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	<title>Dance Advantage &#187; skills</title>
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		<title>How Much Dance Should My Child Be Taking? &#8211; The Equation</title>
		<link>http://danceadvantage.net/2010/09/29/equation-for-activity/</link>
		<comments>http://danceadvantage.net/2010/09/29/equation-for-activity/#comments</comments>
		<pubDate>Wed, 29 Sep 2010 13:10:52 +0000</pubDate>
		<dc:creator>Nichelle (admin)</dc:creator>
				<category><![CDATA[Blog]]></category>
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		<guid isPermaLink="false">http://danceadvantage.net/?p=8059</guid>
		<description><![CDATA[If your child is asking, investigate the reasons she wants to take a new or additional dance class. Costume style, choreography, musical accompaniment, or maintaining friendships may be no less valid or less important to her than the desire to enhance her skills. Dance should be fun, too! Do not devalue or brush away these motivations, they are part of the equation.]]></description>
			<content:encoded><![CDATA[<h5 style="text-align: center;"><strong>I&#8217;ve been asked this question a lot.</strong></h5>
<p style="text-align: center;">Usually it is from a parent but sometimes it is from a teen or adult asking for themselves.</p>
<p style="text-align: center;">My answer is another question.</p>
<h4 style="text-align: center;">&#8230; To do what?</h4>
<p><img class="alignright size-medium wp-image-2951" title="onstage" src="http://danceadvantage.net/wp-content/uploads/2009/06/onstage-297x200.png" alt="" width="232" height="156" />The word &#8216;should&#8217; implies there is a goal, a dream, a desire behind your question. With no knowledge of what your child&#8217;s goal, dream, or desire is, neither you nor I will be able to answer your <em>How Much Dance Should&#8230;?</em> question. Begin at square one and continue play on your next turn.</p>
<h4>My child has a defined goal, a dream, a desire. Now can I ask the question?</h4>
<p>You can, but</p>
<ol>
<li>I don&#8217;t have an answer. You and your child do.</li>
<li>There is no <em>right</em> answer. There is no magic number of hours to be clocked. No student or dancer is the same, no flirtation with or pursuit of dance is alike.</li>
<li>The answer changes because the destination is not a fixed one.</li>
</ol>
<p><strong><span style="font-size: large; text-decoration: underline;">Conclusion</span>: Your answer to the above question will be unique to your child.</strong></p>
<h1>What is the appropriate amount or extent of training for my child at this time?</h1>
<h4>Ah, that&#8217;s better. Here are some questions that will help you find your answer&#8230;</h4>
<h6><strong>&#8220;What are my child&#8217;s interests?&#8221;</strong></h6>
<p>Look for opportunities in which your child can try and  gain insight  into different styles without adding another class to the  schedule. It&#8217;s a great idea to find a studio which  offers the chance to &#8220;taste&#8221; different dance forms during  workshops, via visiting  teachers or master classes,  conventions, or  going to see dance  performances. This will help your child make  decisions about where he  would like to increase his commitment level.</p>
<h6><strong>&#8220;What and how deep are my child&#8217;s motivations?&#8221;</strong></h6>
<p>If your child is asking, investigate the reasons she wants to take a  new or additional dance class. Costume style, choreography, musical  accompaniment, or maintaining friendships may be no less valid or less  important to her than the desire to enhance her skills. Dance should be  fun, too! Do not devalue or brush away these motivations, they are part  of the equation.</p>
<p>BUT, the investment of weekly classes is significant enough that it  pays to know if it is the desire for improvement and mastering skills  that is motivating her, or something else. If your child&#8217;s motivations  are all superficial, what she learns is likely to be too.</p>
<blockquote><p><strong>Do weigh and consider all of her reasons and </strong><strong><span style="text-decoration: underline;">include your child in the process</span>. This is the only way to be clear about her motivations.</strong></p></blockquote>
<h6>&#8220;<strong>Is my child ready for more?</strong>&#8220;</h6>
<p>She&#8217;ll ask for it when she <em>wants</em> more. <strong>But is she ready?</strong></p>
<p>If  you&#8217;ve taken the time to go through the process above, your child is  less likely to find themselves overworked or underprepared for an increased  level of commitment or activity.</p>
