Teaching Tap Improvisation: Exercises for Beginners

After years of slightly embarrassing moments in front of peers and master teachers, I decided the time had come to develop a thorough improvisation syllabus based on advice from as many great hoofers as possible. I’ll be sharing some of that work with you. Here are the first exercises I present to my students.

Beginning Improvisation Exercises

(Appropriate for students of all ages and levels, unless otherwise noted)

Exercise 1: Group Nursery Rhymes

Goal: Get feet connected to brains, and get students moving!

Choose a song that everyone knows. My suggestion is “Mary Had a Little Lamb” for the first time you try this. Remind them that there are no rules except to dance one sound for each note in the song. Sometimes this will take more than one try, especially if you notice dancers adding extra sounds. Encourage them to leave space during the silence in the song.

If you have very young students (I start them at age 3 with this exercise), have them sing and dance at the same time. If you have intermediate dancers or adults, they can dance without singing.

Exercise 2: “Fancy Dancing”

Age/Level: Beginning Students, ages 3 to 7
Goal: Learn how to dance in an improv circle

All dancers begin in a circle. Choose a fun song that the kids can relate to, with a steady tempo and a good beat. One by one, dancers enter the circle and “show us their best moves” and dance as long as they want! Encourage them to do ANYTHING they want, not just tap dance. This gets them thinking about moving things other than their feet!

Exercise 3: Toes Only, Heels Only

Ages/Levels: Beginners of all ages
Goal: To eliminate the pressure to come up with impressive footwork when a beginner doesn’t have a big vocabulary

Once again, make a circle. You have two variations that you can try with this exercise, both of which help relax self-conscious beginners.

Variation A: Repeat Exercise 1 as a group, but using only toe drops or heel drops. This can also be done one at a time so they can hear their taps, though you’ll need to pay careful attention to their self-consciousness and be sure to encourage them!

Variation B (ages 6 and up): Have each student choose their own nursery rhyme and tap it out with toes or heels. Make the rest of them guess! This is challenging, but fun.

Exercise 4: Pass the Buck

Goal: To learn how to “pass” to the next person

All dancers begin in a circle. Choose a fun song with a steady tempo and a good beat. One by one, dancers either enter the circle (young kids and advanced dancers) or dance in place in the circle (ages 6 to adult) and “show us their best moves” and dance as long as they want! Encourage them to do ANYTHING they want, not just tap dance. This gets them thinking about moving things other than their feet!

When they are finished, they must gesture with a foot, hand or eye contact to the person they choose to go next. If the “passing” is too complicated for your little ones, you can verbally prompt them to pass it to someone, or simply progress one at a time around the circle.

Exercise 5: Bars, Meters & Counts

Goal: To create music awareness while dancing and practice structured improvisational trades around a circle

Begin with a very structured 4/4 song that does not have any strange segues or extra measures. Have all students beat their hands on their legs, clap or snap to the beat. Continue their time keeping, but have them now count out loud – “1..2..3..4″. Be sure you do not have them count “5..6..7..8″. This is a cardinal sin in the music world, as you’ll find out if you dance with live musicians! Explain to your students that each set of four counts is a measure, or a bar. I often use this with my elementary students who are learning addition and/or multiplication. They love when they know the answer to “How many counts are in four measures?”

Once you have explained the concept of bars/measures and counts to them, try dancing four measures. If this is too tough, they can even use toes and heels like before. Have them help each other by counting out loud and holding up fingers for the number of measures that have passed. Everyone loves a little help from their friends!

Note: Remember that each student should begin on count 1 of their first measure and end on count 4 of their last. This will help with students transitions to one another. You can also require them to “pass the buck” once they’ve finished their turn.

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I hope these beginning exercises give you some ideas for your own classes, or even your own individual improvisation work. Let’s find that creative genius hidden inside your students (and maybe even you)!

For more information or to purchase a complete copy of the syllabus, please feel free to comment below or email me at sarah.mason@PennAcadArts.com.

