat is “step of the cat.” This swift jump directly relates to the pounce of a feline. However, sometimes movements don’t have names or at least not ones that correspond to an image. So, it’s okay to attach your own visuals and/or terminology… no matter how strange.

What does each movement or series of steps bring to mind? Maybe your sequence looks like this: chopping vegetables, waves crashing, popcorn, ice skating. As long as the images make sense to you, you will likely be able to keep these images in order, aiding your memory of the choreography itself.

Write it Down

Sometimes the act of writing, or seeing words or sketches on a page can solidify a chain of movement, particularly if there will be some time before your next class or rehearsal. You might try writing down the choreography (in whatever way suits you) as soon as possible after your class. This is not a technique that works for everyone and I have seen students get too attached to their new “cheat sheet. ” The key is remembering that this device is capturing memories you have not creating memories where there are none. The choreography is already stored in your body, putting it on the page is just mental repetition.

Repetition

Speaking of repetition, there are lots of ways you might apply this prominent memory device. Though practicing “full-out” is most helpful, “marking” the movement can also be beneficial. Try marking as much as you can as the teacher demonstrates the combination or, whenever there are spare and appropriate moments during the class – while the first group performs, while the teacher is working independently with someone else, etc.

When there is a moment in the sequence that you trip or get stuck on each time it is performed. Try performing the movement prior, the problem spot, and the moment following, three or more times in a row. Then perform the whole thing again. You may find that this helps to correct the gap in memory you’ve been experiencing.

Also, never underestimate both mental (i.e. visualizing the choreography) and physical practice. This kind of repetition not only solidifies your memories but will bring to light the segments of the combination that seemed clear in class but are trouble spots in your memory.

Sing the Rhythm

Sometimes thinking of dance as a rhythm or melody can assist your recollection of the choreography. Your movement may alreay by set to music, however, the dance itself has a rhythm or phrasing. Try to focus on this and even “sing” it to yourself as you move or recall the movement. Many teachers do this when teaching the movement. It’s very common in tap (Shelly Oliver does it about 20 seconds into the video below) but it is certainly possible in other styles.

No matter what strategies you use to remember choreography…

Don’t Rely Too Much on Others

Many students will depend heavily on the teacher or other students when performing movement. I like to call this “brain-sucking” because when you do this you are leeching the movement sequence from someone else without actually retaining much of it in your own brain. The danger of this is that when that person is no longer performing the choreography or makes a mistake, you will be unable to perform accurately. When attempting the choreography after it has been given, try to keep your focus off of those around you – looking ahead or changing your focus as required in the choreography. A little brain-sucking is normal, however, I find that most students don’t need to do it as much as they think, which brings me to…

Trust Your Motor Memory

Your brain and body have an amazing capacity to “remember” movement patterns, pathways, and relationships. The mechanics and neuroscience of this is not completely understood. Like all skills,  however, motor memory (sometimes referred to as muscle memory), seems to be learned and improved through practice and experience. As you are learning, it pays to trust these neuromuscular systems to do their work. Do not let lack of confidence or “overthinking” undermine the relatively natural process that your mind and body go through as you learn and practice choreography. Replace negative thoughts with positive and affirming ones.

Do you use other memory devices for recalling choreography?

What strategies can you share?

Approaching Choreography for Musical Theatre

Many dancers, dance teachers, or students may at one time or another find themselves choreographing for amateur (or even high school) theatre. Having participated in community productions as a child and in my adulthood, I consider it a wonderful opportunity for people from all sectors of the public and workforce to come together and work toward a common goal, as well as an occasion to bring a variety of plays and musicals to local residents that may not otherwise attend live theatre. If you are a dance teacher or choreographer, it can also be an opportunity to showcase your skills to a wider audience than which you encounter within your local studio or dance company.

Approaching Choreography for Musical Theatre

When approaching choreography for musical theatre, it is important that the strategy differs from that of a recital dance production. This may seem obvious but it happens sometimes that teachers or students new to choreographing musicals tackle the job in this familiar way. I’d like to offer an  approach to this particular creative process by looking at the various components of choreography for the stage and suggesting tips for effective preparation and collaboration. I hope that it will smooth the process for those new to creating movement for a musical production.