<blockquote><p><strong>Do be willing to reevaluate, though, if your child is  showing signs of stress physically, mentally, or emotionally and cut  back if necessary. Things happen, environments change, people change.</strong></p></blockquote>
<h6><strong>&#8220;Has my child established a good foundation on which to build?&#8221;</strong></h6>
<blockquote><p><strong>His foundational class or two, whether creative  dance, ballet, jazz, or tap should offer good, quality technique and training of appropriate skills. <span style="text-decoration: underline;">Good training is possible in any of these  forms</span> but not necessarily happening in every class at every school.</strong></p></blockquote>
<h6>What is quality training?</h6>
<p>In short, good training offers classes and curriculum which  are  designed to develop the  tapestry of skills needed for dance &#8211;  control,  body awareness,  strength,  flexibility, musicality, artistry,  and  more.</p>
<p>Whether  curriculum is based on a set syllabus or backed by other   forms of  teacher training, education, or experience, it is important to   find a  teacher who has a method to his/her madness.</p>
<p>No matter if yours is  a recreational student, or on a professional  track, or has the desire to change his track, <strong>if  the teacher is not  teaching  with any real direction or  reason behind  the exercises, then  you want  to find someone who does.</strong></p>
<blockquote><p><strong>If he has received quality training from instructors who also care  about  his  well-being, allowed him to discover the rewards of    self-motivation, rejoiced with him in his successes, encouraged him when   he has struggled, and instilled respect and enthusiasm for the art of   dance, he&#8217;s got a strong foundation on which to build.</strong></p></blockquote>
<h1>The Equation</h1>
<h5>Interest + Motivation + Preparedness = <strong>Hours + Diversity + Challenge</strong></h5>
<p><strong>Hours</strong> is the number of hours spent on the activity.</p>
<p><strong>Diversity</strong> is the range of dance styles and dance activities.</p>
<p><strong>Challenge</strong> is the level of difficulty of the class or activity.</p>
<p>When there is equilibrium between these two sides of the equation, the amount of training is right where it should be.</p>
<h5><strong>How to work out the equation<br />
</strong></h5>
<p>When you work out for fitness, you go at a pace or a  level of challenge until this becomes easy and then you step it up with  more repetition and more challenge.</p>
<p>Similarly when the interest, motivation, or  preparedness on one side of the equation increases, the values on the other side should increase to match.</p>
<p>The equation is really very simple and logical, yet it takes communication with your child (on whatever level they are capable of discussing it with you) and requires observation and some homework on your part.</p>
<h1><strong>The investigation may raise more questions.</strong></h1>
<p><strong><br />
</strong></p>
<p><strong>How Do I Balance My Time and Money Expenditure With My Child&#8217;s Dance NEEDS?</strong></p>
<p><strong>How Much Class Should My FUTURE PROFESSIONAL Be Taking? </strong></p>
<p>You know your child&#8217;s desire is to be a professional dancer. You know that it is his/her desire and not your own. And you <em>want</em> to know if this changes anything about what I just wrote above.</p>
<p>Hint: <em>It doesn&#8217;t.</em> But I know you want the nitty-gritty on what it takes to get your child from point A to B.</p>
<p><span style="color: #ff8c00;"><span style="font-size: larger;"><strong>Did the above article answer at least <em>some</em> of your questions?</strong></span></span></p>
<p><span style="color: #ff8c00;"><span style="font-size: larger;"><strong>Does the equation make some sense in a universal way?<br />
</strong></span></span></p>
<p><span style="color: #ff8c00;"><span style="font-size: larger;"><strong>What else do you want to know?</strong></span></span></p>
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<p><small>© Nichelle Strzepek for <a href="http://danceadvantage.net">Dance Advantage</a>, 2010. |