Space: Inside, Outside and Through

I am happy to introduce Stacey Pepper Schwartz as a new columnist here at Dance Advantage. You may recall that we featured Stacey’s DVD, Up Down & All Around on the blog recently. During our interaction behind the scenes,  I was pleased to find (and I think Stacey would agree) that we share similar values and ideas regarding dance education and I invited her to share her considerable knowledge on the blog. I am so proud that she has agreed to add her voice to Dance Advantage. Her Kid Concepts column (say that three times fast!) will appear each month, bringing you Stacey’s insight, tips, and ideas for teaching creative movement for our younger dancers. Please welcome her and be sure to visit Stacey’s Leaping Legs website and her new blog, where she’ll share even more tools and tips!

When I teach dance I always start with the concept of space. It doesn’t matter if I am teaching 3 year olds or 63 year olds, space to me is a blank canvas. And I want to teach my students how to fill it.

Why Space?

There are so many places to begin, what makes space so important? My answer is the body cannot move without space. The body cannot breathe without space in the lungs to take in air, space for the heart to pump blood or space in between the joints to move the bones. We can not relate to each other and to the world around us without space. Notice the space between each letter on this page, the space each letter carves out with it’s curved, straight and angled lines, and how you feel when youseewordscrammmedtogether and

very            far                     apart            from             each         other.

Space is where we live and why not start at home which in essence is the beginning.

How to begin

I feel like the studio is like a laboratory of sorts, a place to explore, study, investigate and find answers.

I begin by asking my students to notice the space inside their bodies.

Feel the space inside your belly when you inhale, filling it with air, and feel the space change when you exhale, sending the air out of your body through your nose or mouth. Now take your attention to other areas of your body: in between your toes, under your armpits, inside your mouth.

Now I ask them to take their attention away from their bodies and to notice the space between themselves and the person next to them.

Are we close together, or spread apart from each other? Without moving from your spot reach your hands out and feel the space outside of yourself. Reach high above your body, around your body, under your body. Can you reach with other body parts and explore the space immediately surrounding you? Now it is time to be space explorers, and move through the space. Leave no space unexplored. Can you run, leap, roll and jump through the space. Feel as you move the space lights up around you. Explore above you, below you and all around you. Can you light up the entire space?

Can you feel your lungs expanding and contracting? Can you feel the space or silence between the inhale and the exhale? Can you feel your heart beating?

How Space is a Tool For All Aspects of Dance

No matter what type of dance you teach, be it ballet, modern, jazz, creative movement, hip hop, or belly dancing, space is an element of movement and therefore relevant. It can be used as a tool to explain how to perform steps, perfect alignment and execute routines. The next time you are teaching a dance combination, focus on space and see how it changes the steps.

Explore if your explanation of the exercise changes as well. A leap or a pirouette might take on a whole new level of understanding. For example, when leaping, you might encourage your students to focus not only on how stretched their legs are but the space they are stretching through. When performing a pirouette, you might explain that the body is not moving from its spot but touches the space all around itself. Or, have them imagine a crayon attached to the toe, knee or leg that draws a circle around them as they turn.

And when choreographing a dance, one tableau can say it all. The space between two dancers can evoke such emotion and the space between many, such power.

A Final Word or Two About Space

As dancers we choose to define the space, break through it, or make the audience believe it does not exist. But it is always there. When we leave the studio, the stage, or the classroom we do not leave the space. It is always with us in our bodies. It is always around us to explore and it will always be.

I tell my students to be aware of space when they are walking down the street, moving through a crowded room and when they are the only ones in a room.

Can you get close to another person without touching? How does that feel? How does it feel to be the only person in a room and feel such an enormous space around yourself?

Your students don’t have to have dance shoes on to explore how space effects them. And yet when we come to understand space, it can transform our movement experiences inside, outside, through our bodies, and our lives.

Special thanks: BenSpark.com

Answers to Your Questions About College Dance

Prospective college students have a lot of questions!

