Dance Advantage » curriculum

Confessions of a 28-year-old Grade I Grad: A Look At Cecchetti’s Method

Lauren Warnecke — Thu, 29 Apr 2010 12:20:35 +0000

As mentioned yesterday on the blog, Dance Advantage welcomes Lauren Warnecke as a new contributor to this site. Her column Art Intercepts will provide tips for teaching ballet and modern dance technique, discuss injury prevention and dancer wellness, help you sift through current dance research about the body, motor-learning, and developmental psychology, and (as in the post below) cover Lauren’s journey through the Cecchetti method certification process.

Art Intercepts

Wendy is my friend, former college roommate and fellow dance major, and the quintessential ballet teacher. I’m not exactly sure how she roped me into the teacher’s certification program through the Cecchetti Council of America. I’m not teaching. I’m not dancing. Shucks, I had a ceremonial burning of my leotards a couple of years ago.* I’m a barefoot dancer who got injured and can’t dance barefoot anymore. By whatever means, my deeply buried inner bunhead was revealed and after nearly 5 years away from dancing and a brief hiatus from teaching while I went to graduate school, last Friday morning I found myself standing in front of a committee of fierce ex-ballerinas in a black leotard, pink tights, and a hairnet.

What Wendy probably knew, but didn’t bother to tell me, is that this was actually the perfect move for me. I had been working on Art Intercepts throughout graduate school, but was otherwise so far removed from dance that everything I was thinking and writing about was, kinesthetically, in my head. Maybe this sounds a bit dramatic, but when I did that first plié it was like every plié I had ever done flashed before my eyes. I was back. Moreover, I was plié-ing with a fresh perspective and a newfound respect for ballet.

What is the Cecchetti Method?

Enrico Cecchetti is among the most influential historical figures in ballet. His method is analytical, systematic, and anatomically sound (given the knowledge of the time). He was Marius Petipa’s right-hand man at the Imperial Ballet and served as Ballet Master at Diaghilev’s Ballets Russes. During his time at the Ballets Russes, Cecchetti established seven lesson plans (one for each day of the week) and by the end of the week the Cecchetti dancer had spanned the entire breadth of the ballet vocabulary.

Inspired by these lesson plans are seven graded syllabi created by the Cecchetti Council of America for students training in the Method in the United States. Each student must test out of his/her grade before moving on to the next one and each grade also has a corresponding teacher’s grade. The teachers must go through the same process as the students, standing in front of two tough broads from the Council, demonstrating the exercises in the syllabus and passing each grade before moving on to the next. The teachers’ exam is more comprehensive in the fact that you have to be able to demonstrate physically and verbally that you also can effectively teach the syllabus to students of the particular age range for that grade. I thought I knew ballet until I was standing in front of the examiners rambling on like a bubbling idiot searching for that one word they are looking for (like salient, or render, or rotation…).

What I’ve Learned:

I probably learned the most from the teachers around me. It’s great to have fresh energy, new analogies, and alternative approaches thrown at you. The two other teachers in my class are actively teaching beginners and so they see first-hand the common mistakes that students in this age group tend to make. I can benefit from the incredible attention to detail paid by the Cecchetti Method and from the meticulous nature of the placement of every centimeter of the body from the tip of the index finger to the pinky toe. It’s tempting to throw out the details and simply say “So what? Who cares if the toe or the heel leads down the back of the leg when closing from a retiré?” Apparently my examiners cared because I bombed this question big time.**

I learned the ins and outs of so many positions and movements and analyzed them in ways I’ve never thought of before. I’ve never paid much attention to the working foot in a frappé or thought about which way works better or how it impacts other steps. I mean, I consider myself a thoughtful teacher, but this program is really hitting it home that the whole of ballet is interconnected. All steps and positions are preparation for bigger steps and more advanced positions. I now more carefully consider the through-line of a class and the importance of carrying certain objectives consistently through the lesson plan–and this is a lesson that applies not just to ballet but to all forms of dance.