<a href="http://danceadvantage.net/2010/09/29/equation-for-activity/">Permalink</a> | Category: <a href="http://danceadvantage.net/category/blog/" title="View all posts in Blog" rel="category tag">Blog</a>, <a href="http://danceadvantage.net/category/performing-dance/competing/" title="View all posts in Competing" rel="category tag">Competing</a>, <a href="http://danceadvantage.net/category/featured/" title="View all posts in Featured" rel="category tag">Featured</a>, <a href="http://danceadvantage.net/category/parenting-dancers/children-for-parents/" title="View all posts in For Parents of Young Children" rel="category tag">For Parents of Young Children</a>, <a href="http://danceadvantage.net/category/parenting-dancers/" title="View all posts in Parenting Dancers" rel="category tag">Parenting Dancers</a>, <a href="http://danceadvantage.net/category/for-students/technique-for-students/" title="View all posts in Technique" rel="category tag">Technique</a>  |  <a href="http://www.google.com/blogsearch?hl=en&q=http://danceadvantage.net/2010/09/29/equation-for-activity/" title="Linking blogs to this article, on Google"><em>Who's talking about this article?</em><strong></a> </small></p>
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		<title>Ready, Set, Stop: How To Teach Mind-Body Skills By Not Moving</title>
		<link>http://danceadvantage.net/2010/08/26/children-stillness/</link>
		<comments>http://danceadvantage.net/2010/08/26/children-stillness/#comments</comments>
		<pubDate>Thu, 26 Aug 2010 13:15:32 +0000</pubDate>
		<dc:creator>Stacey Pepper Schwartz</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Dance Styles]]></category>
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		<category><![CDATA[be still]]></category>
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		<category><![CDATA[freeze]]></category>
		<category><![CDATA[mastering skills]]></category>
		<category><![CDATA[movement]]></category>
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		<category><![CDATA[not moving]]></category>
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		<category><![CDATA[stop moving]]></category>
		<category><![CDATA[teaching children]]></category>
		<category><![CDATA[teaching concept of stillness]]></category>
		<category><![CDATA[wiggling]]></category>

		<guid isPermaLink="false">http://danceadvantage.net/?p=7781</guid>
		<description><![CDATA[To illustrate this, I ask my students to become aware of how their body feels as it works against gravity. I ask them to put their hands above their heads and then to be still. I remind them, "you are in charge of your body,” “your brain tells your body what to do,” and then we wait.]]></description>
			<content:encoded><![CDATA[<h5>When teaching children I sometimes need  everyone to be still.</h5>
<p>Being still, &#8220;freezing,&#8221; or not moving is a skill. I  am sure I have said to a child at some point while teaching, “Stop  moving” or “don’t move.” And I am equally certain that a majority of the  requests were met with more wiggling.  How  can we as teachers or parents encourage stillness in another way?</p>
<h4><span style="text-decoration: underline;"><a href="http://www.flickr.com/photos/roebot/3272777747"><img class="alignright size-large wp-image-7813" title="upside-down dancer" src="http://danceadvantage.net/wp-content/uploads/2010/08/creative-upside-down-267x400.jpg" alt="Photo of a little dancer posing upside-down" width="267" height="400" /></a>Not moving</span> requires action</h4>
<p>When a  person “freezes,” he or she is using a great  amount of muscle and brain power. I tell my students that they are in  charge of their bodies. Their brain has the power to tell their bodies  what to do, and their muscles have the ability to make this happen.  Instead of NOT doing, I ask them to DO.</p>
<p>&#8220;Do something amazing while you  stop moving, have superpower control over your body. Connect your mind  and body together to “freeze” and become as still as a statue.&#8221;</p>
<h4>Explore what it means to <span style="text-decoration: underline;">not  move</span></h4>
<p>I confide in them that this is a very difficult task. When you  stop moving, gravity wants to take over. Your muscles have to fight  gravity in order to keep still. This means your muscles are working just  as hard as if you were doing jumping jacks or push-ups.</p>
<p>To illustrate this, I ask my students to become aware of how their body FEELS as it works against gravity. I ask them to put their hands above their heads and then to be still. I remind them, &#8220;you are in charge of your body,” “your brain tells your  body what to do,” and then we wait. I commend them on how hard their body  and mind is working to keep their body still. Then I ask “how do your  arms feel?” Their arms will feel tired, and might even feel sore from  working so hard. I tell them the muscles in their arms are fighting  gravity; gravity wants to pull them down. The longer their arm muscles  resist gravity, the stronger they become! Adults might call this an isometric exercise.</p>