Of course you do! You are making important decisions regarding your future. Not to mention the transition from high school to a university is one of the largest leaps you’ll ever take. Dancers that want to continue their dance education at the college level have their own unique concerns. The number of questions you have about auditioning, health and nutrition, expectations, and more may feel overwhelming but there are plenty of resources online to help!

I’ve taken some time recently to look at two websites that I think any aspiring dance major should pay a visit. The logos are a bit cliché but the contents are high quality and will answer many of your questions about college dance.

DanceU101

The magazine’s of Macfadden Publishing, which include Pointe, Dance Magazine, Dance Spirit, and Dance Teacher, have funneled tons of relevant articles into this college dance hub. Not to be missed are the FAQ’s, where experts answer your questions about what it’s like to be a dance major or study at a conservatory, the application process, and financial aid. Or, you can visit the forum and gather answers to your questions. There is a lot more here, too, from articles on dance careers to highlighting individual college programs and dance departments.

Stay informed with Twitter: @DanceU101

Dance(212): the college years

The same folks bringing you DanceU101 have produced their own take on reality TV. Last summer they debuted the online video series Dance(212) which gives insight into the lives of real dancers. The second season is just beginning and this time the 5 young dancers are college students studying dance in New York City’s top dance programs. You’ll have to stay tuned to see how things unfold for these dancers but it is sure to offer a window into life in the dance department.

Stay informed with Twitter: @Dance212

The Dance Advantage College Guide

Of course, I have to mention that here at DA, the college dance experience is a stone not left unturned. As a dance department alum myself, I’ve offered articles on how to select the right program and also plenty of useful tips which come directly from my first-hand experience. You can find contents and links by checking The College Guide. I’m also happy to try and answer any questions you have so feel free to contact me if you can’t find what you’re looking for on the site.

You can follow me on Twitter too: @danceadvantage

More College Links

• College Parent Central – written by a parent and college teacher, this site is aimed at preparing parents and students for every aspect of college life.
• MyCollegeGuide – the magazine’s online hub
  
• Unigo.com – “students tell you what the colleges won’t”
• MoreThanGrades.com – create a customized profile for review by college admission officials

College Students,

Are you interested in writing about dance or your college experience? Dance Advantage is always looking for real dancers that can share their first-hand knowledge and observations. If you think you’d like to gain some writing experience and get published here on the site, learn more about the process here and contact me with your ideas!

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Guest Post: 10 Credits Dancers Take With Them to College

Today’s guest post is courtesy Vicki Nelson. She and I connected over blogging but discovered a shared appreciation for dance. In addition to her professional experience within higher education, Vicki is the parent of two post-college daughters and one daughter currently in college. She studied dance for many years herself and enjoyed being a dance mom for 18 years. With this article, she’s put into words what a credit dance education, and arguably the arts in general, can be to young adults entering college.

Dance Education May Lead to College Success

As the mother of three daughters, I have spent 18 years as a dance mom. My daughters loved to dance. Each girl took ballet and jazz and one daughter added tap to the mix. We spent a lot of time at the dance studio! Two daughters have now graduated from college and the third is not far behind. No one dances any more.

Was it all a waste of time, money and energy? Of course not! My girls had fun, and learned to love and appreciate the arts. They gained a bit of grace and became more comfortable with their bodies. They made new friends. They had a great role model in their teacher. None of us regrets a minute of the time spent dancing.

However, I’ve come to realize that there are even more important benefits of growing up studying dance once students head off to college.

Qualities Successful Dancers and Students Share

As a college professor I work with college students every day. I see the qualities that successful students have, and I see the qualities that the less successful students lack. I believe that the dance education that my daughters received helped to reinforce many of the important qualities that made them successful in college and will help them succeed in their lives. I’d like to suggest ten of those qualities here.