I learned that ballet is pretty much awesome. Don’t knock it. It IS possible for ballet, contemporary (whatever that is), and modern dance to co-exist harmoniously. I don’t have to disregard all of my ballet training to be a modern dancer, and vice-versa. They are mutually beneficial in creating a whole dancer–and to advancing and evolving concert dance. I’d like to see a modern dance with a story, and I’d like to see ballet have more emotional content and more body types dancing together. But those changes will never happen if the two forms don’t collaborate. I don’t believe that Isadora Duncan’s objective was to entirely abandon pointed toes and épaulment and nice lines–I think she just didn’t like tights and pointe shoes….I digress.

What I Already Knew:

Training in ballet makes you part of a rich history that includes direct and indirect lines back to the greatest of ballet masters, including Enrico Cecchetti. His Method is one of the most prevalent and perhaps misunderstood styles in classical ballet. Much like Graham technique in modern dance, most of what you find is really “Graham-based” training or “Cecchetti-based” training. By going through this program, the method and syllabus are coming straight from the horse’s mouth–that is–the Cecchetti Council of America. Most dancers (especially American dancers) are trained in ambiguous combinations of techniques that generally come from whatever their teachers learned from their teachers. The fabulous thing about this program is that there is no ambiguity. There are answers for everything, no shades of gray, and very little room for interpretation. Since some of the greatest dancers in history passed through Cecchetti’s own hands, he was obviously doing something right. So from my perspective, if you’re going to train your students in the Cecchetti Method, why not go all the way, teach the syllabus, and send your dancers for examinations to be recognized and endorsed by the Council?

What I’ll Take and What I’ll Discard:

Image courtesy of The Cecchetti Society of Southern Africa

For my own purposes, I am not in a position to teach syllabus classes, nor do I have any direct say over the curriculum of other teachers in my program. That said, there are things that I can take from this experience that benefit me as a teacher and choreographer, such as the phenomenal attention to detail and anatomical harmony of the Method. I’m not sure that Enrico Cecchetti exactly knew how the femur rotates in the acetabulum, but he studied the movement of the body and made very deliberate technical choices based on his observations. What I love about this method is that the exercises are perfectly tailored to be sequential in both warming the body and as a preparation for future steps. I get so nervous that my class isn’t going to warm someone up properly and put them at risk for injury, and this program has given me a lot more consciousness and confidence with regard to sequence and selection of exercises.

The unfortunate truth about the graded syllabi is that Cecchetti himself didn’t make them up. In fact, he never taught student-aged dancers. The meat and potatoes of his work are contained in the seven advanced lesson plans he established at the Ballet Russes. The seven grades were devised by the Cecchetti Council of America who make up the presiding body over the content and preservation of the Method. I was a bit disappointed to hear this and curious to know if syllabi are different in other countries that participate in training students in the Cecchetti Method and have Councils of their own.

Continuing Education For Dance Teachers

There aren’t a lot of options for continuing education in dance. Dance teachers, in particular, have limited choices in graduate school programs, and there is no overriding governing body in charge of training teachers to ensure the highest quality in dance education. For teachers especially interested in ballet, this program has a lot to offer. Whether you are searching for some guiding principles and a fundamental technique to draw from or looking to validate and supplement your own ideas and teaching practices, this program is a relatively affordable and beneficial process.

More than anything else, it is a humbling and emotional experience to perform the same exercises to the same music that were being performed 150 years ago in the greatest of theatres by the greatest of dancers of all time. That feeling is the essence of my love for dance and why dance matters to me most–not the costumes, or the stage, or the accolades and applause, but the simple act of bringing music to life through movement and playing a minuscule part of the rich and glorious lineage of dancers. Thanks, Wendy.

* True story, not just for literary effect.
** For those of you who DO care, the toe leads both up and down the supporting leg and draws a diagonal line from fifth position to the notch at the side of the knee. The foot does not stop in cou de pied because doing so causes the foot to sickle as it closes to fifth.

Interested in the Cecchetti Method? Check out their website and search for the committee in your specific region. Communication tends to be a bit antiquated, so you are best off making phone calls to the members in your region to seek out a coach to train you. Examiners visit each region approximately twice per year.

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Five Ways Postmodern Principles Can Positively Impact Your Studio

Roger Lee — Tue, 09 Mar 2010 12:20:43 +0000

What studio wouldn’t want their dancers coming out more versatile as dancers and more open-minded as people?

Whether adding an improvisation class, a creative composition course, or just exposing students to performance and video, incorporating postmodern dance principles into your studio structure and course offerings is a step in the right direction for developing more well-rounded dancers and standout dance studios.