<h4>Show them they have the power to <span style="text-decoration: underline;">not  move</span></h4>
<p>I ask my students “What is the muscles job?” I ask them to tap  on their upper arm or bicep muscle and then I direct them to bend their  arm at the elbow a few times. &#8220;The muscle made the arm move by  contracting and lengthening. Muscles are in charge of moving bones and keeping bones still. The more we activate our muscles the stronger they  get!&#8221;</p>
<p>I encourage my students to use their brain as well as their muscles, and ask them to stand  very still on one foot. At first the kids get very silly and fall down a  lot. They might even say that they have a hard time balancing. Then I give them control. I tell them, “You are in charge of  your body. If you feel you are falling, tell your brain to tell your  body to put your foot down.” The result is amazing. Not only do the kids  balance longer but they quietly put their foot down if they are falling  and try again. Permission and personal control are powerful things.</p>
<p><a href="http://danceadvantage.net/wp-content/uploads/2010/08/kids-dancing.jpg"><img class="alignleft size-medium wp-image-7814" title="kids-dancing-black-white" src="http://danceadvantage.net/wp-content/uploads/2010/08/kids-dancing-300x200.jpg" alt="Black and white photo of children dancing" width="300" height="200" /></a>Your brain tells the muscles in  your body to hold your bones very still. Your body fights gravity using your muscles. With each second that you are still, your body  is working. And the longer you hold your body still the stronger your  muscles will become. All of this is ultimately controlled by your brain,  giving the command. The ownership and control is up to the child.</p>
<h4>Engage Body &amp; Mind</h4>
<p>Children are not in charge of many aspects of their lives. The power of  controlling their bodies is a very important one. And instead of telling  a child “don’t move,” try something empowering and fun that will help them  develop important body skills. Give them permission to use all the muscles in  their body at once to accomplish stillness. Explain to the children in your life how hard this actually is, how much  brain and muscle power this takes, and how much they are doing by not  doing. They’ll want to impress you with their amazing <span style="text-decoration: underline;">not moving</span> abilities!</p>
<p><span style="font-size: larger;"><strong>How do you encourage your students to be still?</strong></span></p>
<p><span style="font-size: larger;"><strong>Can you think of other ways to reinforce the idea of having control over one&#8217;s own body?</strong></span></p>
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<p><small>© Stacey Pepper Schwartz for <a href="http://danceadvantage.net">Dance Advantage</a>, 2010. |
<a href="http://danceadvantage.net/2010/08/26/children-stillness/">Permalink</a> | Category: <a href="http://danceadvantage.net/category/blog/" title="View all posts in Blog" rel="category tag">Blog</a>, <a href="http://danceadvantage.net/category/dance-life/genre/" title="View all posts in Dance Styles" rel="category tag">Dance Styles</a>, <a href="http://danceadvantage.net/category/for-teachers/classroom-toolbox/" title="View all posts in For Classroom" rel="category tag">For Classroom</a>, <a href="http://danceadvantage.net/category/dance-life/genre/misc-genre/" title="View all posts in Other Dance Forms" rel="category tag">Other Dance Forms</a>, <a href="http://danceadvantage.net/category/for-teachers/" title="View all posts in Teaching" rel="category tag">Teaching</a>  |  <a href="http://www.google.com/blogsearch?hl=en&q=http://danceadvantage.net/2010/08/26/children-stillness/" title="Linking blogs to this article, on Google"><em>Who's talking about this article?</em><strong></a> </small></p>
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		<title>A Prescription for Students Who&#8217;ve Skipped the Basics</title>
		<link>http://danceadvantage.net/2010/02/01/prescription-for-mastery/</link>
		<comments>http://danceadvantage.net/2010/02/01/prescription-for-mastery/#comments</comments>
		<pubDate>Mon, 01 Feb 2010 13:20:52 +0000</pubDate>
		<dc:creator>Nichelle (admin)</dc:creator>
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		<description><![CDATA[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. ]]></description>
			<content:encoded><![CDATA[<h4 style="text-align: justify;">The Diagnosis</h4>