1. Time Management

   This may be the single most important quality necessary for success in college. Students who know how to plan ahead, organize, and balance their lives are the students who succeed. Children who grow up adding dance to their weekly activities, especially those who may take several classes each week, must learn to manage their time. They learn to balance, to prioritize, to multitask, to make choices and sacrifices. These lessons will definitely give them an advantage when they get to college.

2. Discipline

   Anyone who has ever taken a dance class knows that it requires discipline. It requires discipline to show up to class, to control your body, to practice, to focus on the teacher. It requires discipline to give up other things to make room in your life for what is important to you. Students learn, and are able to practice, the discipline of making and following through with choices. When faced with choices in college, these students will be prepared.

3. Passion

   

   Photo by ssanyal

   Students who are involved in a dance program have the opportunity to pursue something that they love. In following their passion, they experience the benefits and the satisfaction that comes from following your heart. Hopefully, when they get to college, they will follow a passion for something – whether or not it is dance. They will commit to something simply because they love it – not necessarily because of a class, or a grade, or a career move. Loving something that you do is important in keeping balance in your life.

4. Commitment

   Dance students learn that doing anything well requires a commitment. That commitment takes time, energy, sacrifice, and follow-through. Dancers learn to stick with something. You cannot become a dancer over night. It takes time to develop as a dancer. College students, too, need to recognize that some things take time to develop and require a commitment of time, energy and sacrifice. In this often commitment-phobic age, students who know the value of commitment will make a difference – for themselves and for others.

5. Hard work

   Dance is hard work. As much fun as it may be, as fulfilling and satisfying as it may be, as good as it is for the soul, it is hard work. Dancers learn how to put in the hard work to achieve something. They are not afraid of doing something difficult. They know that they need to tackle a difficult task (or step, or routine) and break it down and work at it. Many college students worry about hard – hard courses, hard instructors, hard majors. Students who are willing, and able, and unafraid, to take on challenges achieve more.

6. Technique

   

   Photo by bombarosa

   Dancers spend much of their time learning to perfect, or at least improve, their technique. They know from experience that doing something well often happens because of all of the small details. A good dancer knows that a beautiful dance grows from good technique. Details matter. Details add up. Details take hard work. Paying attention to the smallest of details can make the difference.

7. Skill-building

   Dancers understand that there is always room for improvement. No matter how long you have been dancing, no matter how good you are, no matter how clearly you understand a step or how instinctive a move has become, there is always room for improvement. Dancers learn that you never stop growing in your ability, that there is always somewhere to grow. In college, they will continue to strive for something more.

8. Criticism

   Dance students understand that criticism is not a bad word. They understand that true criticism means helping someone find the best in themselves by giving them feedback. They understand that criticism is good and that good criticism helps them grow. They understand, because they have heard it being given for years, how to give good criticism to others. College students who are able to receive – and use – criticism will gain more from others. College students who know how to constructively criticize others – positively, specifically, non-emotionally – will be able to help others.

9. Creativity

   Dance is not technique. Dance is not skill. Dance is not discipline or hard work. Although all of those qualities are required, dance is ultimately a creative work of art. Dance students begin to understand that they have something within themselves that they bring to a dance. Dance students begin to understand that dance is greater than they are. It is the ultimate unity of the music, the choreography, the technique and the soul of the dancer that creates the dance. Dancers learn to tap that creative energy within themselves – and they will bring that creativity to all that they do.

10. Self Investment

    Ultimately, dancers learn to throw themselves completely into whatever they do. They blend the physical, the mental, the emotional, and the spiritual into a greater whole. Students who head off to college understanding, and having experienced, this totality of themselves will be better able to seek and maintain a balance in their lives.

My daughters no longer dance – although I continue to hope that they may return to it some day – but they have reaped countless benefits from their dance experience. The life lessons which they have gained gave them a head start in college – and in life. Current dance students may not yet realize that each time they lace up their pointe shoe, or take their place at the barre, or practice just one more pirouette, they are preparing themselves for life.