But where is postmodern dance in studio instruction?

It is a commonly asked question in today’s growing dance world.

Most studio dancers have been exposed to the traditional course offerings of ballet, jazz, and tap dance. They are familiar with ballet terminology, tap dance sequences, different forms of hip-hop, contemporary dance techniques, and even know how to use “spirit fingers” if the opportunity presents itself.

With a wide variety of dance genres being offered at commercial dance studios around the country, there is still a noticeable absence of modern and postmodern dance techniques available for young dancers to explore.

Dance Professor Katie Langan of Marymount Manhattan in New York says “Rarely do my faculty or I see an audition solo for entry into college that is modern-based, despite the emphasis on modern dance training in undergraduate BFA/BA curriculums… This scenario repeats for any number of students who come to mind and plays out in colleges and universities across the country.” [Dancer Magazine, March 2008] She acknowledges that students auditioning for college dance departments are often coming equipped with ballet, jazz and competition dance experience. Few are coming in with a firm grasp on modern and postmodern dance principles because most commercial studios do not expose their dancers to modern dance.

Some common reasons studios might not include postmodern techniques in their course lineup:

Commercial dance studios value a different aesthetic

Belief that dance studio students are not interested in learning modern techniques

An absence of studio owners or teachers with postmodern dance experience

Belief that there is no benefit or application for professional ballet, jazz or commercial dancers

The exposure to postmodern principles and technique has so positively affected my experience with both commercial dance and concert dance that I would recommend that studios add it to their course roster. Young dancers who gain an early exposure to the world of post modern dance are only at an advantage in today’s competitive dance market. It will prepare them for careers as professional dancers or for success in a college dance department. The reality is that modern dance principles are gaining popularity throughout the dance world.

Katie Langan agrees. “Ideally, I believe modern should be in every dance curriculum no matter the final goal. Furthermore, it should be offered at all levels of training, despite the difficulty in translating some of the complex principles at a beginning level for children.”

Give your students the advantage they’ll need in their professional and academic pursuits by implementing post modern principles into your program. Here’s how…

5 Ways Postmodern Dance Principles Can Positively Impact Your Studio.

1. Creates a sense of individuality
Postmodern dance is more about discovering your own unique voice through movement than imitating an already prescribed aesthetic. While most studio class offerings ask students to replicate shapes, tricks and routines, postmodern dance asks students to explore their own movement vocabulary through dance improvisation. Having students explore movement from a “personal place” can enhance their sensitivity towards dance and help them find new meaning and joy through personalized movement.

2. Promotes creative composition
Have you ever had a student say, “I don’t know what to do next!” when choreographing? Postmodern dance principles promote a sense of creative choreography in young dancers. It leans them away from relying on familiar steps or classroom exercises to constitute choreography, asking the dancers to improvise new movement, try out new ideas, and think about choreography as an ongoing creative process versus an end result for show.

3. Focuses on process over product
While every studio wants to have their students perform at a high level, most end up putting pressure on students to deliver an impressive end product. With a postmodern approach to studio directing and classroom instruction, students can feel free to enjoy the process of rehearsing, choreographing and training as much as the final outcome. Traditional students put all of the emphasis on the performance day, the big year-end recital, or the national competition. Postmodern principles require that dancers and instructors engage in the process of creating new work, not just look forward to the end product.

4. Promotes a balance between artistry and technique
Postmodern training encourages dancers to be more than mere technicians and helps to develop living artists that have emotions and individuality on stage. Excellent virtuosic technique is great to have, but so is a sense of self and a true “identity” while performing. Most dancers can channel familiar emotions of happiness and sadness. The postmodern approach to emotion is one of discovery, requiring dancers to move from a deeper level and tap into real emotions and experiences. This approach can help set your studio dancers apart from “everyone else” in the large and rather competitive dance world.