<p style="text-align: justify;"><a href="http://www.pierceclipart.com"><img class="alignright size-full wp-image-4498" title="stethoscope1" src="http://danceadvantage.net/wp-content/uploads/2010/01/stethoscope1.png" alt="" width="300" height="194" /></a>Without a good overall (curriculum) plan, teachers may find themselves skipping around or getting ahead of their students&#8217; skill level. The tell-tale symptom that this has occurred: <span style="color: #000000;">You find yourself drilling the same movement over and over and over without much improvement. </span></p>
<h4 style="text-align: justify;">The Treatment Plan</h4>
<p style="text-align: justify;"><span style="color: #000000;">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&#8217;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.</span></p>
<h4 style="text-align: justify;">The Dosage</h4>
<p style="text-align: justify;"><span style="color: #000000;">Let&#8217;s say you are working on pirouettes. There isn&#8217;t any other way to practice a pirouette than to just do it&#8230; 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&#8217; food. Here&#8217;s the process:</span></p>
<ol>
<li><strong>What&#8217;s in a pirouette? Break the movement down into components</strong></li>
<p>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.</p>
<li><strong>Examine where in a class these elements can be practiced</strong></li>
<p>Add a balance in retiré to the end of one or more exercises in both barre and center; Have students do &#8220;log rolls&#8221; 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&#8230; throughout the week&#8230; throughout the term.</p>
<li><strong>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 &#8211; be creative.</strong></li>
<p>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.</ol>
<h4>Preventative Medicine</h4>
<div class="wp-caption alignleft" style="width: 244px"><a href="http://www.flickr.com/photos/pinksherbet/4004791663/"><img title="medicine" src="http://farm3.static.flickr.com/2651/4004791663_0d10fc20ae.jpg" alt="" width="234" height="156" /></a><p class="wp-caption-text">Photo courtesy D Sharon Pruitt</p></div>
<p>As they say, an ounce of prevention is worth a pound of cure. Sometimes in class the best practice <em>is</em> in fact just performing the skill. However, without a good working knowledge of a skill&#8217;s properties a dancer is doomed to repeating the same mistakes. Consider it preventative medicine to begin with a plan for how you&#8217;ll build toward more advanced steps and movements with students. <em>Look</em> for ways to work or improve the basics before asking students to &#8220;<em>leap</em>.&#8221; If you aren&#8217;t sure where to start I&#8217;ve outlined some of my ideas on <a href="http://danceadvantage.net/2009/05/12/curriculum-planning/">developing curriculum</a> and <a href="http://danceadvantage.net/2009/05/14/lesson-plans/">lesson planning</a> in other posts.</p>
<h3>Have you found creative ways of getting back to basics?</h3>
<p><strong>Share your prescriptions in the comments!</strong></p>
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<p><small>© Nichelle Strzepek for <a href="http://danceadvantage.net">Dance Advantage</a>, 2010. |
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		<title>Class Planning Part Two: Focusing on Skills and Concepts in Lesson Plans</title>
		<link>http://danceadvantage.net/2009/05/14/lesson-plans/</link>
		<comments>http://danceadvantage.net/2009/05/14/lesson-plans/#comments</comments>
		<pubDate>Thu, 14 May 2009 14:00:42 +0000</pubDate>
		<dc:creator>Nichelle (admin)</dc:creator>
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		<guid isPermaLink="false">http://danceadvantage.net/?p=2198</guid>
		<description><![CDATA[Just as strong technique brings freedom to the dancer, a strong lesson structure brings freedom to teaching. Here are two types of lesson plans that will enliven your teaching and engage your students.]]></description>
			<content:encoded><![CDATA[<p style="text-align: justify;"><strong>Part One</strong> 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. <a href="http://danceadvantage.net/2009/05/12/curriculum-planning/" target="_blank">You may want to read it first</a>.</p>
<p style="font-size: 18px;"><span style="color: #003366;"><strong>Lesson Planning</strong></span></p>
<p style="font-size: 16px"><strong>A Note About My Process<br />
</strong></p>
<p style="text-align:justify;">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&#8217;ve thought through what I&#8217;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&#8217;ve found that my teaching is at its best when I&#8217;ve experimented, tweaked, and discovered what works for <em>me</em>.</p>