The Script

Read the script. A few times if possible, so that you really get a feel for plot, its characters, and how and why the musical numbers fit within the text. (If you’ve seen the musical, don’t rely on that particular interpretation. There may be drastic differences.)

Know the show inside and out. It will make your job easier in the long run! Imagine how things might look on the stage. Take notes on what you visualize, particularly as it relates to the musical numbers.

The Score

Study the score (not just the libretto). A copy of the piano, or rehearsal, score typically includes the vocal line and  the essentials of underlying music – this is very helpful to choreographers.

Get a copy of the Broadway soundtrack. If you can, try to follow along in your copy of the score. Keep in mind that these will probably NOT be identical. Make note of these changes, if you can.

Discuss with the Musical Director any cuts he/she is making within the score. Long dance breaks can be excruciatingly long with amateur dancers – it’s okay to suggest not taking that second repeat!

The Staff

Hopefully in the first production meeting, the Stage Director, Musical Director, Choreographer, and Set/Lighting Designer(s) will be present to discuss the overall vision/direction for the show which is ultimately decided by the Stage Director.

Stage Director

Discuss each musical number individually with the director. You may not be responsible for every number in the production as not all may require your choreographic skills – this will need to be determined.

What to discuss:

1. Where the actors will be at the top (or beginning) of the musical introduction.
2. Where the actors should end up physically at the conclusion. (The director may not yet have answers for this but this information is important for creating seamless transitions in your choreography. Knowing it sooner rather than later is always helpful as you create choreography)
3. How the characters have been affected or changed by the conclusion of the song. Does it move the plot forward?
4. Your interpretations of the musical style and how this affects movement quality. (Do you see it as athletic? A soft shoe? A Fred & Ginger-style number?) And, your feelings about what types of experience or abilities the actor should have. (Be prepared to adapt these once the chosen actor is in place).

Musical Director

Work closely with the Musical Director on song tempos (what works best for the song, dance, and singers). Remember, when creating choreography that the movement should not inhibit the vocalists ability to sing what’s required (particularly in solo work). Use dance interludes and/or a dance ensemble to show off big, “dance-y” choreography.

If you don’t read music, you will be relying on the director or pianist to make a recording (with appropriate cuts) of the music for the purposes of creating choreography. Unless you have a rehearsal accompanist, this may also prove useful during choreography practice.

Set Designer

Discuss and stay informed regarding the set design and be persistent about your spatial needs. I’ve often found myself with a smaller-than-originally-planned space in which to squeeze a 40-member cast for a full-company production number. Sometimes even the best-laid plans must be adjusted. Politely ask designers to keep you informed of these changes.

The Movement

Research social dances of the time period in which the musical is set and find ways of incorporating these into your choreography.

Try improvising to explore and find movement. At this stage the music you use for inspiration does not need to be music from the production, just something that gets ideas flowing. Once you have a vocabulary of movements for the character(s) or event, try drawing from that vocabulary to create the dance.

Familiarity with the Broadway or movie choreography of the musical can prove very helpful. For more than just ethical reasons, it is not a good idea to copy or recreate it movement for movement. One, your actors probably do not have the same skill set as the actors in a professional production and, two, the choreography will lack integration with the rest of the show. Look and then leave it! The overall impression of the professional version will likely stay with you, helping you to create something that is reminiscent of the original yet uniquely your own.

Create variations on a theme and don’t be afraid to re-use movement. Many novice choreographers make the mistake of creating one long string of new movements. Just like in music, the audience enjoys recurring motifs and patterns.

Keep things simple, particularly in large group numbers. Use a core group of capable dancers, if you have them, for more intricate or spectacular choreography and use a lot of every day movements and gestures for others.

Consider how you use the stage space — create floor patterns, have actors interact and move around/with each other, and use the set. You wouldn’t believe how many amateur or high school productions I’ve seen that feature dancers lined up and facing forward during each musical number.