5. Lessens the fear of competition
Speaking of competition, in case you didn’t know—the dance world is full of competition. Not every studio participates in organized competitions, yet owners have to work to get students in their studios, solo artists have to compete for grant money, and dance companies compete for funding. In fact, there are elements of competition in just about every aspect of dance. Post modern dance tells us to think of competition as a chance to share yourself with the world. Young dancers given the opportunity to show their talent, drive and passion to the world while others do the same develop a “sharing” approach to all aspects of dance competition making it seem less scary to the young dancer. With the absence of fear, students have a better shot at performing to their full potential—whether that happens to be a national competition, admission to a college dance company, or even secure funds for an artistic endeavor. Post modern dance celebrates creativity and uniqueness. If dancers can learn at a young age that it is okay to be unique, they will have less fear, anxiety and self consciousness when approaching “competitive” situations. In turn they will feel eager to share their unique gifts with the dance world. This type of confidence and sense of self is priceless for an aspiring dancer.

Do you incorporate postmodern principles or techniques into your curriculum? Why or why not?

What are other ways postmodern could benefit studios?

© Roger Lee for Dance Advantage, 2010. | Permalink | Category: Blog, College, Dance Styles, Modern/Contemporary, Studio Admin, Teaching | Who's talking about this article?

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A Prescription for Students Who’ve Skipped the Basics

Nichelle (admin) — Mon, 01 Feb 2010 13:20:52 +0000

The Diagnosis

Without a good overall (curriculum) plan, teachers may find themselves skipping around or getting ahead of their students’ skill level. The tell-tale symptom that this has occurred: You find yourself drilling the same movement over and over and over without much improvement.

The Treatment Plan

If you are working with a group and finding that the students have missed some important information along the way, it is not too late to get back to basics and back on track. You can do so without making the students feel like they’ve been demoted to Dance 101. The approach to practicing the skill they are trying to master may just have to be a bit more creative than repeat, repeat, repeat, a process that only leads to frustration or injury.

The Dosage

Let’s say you are working on pirouettes. There isn’t any other way to practice a pirouette than to just do it… or is there? Well, in essence that is true but the prescription for faulty pirouettes is not to do fifty more of them. Instead, the teacher must get a bit sneaky: crush up the medicine and sneak it in with the rest of the students’ food. Here’s the process:

What’s in a pirouette? Break the movement down into components

Some will be obvious: A properly turned out retiré passé. Others may be more underlying: The use of the core to avoid spiraling in the pirouette. Make a physical, or at least mental, list of these components.

Examine where in a class these elements can be practiced

Add a balance in retiré to the end of one or more exercises in both barre and center; Have students do “log rolls” across the floor to create awareness of rotating without a spiral in the body. Find places to sprinkle your list of pirouette essentials throughout the entire class… throughout the week… throughout the term.

When it comes time to practice pirouettes, look for quality not quantity. Address how the movement feels and look for imagery to apply whenever possible – be creative.

Rise from a plié into a space that, like a jello mold, is shaped exactly like the your body is or should be in the turn; Imagine a string connecting the lifted knee to the opposite shoulder, as the knee leads the turn around, the opposite shoulder comes along.

Preventative Medicine

Photo courtesy D Sharon Pruitt

As they say, an ounce of prevention is worth a pound of cure. Sometimes in class the best practice is in fact just performing the skill. However, without a good working knowledge of a skill’s properties a dancer is doomed to repeating the same mistakes. Consider it preventative medicine to begin with a plan for how you’ll build toward more advanced steps and movements with students. Look for ways to work or improve the basics before asking students to “leap.” If you aren’t sure where to start I’ve outlined some of my ideas on developing curriculum and lesson planning in other posts.

Have you found creative ways of getting back to basics?

Share your prescriptions in the comments!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | Category: Blog, For Classroom, Teaching | Who's talking about this article?

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Class Planning Part Two: Focusing on Skills and Concepts in Lesson Plans

Nichelle (admin) — Thu, 14 May 2009 14:00:42 +0000

Part One of this series is about developing curriculum for both short and long courses of study. It includes some valuable information for the planning of lessons. You may want to read it first.

Lesson Planning

A Note About My Process

Some folks like to teach on the fly. I tend to be a planner. I feel most comfortable in front of a class when I’ve thought through what I’m going to do. Not every detail of the class needs to be planned but I prefer to have a clear outline or goal in mind. Just as strong technique brings freedom to the dancer, a strong lesson structure brings freedom to my teaching. I enjoy creating classes that express who I am as a person, an artist, a dancer. Though I often build upon existing curriculum or upon the long history of teachers and syllabi I have experienced as a student. I’ve found that my teaching is at its best when I’ve experimented, tweaked, and discovered what works for me.