<p style="font-size: 16px"><strong>Two Types of Lesson Plans<br />
</strong></p>
<div class="wp-caption alignright" style="width: 239px"><strong><a href="http://www.flickr.com/photos/12smboos/2915355075"><img src="http://farm4.static.flickr.com/3125/2915355075_286bae6e5f.jpg" alt="Photo by Simone Boos" width="229" height="152" /></a></strong><p class="wp-caption-text">Photo by Simone Boos</p></div>
<p style="text-align:justify;">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&#8217;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.</p>
<p style="text-align:justify;">
<p style="font-size: 13px"><strong>Skill Focus</strong></p>
<p style="text-align:justify;">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.</p>
<p style="text-align:justify;">For instance, perhaps the skill of the day is battement tendu.</p>
<ul style="text-align: justify;">
<li>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?]</li>
<li>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 &#8212; 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.</li>
<li>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?]</li>
</ul>
<p style="text-align: justify;">The chosen skill can be <em>anything</em> &#8211; 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&#8230; the possibilities are endless. And, you may or may not choose to build your exercises around this theme. It is up to you!</p>
<p style="font-size: 13px"><strong>Concept Focus</strong></p>
<p>When you focus on a &#8220;concept&#8221; 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:</p>
<div id="attachment_2190" class="wp-caption aligncenter" style="width: 238px"><a href="http://danceadvantage.net/wp-content/uploads/2009/05/picture-8.png"><img class="size-medium wp-image-2190" title="Dance Elements" src="http://danceadvantage.net/wp-content/uploads/2009/05/picture-8-228x300.png" alt="Click the image for a larger view" width="228" height="300" /></a><p class="wp-caption-text">Click the image for a larger view</p></div>
<p>Here is a basic guide to incorporating these into your lesson/curriculum planning.</p>
<ol style="text-align: justify;">
<li>Choose an element. Let&#8217;s say, the concept of force which involves smooth/sustained and sharp/sudden movements.</li>
<li>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.</li>
<li>Present and demonstrate these concepts briefly for the class, letting students know that they will be focusing on these contrasting elements for the day.</li>
<li>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.</li>
<li>Don&#8217;t forget to review the concept by requesting students&#8217; feedback and thoughts.</li>
</ol>
<p><strong>Performance, Musicality, and Artistry</strong></p>
<div class="wp-caption alignright" style="width: 245px"><a href="http://www.flickr.com/photos/srsheridan/23936314/"><img src="http://farm1.static.flickr.com/18/23936314_91d3d9978b.jpg" alt="Photo by Sean Sheridan" width="235" height="156" /></a><p class="wp-caption-text">Photo by Sean Sheridan</p></div>
<p style="text-align: justify;">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 &#8220;dancing&#8221; or &#8220;performing&#8221; 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!</p>
<p style="text-align: justify;"><span style="color: #003366;"><em><strong>How do you plan your lessons? Do you have a method? What ideas or tips can you share for readers?</strong></em></span></p>
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<p><small>© Nichelle Strzepek for <a href="http://danceadvantage.net">Dance Advantage</a>, 2009. |
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		<title>Class Planning Part One: Developing a Curriculum Outline</title>
		<link>http://danceadvantage.net/2009/05/12/curriculum-planning/</link>
		<comments>http://danceadvantage.net/2009/05/12/curriculum-planning/#comments</comments>
		<pubDate>Tue, 12 May 2009 13:00:09 +0000</pubDate>
		<dc:creator>Nichelle (admin)</dc:creator>
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		<guid isPermaLink="false">http://danceadvantage.net/?p=1386</guid>
		<description><![CDATA[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 an eight-year course of study.]]></description>
			<content:encoded><![CDATA[<p style="text-align:justify;">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.</p>
<p style="text-align:justify;"><strong>Lesson Plans will be discussed in <a href="http://danceadvantage.net/2009/05/14/lesson-plans/">Part Two</a> of this series.</strong></p>
<p style="font-size: 18px;"><span style="color: #003366;"><strong>Designing Curriculum</strong></span></p>