Vicki Nelson currently teaches communication at a small liberal arts college and has more than 25 years of experience in higher education as a teacher, academic advisor and administrator. She founded College Parent Central, a website designed to help parents navigate through the college years, to give parents information about how to be productively involved in their student’s college life while finding ways to allow their student to gain independence. Visit Vicki’s website at www.collegeparentcentral.com or contact her at vnelson@collegeparentcentral.com.

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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!

Listening to Dance — An Exercise in Viewing Art

I’d like to have you try a short exercise.

Look over the questions/suggestions below:

• Do any images or pictures come to your mind? What are they?
• Does the song cause remembrances of something, someone, or somewhere? If so, what?
• In what environment, if any, does the music place you?
• What kind of feelings does the music evoke?
• If you had to pick a color to represent this work, what would you choose?
• Give three adjectives that describe the work.
• Which instruments do you hear?
• Describe the tempo, the rhythms, the melody or musical quality (thundering and aggressive, or soft and soaring for example)

Now grab a pencil and paper or close your eyes…

Listen to one of these clips:

(don’t worry, you can try this with both if you want)

As you listen, quickly jot down (or think about) your responses to the questions above.

How did you do?

Did you find the exercise easy or difficult? Even if you didn’t particularly like the song, I’m sure you were able to answer some of these questions. In fact, you may not have needed much prompting to visualize during the music.

I’ve used this exercise with students before (usually in preparation for moving to the chosen selection). What I’ve noticed is that when listening to music, the students easily observe and express their reaction based upon what they’ve heard coming through the speakers. With very little prompting, they come up with vivid ideas, even without the benefit of lyrics as clues to the song’s intention. The natural instinct to experience music with their minds and hearts, as well as their ears, seems second nature for most. When viewing art in a visual medium, such as dance or painting or sculpture, it seems the process is inhibited. Perhaps it is harder ot let go of preconceived notions or expectations regarding the art form.  Perhaps it is more difficult to allow oneself to visualize or expound upon something that is already very visual. Whatever the problem, I’ve discovered that students, rather than simply letting the art affect them, get hung up on “What does it mean?” “What is this about?” “Am I the only one who doesn’t get it?”

It seems to me that the art of dance would prove more accessible if people viewed dance like they listen to music.

What do you think?

Parents, Which Type of Helicopter Are You?

I’m a fan of College Parent Central, a blog mainly written for parents of college students. Blogger, Vicki Nelson recently did a three-part series about “Helicopter Parents.” As I read the articles, the dreaded term “stage mom” came to mind. Parents of university-bound students are not the only ones who “hover,” and therefore, Vicki’s positive message about redefining and examining parental involvement in a child’s life certainly has applications in the dance world. So, I thought I’d share these articles with you – just follow the links below. Enjoy!

Affirming “Helicopter Parents”: Redefining the Title

This is the first of three posts that consider the concept of college helicopter parents.  The concept is certainly not new, but it warrants continual examination – and sometimes redefinition.  In this post, we look at the definition of helicopter parents, as well as some of the motivation behind parental hovering.  In our next post, we will examine who helicopter parents are and how they operate, and in our final post, we will consider the consequences of helicoptering and suggest some possible ways in which parents might hover productively.

Is all hovering bad? What are the negatives? The positives?

How involved should a parent be in a child’s dance education?

What are the indicators that a parent’s hovering is producing negative results?

Parents, students, and teachers, I welcome your thoughts on the subject!

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.

Top 10 List: Reasons Teachers Should Continue their Education

Is the expense to attend a teacher training or summer seminar worth it?

Particularly when money and times are tight, dance educators wrestle with this question. It seems we find it hard to justify spending money or attention on our own development, though we would encourage it for our students. Below is my top ten list of reasons you would want to seriously consider some continuing ed for yourself this year.

1. New Classroom Tools

Teacher workshops directly provide curriculum, music, or methods for your use. As a participant  in technique class, there is opportunity to experience new ways of combining steps, of structuring a class, of delivering a concept. Take notes throughout your experience, borrowing the best from your observations.