Two Types of Lesson Plans

Photo by Simone Boos

When outlining a class and designing exercises, I often choose a focus on which to base the material in class. Not every single element of class must revolve around the chosen focus, and I don’t necessarily follow this type of plan for every class but, I find this method keeps me from falling into a rut when creating exercises and helps students make connections in applying technique.

Skill Focus

Choosing one or two skills to focus upon during a class can be a powerful device. It helps students to make connections between the basics and more complex movements. Particularly for beginner level classes, select something general.

For instance, perhaps the skill of the day is battement tendu.

Spend a bit of extra time discussing tendu at the barre. [How does the foot move along the floor? Does the leg bend or remain straight? From where does turnout of the leg initiate?]

Then, point out places tendu is used elsewhere in the barre combinations and have the class focus on perfecting that portion of the movement (for now it is okay if other things fall by the wayside). Even if it is not a direct usage, it is still important to point out connections — the articulation of the foot in tendu reflects the peeling articulation of the foot in jumps (for instance). Do the same with center exercises and traveling progressions.

Finish the end of the lesson with a tendu review. [How did focusing on the tendu change certain movements? What type of imagery helped them to better understand the action of a tendu? What are three important things to remember about tendu? What are some other dance skills, not practiced today, that also utilize tendu?]

The chosen skill can be anything – plié, carriage or support of the arms, epaulement, focus of the eyes, speed or agility, lowering the center of gravity in jazz dance, listening for the downbeat or meter in the music, lengthening the spine, turnout, complete closing of the feet in 1st/5th… the possibilities are endless. And, you may or may not choose to build your exercises around this theme. It is up to you!

Concept Focus

When you focus on a “concept” to plan your lessons the process is very similar to skill focus. However, rather than contemplating a certain skill, the students are thinking about the basic elements of dance as they relate to whatever dance form, style, skill, or movement they are executing. The basic elements of dance are time, space, and energy, but these can be further broken down:

Click the image for a larger view

Here is a basic guide to incorporating these into your lesson/curriculum planning.

Choose an element. Let’s say, the concept of force which involves smooth/sustained and sharp/sudden movements.

Look for ways to contrast these two opposites as you create exercises for the lesson, or look for ways to point out these contrasts as you perform an already prepared lesson.

Present and demonstrate these concepts briefly for the class, letting students know that they will be focusing on these contrasting elements for the day.

Lead students in discovering the smooth, sustained qualities of plié, the sudden attack of a piqué turn, or whatever is on the menu for that lesson. Always bring their attention to ways they can enhance the movment by thinking about, exploring, or contrasting (Can you perform a pirouette in a sustained manner and also in a sharp or sudden manner?) the concept of force.

Don’t forget to review the concept by requesting students’ feedback and thoughts.

Performance, Musicality, and Artistry

Photo by Sean Sheridan

Additional concepts with which you might attempt to experiment in a lesson plan are performance, musicality, and artistry. Though more abstract concepts, these can be addressed as the focus of a class much as you would explore a skill or concept. Perhaps the goal of one lesson is to point out opportunities and methods for “dancing” or “performing” the everyday exercises done in class. Another lesson may explore the use of a variety of meters, moods, or contrasting accompaniment. Yet another lesson could seek to examine and learn a particular historical dance variation or style. Use your imagination!

How do you plan your lessons? Do you have a method? What ideas or tips can you share for readers?

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | Category: Blog, For Classroom, Teaching | Who's talking about this article?

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Class Planning Part One: Developing a Curriculum Outline

Nichelle (admin) — Tue, 12 May 2009 13:00:09 +0000

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

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

Designing Curriculum

Approach for Young Children

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

Mastery Approach

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

Moving Backward

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

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

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

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

What do I want the students to be able to do by the end of the year(s)/month/semester/session?

What skills are necessary to reach each of the above goals? (List them all, even obvious ones)

What skills must the students have familiarity with (if not mastery of) to accomplish these goals?

Click on image to view larger*

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

Moving Forward

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

I list skills in the order I think they should be learned (including variations like facing barre, then one-hand on barre, then from 5th position, then in center, etc.)