<p style="font-size: 16px"><strong>Approach for Young Children<br />
</strong></p>
<p style="text-align: justify;"><a href="http://www.flickr.com/photos/grongar/547370495"><img class="alignleft" style="margin-left: 8px; margin-right: 8px;" src="http://farm2.static.flickr.com/1020/547370495_1905084027.jpg" alt="" width="295" height="220" /></a>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.</p>
<p style="font-size: 16px"><strong>Mastery Approach</strong></p>
<p style="text-align: justify;">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.</p>
<p><strong>Moving Backward</strong></p>
<p style="text-align:justify;"><a href="http://www.flickr.com/photos/hclemow/3511271026/"><img class="alignright" style="margin-left: 8px; margin-right: 8px;" src="http://farm4.static.flickr.com/3552/3511271026_6fa8831089.jpg" alt="" width="204" height="254" /></a>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&#8217;m planning curriculum for a full year of study.</p>
<p style="text-align:justify;">Let&#8217;s say one of my final goals is to present a dance, I try to decide which skills I&#8217;d like to include or which performance qualities I&#8217;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,<span style="color:#000000;"> </span>making sure to include exercises featuring movements found in the final combination.</p>
<p style="text-align:justify;">This backward method of planning is not that original. After all <em><strong>it is difficult to</strong><strong> figure out how to get somewhere until you know where you are going</strong></em>. The whole idea may even seem obvious but it is a process that I&#8217;ve neglected myself at times (regretfully). If you&#8217;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&#8217;ve missed some key building blocks along the way!</p>
<p>To build curriculum for a class or course of study, ask yourself the following questions:</p>
<ol style="text-align: justify;">
<li>What do I want the students to be able to do by the end of the year(s)/month/semester/session?</li>
<li>What skills are necessary to reach each of the above goals? (List them all, even obvious ones)</li>
<li>What skills must the students have familiarity with (if not mastery of) to accomplish these goals?</li>
</ol>
<div id="attachment_2197" class="wp-caption aligncenter" style="width: 272px"><a href="http://danceadvantage.net/wp-content/uploads/2009/05/picture-9.png"><img class="size-medium wp-image-2197" title="Curriculum Goal Chart" src="http://danceadvantage.net/wp-content/uploads/2009/05/picture-9-262x300.png" alt="Curriculum Goal Chart" width="262" height="300" /></a><p class="wp-caption-text">Click on image to view larger*</p></div>
<p style="text-align: justify;">The above image contains samples of various goals. Your opinions and experiences may often dictate what is considered <em>necessary</em>, though some skills have inherent prerequisites.</p>
<p style="text-align: justify;"><strong>Moving Forward</strong></p>
<p style="text-align: justify;">When I&#8217;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:</p>
<ol style="text-align: justify;">
<li>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.)</li>
<li>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.</li>
</ol>
<p style="text-align: justify;">
<div id="attachment_2201" class="wp-caption aligncenter" style="width: 310px"><a href="http://danceadvantage.net/wp-content/uploads/2009/05/picture-10.png"><img class="size-medium wp-image-2201" title="Curriculum Levels" src="http://danceadvantage.net/wp-content/uploads/2009/05/picture-10-300x238.png" alt="Click image to view larger" width="300" height="238" /></a><p class="wp-caption-text">Click image to view larger*</p></div>
<p><strong>Abstract Skills</strong></p>
<p style="text-align: justify;">Some skills are more abstract than others (for instance musicality, performance quality, etc.) but I like to consider these when focusing on curriculum planning &#8211; setting a few goals in these areas which I will strive to incorporate into daily/weekly classes. I do this simply because I don&#8217;t want to forget them. They may seem obvious to me but not to a less experienced dancer. &#8220;They&#8221; say that certain things <em>can&#8217;t</em> be taught &#8211; but I believe even these less tangible skills can be improved through thoughtful practice and encouragement.</p>
<p style="text-align: justify; font-size: 10px;"><span style="color: #333333;">*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!</span></p>
<p><span style="color: #003366;"><em><strong>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?</strong></em></span></p>