The Talent

Great musical theatre choreography does not necessarily require complex movement or staging. Much of the time, great theatrical choreographers are marked by their ingenuity. In many cases, a community theatre is made up of individuals without any formal dance training. If this reflects your situation, you must be able to work with what you’ve got.

Get your actors’ input. Whether it is relying on them to come up with a few gestures, allowing them to try different things and make choices, or drawing from their thoughts on the show or their characters, they will appreciate the collaboration if you are clear with instructions. Just like in classes for young children or beginners, be wary of giving directions that are too “open-ended.” Actors may also benefit from improvisational exercises to develop movement for their characters.

Communicate with the director about your actors’ needs throughout the rehearsal process. Community theatre participants will generally require more rehearsal than you might anticipate. Also, I’ve found that some actors really appreciate rehearsal notes that they can take for home practice. Be generous and be patient, providing extra help if you are approached.

What are your experiences with Community Theatre or choreography for musicals?

Have you choreographed productions with professional actors? How is this different from an amateur setting?

How does choreographing a show for high school students differ from community productions?

What did I leave out? You are welcome to add tips or your thoughts on the process below.

How To Make Choreography “Your Own”

The master teacher before you is someone you’ve never worked with before but the choreography is hot and the energy in the room is really cool. You’ve spent the last hour trying new things, meeting challenges, and working through the final combination. All roads led here and you think you’ve got it down. Each group explodes into the center of the room as they take their turn in the spotlight. Applause, applause, applause between each round. Another chance. Fixed a mistake from last time, stumbled on something else. It’s okay, there’s just enough time for one more run per group.

The instructor is encouraging,

…he’s throwing out a few last minute reminders,

…and then, he says exclaims,

“And this time, make it your own!”

“Wha?”

You have maybe heard this phrase tossed about before but what exactly does it mean?

With this statement, essentially the teacher is letting you know that you have some freedom to interpret the movement. In fact, when an instructor or choreographer throws this out at the end of a class, I suspect that the purpose is less an invitation and more a reminder — Up until that point he has not seen enough personality in your dancing and, now that you have had time to familiarize yourself with the movement, and practice it a few times with relative accuracy and clarity, he wants you to transition from just replicating steps, timing, and even movement quality. Of course, he hasn’t said how he’d like to see that done so you are left to decode the statement on your own.

So, how does a dancer take given choreography and make it her own?

There are choices a dancer can make to infuse a phrase with qualities that make her interesting to watch. These choices, when applied to the movement, give the viewer a sense for who the dancer is or, intrigue the viewer enough to want to find out who she is.

Dancer’s Choice

If you are being encouraged to “make it your own,” some decisions are in order. Some possibilities you might consider:

• How can you use your eyes and face to draw in the viewer?
  
• What are some dynamics or qualities in the movement that you might emphasize?
• How can you create seamless transitions between steps or fill-out the music more?
• Where might you suspend the timing of something to the absolute limit and still make it to the next  movement on time?
• How can you create dynamics (like the musical kind) in your movement. Are there moments that can “whisper” and others that can “shout?”
  
• What is the context of the phrase? Even if you haven’t been offered one, can you come up with a reason, or character, or story behind what you are doing?

Want some more? Check this post for more tips on adding personality to performance.

I know it might seem impossible to muster this kind of intention at the last minute and, well, perhaps it is. Dancers that seem suddenly able to completely transform the work probably have two things going for them that you, thus far, have not. ONE, they’ve had experience in this situation, having been asked before to make a dance their own. And, TWO, (as a result of this experience) they have an arsenal of possibilities already in their back pocket which they’ve used and practiced using before.

Good news! You’ve just been handed a small arsenal of possibilities, now the key is to practice them at every opportunity (especially in your every-day classes where you are more free to take some risks).

How far is too far? It’s hard to say. Auditions (versus a workshop) can certainly raise the stakes but often require more adventurous risk-taking – sometimes it will pay off, sometimes it won’t.

What do you think? Where is the line that indicates you’ve gone too far?

What are some other ways you can make choreography your own?

P.S. Thanks to Nina for inspiring this post. She asked when it is appropriate to make choreography one’s own. You can read more about what prompted the question and see my response at her blog, My Son Can Dance.

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