Then, I place these skills in two columns, according to level: Essential and Overlap. Essential Skills are those requiring mastery in order to move on to the next level. Overlap Skills are those of which students are developing a working knowledge. Overlap usually appear in the Essential column of subsequent levels.

Click image to view larger*

Abstract Skills

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

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

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

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | Category: Blog, Featured, For Classroom, Teaching | Who's talking about this article?

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Creative Dance for Children and Beyond

Nichelle (admin) — Mon, 25 Aug 2008 07:47:14 +0000

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

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | Category: Blog, For Classroom, Teaching | Who's talking about this article?

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Finding Quality Dance Instruction – Middle Ground

Nichelle (admin) — Wed, 16 Apr 2008 16:30:07 +0000

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I come from a small town and have taught in some small cities where dance studios struggle to maintain integrity and keep their business (or non-profit) afloat. Access to educated and experienced dance teachers is sometimes minimal. Below, I’ve listed some circumstances that occur in dance studios across the country. They are not absolute deal-breakers, but potential students should proceed with caution and armed with knowledge and awareness when such situations are present.

Combo classes. Many say to avoid them altogether. However, they can be useful for exposing younger children to complimentary styles of dance, or providing an introduction to ballet for children who may not choose ballet as their one dance class per week. However, if combo classes are offered for anyone over 8 years old, this shows signs of an à la carte philosophy on dance training. Dabbling in dance this way often results in an unsuccessful and incomplete education. If a student wants to pursue many dance styles and still become proficient, they need to put in the time, something combo classes don’t provide.

To many, following a ballet syllabus is extremely important so as not to confuse students (not all ballet is the same). However, basic technical principles should serve the recreational student as long as there is consistency within the class, or students are made aware of how the codified techniques differ should they encounter a need for this information.

A proper dance floor is extremely important to the well-being of the dancers. Dancing on anything directly over concrete subflooring is unacceptable as a long-term situation and instructors must demonstrate precaution for the sake of their student’s bodies in the interim. For the sake of their student’s bodies studio owners should recognize if their current flooring is sub-standard and have a plan in place (fundraising or otherwise) to improve their situation. If they don’t see it as an issue (and they may not if it’s not hurting their business), move on. The same goes for studios that are too small for full-grown students to fully extend their arms and legs, setting up patterns and habits that will be hard to break later. In a perfect world no studio would open with sub-standard flooring. However, if the school is otherwise providing quality education, I consider this area middle ground. Ask questions and make it known that this is important to you. There is a flooring solution out there to fit every space and budget.

Student teachers are a deal-breaker for some. As a teen, I assisted experienced teachers at my studio for three years before taking over my own classes, and the students were once-a-week students between 6 and 9 years old. Was I really prepared to have my own class? Maybe not, but I worked hard, took care in what I was doing, and learned an awful lot that prepared me for things to come. Therefore, I think a student assistant/teaching program certainly has value. Some guidelines to consider: Preschool classes are best taught by someone with experience in the classroom management of dancers this young. Also, teachers too close in age to their students can cause disciplinary problems. Again, students as teachers are not ideal but a school that is closely monitoring and evaluating their student assistants and teachers on a regular basis may be fostering tomorrow’s educators.

Age alone is not a reason to move dancers to the next level of dance. In a setting in which students are taking only one or two classes per week and not attempting to learn advanced skills like pointe work, difficult turns, or leaps, advancing by age is not a deal-breaker. Otherwise, I would avoid any school that blindly moves up or holds back dancers because of age, or concedes to class-placement simply because someone requests to take class with a friend. If the school has clear ideas about what their curriculum includes and methods to assess if a student is ready to move on, subjectivity can be reduced and complaining minimized. If a school cannot point to reasons why they have advanced a student, they leave themselves open to question and speculation.

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There are those in the dance world that consider competitive dance studios a red flag in quality training. However, it is my opinion that competitive schools can, and some do, offer quality dance education. Be wary when, like performance, competition becomes more important than the training itself. I’ve witnessed, too often, superficial rivalry, tricks, costumes, and medals replace the reward of cooperation, hard work, self-improvement, long-term goals, and mastering a craft or art form. It is a fine line to walk, and a studio that chooses to compete must take extra care to ensure that students’ appreciation of dance does not depend on the thrill of winning alone. When their winning days are over, the 99% of students who do not become professional dancers still play a major part in the advancement or decline of the art through their support. And if winning and sport was all it meant to them, their dedication to dance may falter when the incentive is gone.