2. Remembering What It’s Like

Students feel pressure to do well, they get nervous, they are sometimes afraid to try something new, they struggle with physical or psychological challenges. The occasional reminder of what it feels like to be a student, to push oneself through challenges, to risk and take on something new will bring added depth and understanding to your teaching.

3. Physical Exercise

If you are a teacher, you probably recognize that the physical demands of instructing students is very different from actual dancing. You spend time moving but not as you would as a class participant or performer. A challenging program or class can help keep you in shape.

4. Mental Exercise

Ditto on giving your brain a workout. Teaching can become routine and repetitive. Demanding more of your brain is stimulating and refreshing.

5. Creative Input/Output

Teachers do a lot of giving. Choreography, class exercises, working with students – these things require creativity. However, consistent output without refilling the well of creativity can cause the source to dry up. And creativity does breed creativity. Sometimes even taking the opportunity to create something for your own pleasure (an art class, a writing workshop, crafting, even a choreography workshop) can replenish your reserves.

6. Improved Business

Each new experience adds credibility. Parents and students will appreciate that you’ve made an effort to improve your teaching, expand your repertoire, study and grow. The more diverse your education, the more marketable you become as a teacher. You want to be able to share what you did over summer vacation, too!

7. Networking

A dance-related conference or seminar offers the chance to interact with other teachers and professionals from all over the country or world. Making these contacts strengthens your ties to the dance world beyond your studio, creating opportunities for you and your students. Events in your own backyard can still add benefit. You may develop friendships or connect with those that are willing to donate, offer sponsorship, or collaborate on a project. You just never know.

8. Validation

If you ever feel like others in your life (husbands/wives, friends, relatives) don’t understand your passion and commitment to dance and teaching, here is a chance to be among others that get it! Not only is sharing your thoughts and ideas with these folks restorative but the affirmation you receive among comrades can sustain you through the coming year.

9. Personal Growth

Address your own need for development. Mastery and accomplishment serve to increase self-confidence in your pupils and will do the same for you. And, this could be a separate point but, your willingness to grow and learn will inspire the same in your students!

10. Staying Ahead of Change

The quote below, really says it all. New theories and practices in physiological science are changing the ways dance teachers teach. Dance training, though rooted in tradition, is a vast field – there will always be something new to learn and discover. Staying on top of your game will benefit you and your students.

“In a time of drastic change, it is the learners who inherit the future. The learned usually find themselves equipped to live in a world that no longer exists.” — Eric Hoffer, US philosopher

Though it is a great idea to set aside some funds for you and/or your teachers to attend workshops or summits, I want to emphasize that growth experiences do not have to be pricey or far away. In fact, they may not even have to be dance-related! There is much to be gained from observing teachers who specialize in other disciplines, from opening yourself to new experiences, from simply taking time to create or learn something just for you.

Do you have a reasons or benefits you’d like to add to the list?

What are some experiences you’d recommend to other teachers?

What inexpensive or even non-dance activities have informed and supported your teaching or helped you through the year?

Why and How to Encourage Students to See Concert Dance

Last weekend I attended the final day of the Dance/USA conference held in Houston this year. The first morning session was a topic that is near to my heart – cultivating dance-literacy. Included in the discussion were thoughts and experiences on increasing awareness and knowledge of dance art through dance on the Internet, dance on television, dance in community building and engagement initiatives, dance in politics, and dance in our K-12 and university educational systems. Though I found the discussion enriching, I was a little disappointed that no one mentioned the population of dancers and dance educators that exist in private studios.

Why private studios were not part of this discussion is an interesting topic, but one that I will save. Instead I’d like to share some thoughts about why creating opportunities for students to see live concert dance should be a priority for teachers, studio owners, and parents, and some ideas about how to make concert dance more accessible.

Read This…

Power of Performance: Building inspiration in students through concert dance

in DanceStudioLife Magazine’s May/June issue.