Please remember that when looking for the studio or teacher that will suit your needs, it is important to shop around, armed with questions and knowledge. I’m always surprised that students and parents spend so little time choosing a dance school (many dancers spend more years at a dance studio than they will a college). Dance instruction is an investment of time and money, and you don’t want to waste either. The guidelines you’ve read here about quality instruction are no more than my educated opinion, offered so that you may thoughtfully consider the topic for yourself.

What are some of your experiences? Do you disagree or agree with some of my opinions, or with my assessment of deal-makers/breakers? I’d like to hear your thoughts.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | Category: Blog, Competing, Dancing, For Parents of Young Children, Parenting Dancers, Studio Admin, Technique | Who's talking about this article?

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Finding Quality Dance Instruction – Deal-Breakers

Nichelle (admin) — Tue, 15 Apr 2008 19:23:52 +0000

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When researching dance schools or studios, there are certain things I consider, instruction deal-makers. Here I will investigate the possibly more controversial deal-breakers:

An instructor is consistently condescending and sarcastic, frequently uses put-downs or yelling to get results, or is insensitive to safety and health/weight issues.

Classes appear out of control -
little ones have no order, rules or expectations and older ones chatter, lean on the barre, etc.

Classes are too long for small children (more than 45 minutes is too long for preschoolers) and too short for older dancers. (An ideal class length for ballet in particular is an hour-and-a-half. For dancers over 12 or who are preparing for pointe work, classes should be no less than an hour-and-a quarter.)

Pointe work is offered to students who take less than 3 hours of ballet per week and dancers are not assessed for pointe readiness.
Three hours is the absolute minimum, and should include those in pointe prep classes who are not yet wearing pointe shoes. Hours, days, weeks, and years spent doing ballet have no true bearing on if someone should or should not be doing pointe, however. The quality of the training itself is essential and great care must be taken to assess each individual’s core, turnout, and foot strength to determine if they can begin pointe work. (Lisa Howell offers some wonderful resources for students, teachers, and parents for determining pointe readiness.)Ask to observe a pointe class. If the dancers look unstable and precarious when away from the barre, it is not simply because pointe work is hard – more likely, their training thus far in ballet has not been sufficient for working at this level. A truly quality establishment will not place dancers en pointe before they are ready, or at all if they cannot provide an appropriate course of instruction to safely prepare their ballet students. Dance studios in the U.S. (I can’t vouch for other countries) feel pressure to make pointe available to those who want it, even if it is not in their students’ best interest. Sometimes otherwise good schools succumb to this pressure. I encourage you to evaluate or re-evaluate if a pointe program is really right for you or your school. Only those considering a professional career truly need extend their work in ballet to pointe and, if you are considering a professional career, then you need instruction that will get you there.

A class consists of nothing but drilling or repeating “tricks” (turns, jumps, leaps, etc.).
This is only conceivable outside and in addition to a normal, thoughtfully planned technique class.

The teacher uses improper terminology for movements with children older than 7 or 8.
Even in preschool or creative dance classes, children can be taught the correct term. Imagery can, and absolutely should be applied for these young dancers, however I see no need to completely replace the vocabulary used by older dancers.

Classes spend more than half the class on choreography and/or spend more than half the year preparing for recital dances.
If this amount of time is required, the dances are too hard for the students. And it is probably too hard because the dancers have not been given a consistent opportunity to improve their skills and technique. Rehearsal for competition choreography should take place outside of regular technique classes. Some would argue that even recital choreography should be done outside of class. I personally feel, however, that if the choreography is representative of what the class has been doing (the purpose of a recital), composition of the dance need not be overly invasive and can take place during the last 15 or 20 minutes of class which would normally be spent learning combinations or variations.

Owners of the school are not upfront about additional costs.
Many schools charge extraneous fees for costume purchasing (on top of what you pay for the costume), recital fees, competition fees, required purchase of dancewear from their own store, etc. Make sure that it is clearly presented what you are expected to pay, tuition included, and don’t be afraid to ask exactly what the money goes toward. Some studios use such fees (or a portion of them) to keep the school afloat during summer months and to keep tuition low. Know what will be expected of you so that you have the opportunity to decide if these are fees you are willing to pay. Although this trend is increasing, not all schools require such fees. Look into this before a sense of obligation to yourself or your child forces you to pay more than you had intended.

Students display a myriad of injuries.
Some injuries do occur when dancers are pushing themselves as athletes. However, it is a red flag when a large number of students are dealing with injury, especially at a recreational studio. Usually, these students are either not being trained properly in technique or are consistently attempting skills that are beyond their technical ability (i.e. working and drilling “tricks” that only advanced dancers should attempt). Intense and less conscientious pre-professional programs also may be overworking or pushing students to the point of injury. No matter the type of school, the occurrence of multiple students with chronic or serious injuries is a clear sign that something is missing or not as it should be within the training.

There are some things that deserve mention that I have not yet listed. These are what I consider middle ground – not ideal, but in certain circumstances not deal-breakers either. I will list these in my next post.

What are some deal-breakers for you? Have you or do you attend a school where these things take place? Tell me about your experiences.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | Category: Blog, Competing, Dancing, For Parents of Young Children, Parenting Dancers, Studio Admin, Technique | Who's talking about this article?

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Finding Quality Dance Instruction – Deal-Makers

Nichelle (admin) — Tue, 15 Apr 2008 04:43:10 +0000

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People don’t usually open a studio or attend a dance school if they don’t think it is a quality product being offered. However I’ve found that those in the dance world have strong opinions about what is or is not quality dance instruction. I consider myself a pretty diplomatic person and I try very hard to see things from all angles. Therefore, I’d like to stick to what I consider the deal-makers and breakers of a dance education relationship. Some may think I’m being too nice and others may argue I’m expecting too much. Either way, please try to have an open mind and consider the points I’m trying to make. After all, it’s just an opinion.

“Deal-makers”- qualities students should expect to find at an institution or business that educates/trains dancers:

Ballet and other traditional dance forms have a clear and appropriate format. For ballet students older than seven, this means a full session at the barre, followed by work in the centre and across the floor. All dance styles should include a warm-up and cool-down period.

The teacher offers individual attention, correction, and help by breaking down new or difficult movements for beginners or young dancers. With more advanced dancers, teachers may expect students to have more skill in picking up movements quickly and may spend less time explaining, however, teaching a class still involves refining all details of the movement. Just leading the class without offering input or corrections is rarely helpful to a dance student.

There is focus and attention given to the upper body, including arms, head, and face even at beginning levels.

The instructor has an understanding of anatomical terms and their application to dance and explains and shares this knowledge with the class.

The students and teacher move well, are pleasing to watch (students with a solid foundation can make even new or difficult movements less awkward), and are dressed neatly and appropriately.

Praise, encouragement, and humor – all positive reinforcements, are used frequently but not indulgently in class.

Dancers are encouraged to be expressive in their movement and facial expressions without forcing plastic smiles, to listen and understand the musical or rhythmic aspects of the dancing.

Instructors ask the students to use critical thinking in their classes. This means that they are regularly required to analyze, deduce or problem solve to come to a conclusion about something rather than simply regurgitating an answer.

Students are encouraged in, or given regular opportunities to view dance performances, observe or participate in master classes, learn about other art forms, and reach out or volunteer in their community.

Look for these attributes when researching, observing classes ,or touring a dance school. When seeking out instruction, don’t just join the studio with the largest ad. Arrange a time to observe or even sample classes, talk with the owner and/or instructors, and ask questions. Do all of these things before making your choice because sometimes observation will reveal more than speaking with the owner, or visa versa. A studio interested in your business will make time for potential customers, however, approaching a studio owner right before performances or recitals may not be the best time.

When looking for quality dance instruction, be aware that some studios spend a large amount of in-class time on rehearsal for a show that is months away. A studio’s best instruction should be on the menu at all times, performance or not. Occasional breaks from the routine class structure are important and sometimes necessary, but learning how to dance should always take precedence over learning a dance number.

Next up, deal-breakers and “middle ground“!

What other qualities do you consider “deal-makers?”

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | Category: Blog, Competing, Dancing, For Parents of Young Children, Parenting Dancers, Technique | Who's talking about this article?

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