I can finally link to this wonderful article by my friend Nancy Wozny! Before, I had to tell readers to pick up a copy or subscribe to the magazine (which I highly recommend anyway!). In the article three teachers from very different locations within the U.S. describe how and why they encourage students to see live performance.

It’s a topic I’ve discussed in various ways before. However, the quotes in this article richly support my own thoughts. Therefore, I’ve decided to feature several of them here.

Why Encourage Students to See Concert Dance

• Inspiring increased drive and dedication in class

• “When they come back after seeing a show, their focus and drive are off the charts. They see what they can become if they work hard. Although students might be the best in their class, they don’t often see how much further they need to go.” – Melissa Dobbs; Metropolitan Fine Arts Center in Washington, DC.
  

• It is good for your business
  • These experiences show that you care about educating whole and well-rounded dancers. Parents really do appreciate dance studios that make education (not just performing, competing, or even training) a priority.
    
• Seeing dance principles applied

• “There’s something about seeing professional dancers do the things that I am telling them all the time that makes it really sink in. Honestly, I see better dancing after they have seen the magic that can happen onstage.” – Louanne Courtright; Louanne Courtright Dance Studio in rural Michigan
  

• Promoting the ability to discuss dance intelligently
  • Should students plan to dance at all in college (as a major, minor, or otherwise) they will need to be able to critically discuss and write about concert dance. Developing these skills in a topic of interest (such as dance) will help students in whatever academic and career paths they choose.
    
• Learning about theater etiquette
  • As students go out into the wider world, like it or not, they are representatives. What they do or do not learn about etiquette, manners, and conduct reflects on the teachers, communities, and institutions that have reared them.
    
• Exposing students to different dance perspectives, aesthetics, and cultures

• “She recalls the case of one student, Spencer Ramirez, who was committed to jazz dance — that is, until he started going to see modern dance. ‘His whole world opened up after seing contemporary dance,’ says Dobbs. Now a student at The Julliard School, Ramirez was changed by what came into his awareness while sitting in the audience.”
  

• Opening students’ minds to the greater dance world

• “I also want our students to know that dance is more than what’s on television and at competitions.” Melissa Dobbs; Metropolitan Fine Arts Center
  

• Developing lifelong supporters of the arts

• “I want to develop students who grow into lifelong supporters of the arts. If you are not doing that, you are not giving a full dance education.” Michelle Spezio; Spezio’s Dance Dynamics in western New York

A neglected relationship or not, dance artists and dance art feed and influence the work and training within dance studios. And, dance studios are training both the artists and audiences of the future. Choosing to foster this relationship is better for all.

How to Encourage Students to See Concert Dance

Ultimately, I feel encouragement is about removing resistance and making concert dance forms more accessible.

• Organize excursions to local university or dance company performances, or weekend trips to larger cities for live performance opportunities
• Hold fundraisers to cover costs
• Invite touring artists to conduct master classes or workshops at your studio (Students are more likely to attend concerts featuring artists with whom they have a personal connection)
• Announce and post flyers at your studio about upcoming events
• Work within your local community to bring arts opportunities to the area
• Watch and discuss performances on video/DVD. (Viewing parties could be organized as a special event or excerpts could be viewed in class to supplement what is being covered.)

There are more great ideas in the DanceStudioLife article!

You might also take a look at the following articles on Dance Advantage. They offer methods of facilitating concert dance experiences and how to incorporate exploration of dance art in your classes:

• Live Dance Challenge
• Teaching and Exploring the History and Evolution of Dance
• What I Did Over Summer Vacation
• Watching and Discussing Dance

Role Reversal: So What Does It All Mean?

I am still in the midst of my performance. Saturday will be the final show. So, in the meantime, I thought I’d open the floor for another Role Reversal discussion topic. The following video has had a few incarnations (this one was newly revised a few months ago) and perhaps you’ve seen it circulated on facebook and elsewhere online. If you haven’t, take a look:

Obviously, if you’re reading this blog, you use a computer, so maybe I’m reaching out to an already converted audience. However, I know that the technology we use in daily life does not always translate to use in our work or business (or visa versa), and perhaps the rate of change is more rapid than we thought or than we are prepared for. After viewing the video, I’d like to pose the same question the video asks: What does it all mean for dancers, dance teachers, studio owners, movement educators? Does this change the way you look at your job, the way you run or advertise your business, the way you reach out to or interact with students? Are dance educators and studios staying on top of ever-changing technology? Do they need to be? What steps have you taken to change with the times, if any? There is no right or wrong way to answer the question. You don’t even have to stick to the ones I’ve posed. In fact, maybe the video raised some questions of your own you’d like to ask. I’m simply curious to hear your thoughts.

A FREE Download for Parents of Dancers

It often starts innocently with that first preschool dance class. A year or two later, one class becomes two, or three, or four. Before you know it, your entire household’s schedule begins to revolve around classes and rehearsals or competitions. Work, phone calls, and sometimes even meals take place in a studio lobby. Your purse contains bobby pins, hair nets, and bandages. Your taxi (er… car) is littered with stray dance shoes, water bottles, and sequins. Your wallet, on the other hand, is empty! If this sounds familiar, you’re probably a Dance Parent!

If you are a family that has welcomed dance into your household and your hearts, you may have had no idea when you began this adventure that it could become so all-consuming! You receive direction, advice, and even… ahem… orders (nicely stated orders) from other parents, teachers, and even your own child. Yet, despite all of this input, there may still remain the questions and concerns of a parent whose focus is the welfare, health, and happiness of their own child.

Objective Answers

It can be difficult to know where to turn for objective answers to these questions. Fortunately, I’m happy to announce a resource that contains some excellent information and solutions to the frequent concerns of dance parents everywhere. The offer is a free, download-able manual, written by Lisa Howell of The Ballet Blog specifically for parents of dancers. I recently highlighted some of Lisa’s work with Deborah Vogel of The Body Series. Lisa is a physiotherapist in Australia that works specifically with dancers. However, her mission and message reach a worldwide audience through her work online. She is the author of several manuals and resources that are aimed at helping students stay healthy and injury free and arming teachers with a strong base of information with which to guide their dancers toward this aim.

Her Parent’s Manual is certainly geared to those parents who have daughters embarking on a serious and intense study of dance, and particularly ballet. However, much of the information is quite useful for recreational students that take multiple classes, male students, or students taking classes in other disciplines. This is due to the wide variety of topics covered in this 100+ page e-book, which begins with lots of nutrition guidelines and concerns, goes on to speak about the physical development of a dancer, discusses injuries and their prevention, psychological issues in dance and dance training, choosing a school or teacher, and frequently asked questions about beginning pointe work.

A Knowledgeable Parent

Parents play a huge and important role in the education of dance students. A knowledgeable parent is one prepared to make decisions, offer mindful support, and ask informed questions. Ms. Howell’s manual is a quality resource that offers knowledge on important topics. I have read the material and appreciate Ms. Howell’s other work. She offers informative and professional guidance to the dance community.

The Parent’s Manual is not only great for parents but can be a useful tool for teachers in communicating with the parents of dancers. In fact, I have referenced Ms. Howell’s materials in my teaching and when working with parents. That is why I feel comfortable in sharing this resource with you.

To be clear, there are other materials available for purchase at Lisa Howell’s website. I am not receiving any compensation for sales on these items. The Parent’s Manual has been made available for free to dance parents (and teachers) and I  simply hope you will take advantage of the information offered. I also want to be clear that Lisa is asking that you submit your name and email address in order to reach the link for downloading this e-book. You will be subscribed to newsletter updates which will often contain articles and answers to readers’ questions. I have enjoyed the information contained in these articles, however, you can unsubscribe from these additional emails easily via a clearly marked link at the bottom of the newsletter.

Okay, here’s the link:

Click Here to Download

Lisa Howell’s Perfect Pointe Parent’s Manual

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