<p style="text-align:justify;">
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<p><small>© Nichelle Strzepek for <a href="http://danceadvantage.net">Dance Advantage</a>, 2009. |
<a href="http://danceadvantage.net/2009/05/12/curriculum-planning/">Permalink</a> | Category: <a href="http://danceadvantage.net/category/blog/" title="View all posts in Blog" rel="category tag">Blog</a>, <a href="http://danceadvantage.net/category/featured/" title="View all posts in Featured" rel="category tag">Featured</a>, <a href="http://danceadvantage.net/category/for-teachers/classroom-toolbox/" title="View all posts in For Classroom" rel="category tag">For Classroom</a>, <a href="http://danceadvantage.net/category/for-teachers/" title="View all posts in Teaching" rel="category tag">Teaching</a>  |  <a href="http://www.google.com/blogsearch?hl=en&q=http://danceadvantage.net/2009/05/12/curriculum-planning/" title="Linking blogs to this article, on Google"><em>Who's talking about this article?</em><strong></a> </small></p>
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		<title>Mustering their Motivation: Strategies for Engaging and Inspiring Students</title>
		<link>http://danceadvantage.net/2009/05/08/mustering-student-motivation/</link>
		<comments>http://danceadvantage.net/2009/05/08/mustering-student-motivation/#comments</comments>
		<pubDate>Fri, 08 May 2009 13:00:49 +0000</pubDate>
		<dc:creator>Nichelle (admin)</dc:creator>
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		<guid isPermaLink="false">http://danceadvantage.net/?p=1844</guid>
		<description><![CDATA[It can be hard to want to pour more of yourself into inspiring lackluster learners. But, as a teacher, you feel compelled to instill a passion for dance. So, how can you motivate students in a way that won't deplete your energy reserves?]]></description>
			<content:encoded><![CDATA[<div class="mceTemp" style="text-align: justify;">
<dl class="wp-caption alignleft" style="width: 297px;">
<dt class="wp-caption-dt"><strong><strong><a href="http://www.flickr.com/photos/listenmissy/1405182368/"><img src="http://farm2.static.flickr.com/1422/1405182368_7ad9cb95f0.jpg" alt="Photo by Missy S." width="287" height="179" /></a></strong></strong></dt>
<dd class="wp-caption-dd">Photo by Missy S.</dd>
</dl>
</div>
<p style="text-align: justify;"><strong>What do you do with an unmotivated student?</strong></p>
<p style="text-align: justify;">Ignore them and hope they&#8217;ll go away?</p>
<p style="text-align: justify;">Scream or threaten until you&#8217;re blue in the face?</p>
<p style="text-align: justify;">Let&#8217;s face it. These students have a way of either zapping or absorbing much of your time and spirit. It can be hard to want to pour more of yourself into inspiring these lackluster learners. But, as a teacher, you feel compelled to instill a passion for dance. So, how can you motivate students in a way that won&#8217;t deplete your energy reserves?</p>
<p style="text-align: justify;"><strong>1. Build Confidence</strong></p>
<p style="text-align: justify;">Frequently, when kids start refusing or resisting something it is because they believe or are afraid they can&#8217;t do it (no matter what kind of attitude or brave face they put on). Do your best not to skip over essential building blocks in technique, performance, and artistry and don&#8217;t hesitate to take a step or two backward if necessary. Taking things apart or breaking them down into parts allows students to put the puzzle together one piece at a time, slowly building their confidence through things they <em>can</em> do.</p>
<p style="text-align: justify;"><strong>2. Just Ask</strong></p>
<p style="text-align: justify;">Sometimes just changing your approach to students can make a difference. Try asking, in a genuine manner, what you can do to make class better for them &#8211; &#8220;I&#8217;ve noticed you don&#8217;t seem to like barre very much. Is there something I can do that will make it more fun?&#8221; Their ideas may surprise you! Maybe they&#8217;d like more upbeat music, maybe they get tired of doing the same exercises all the time, maybe they get frustrated with too many corrections. Consider also offering choices: &#8220;Would you like to do pirouettes or jumps today?&#8221; Be willing to compromise and open the lines of communication in a non-threatening and inclusive way.</p>
<p style="text-align: justify;"><strong>3. Go Figure</strong></p>
<p style="text-align: justify;">
<div class="mceTemp" style="text-align: justify;">
<dl class="wp-caption alignright" style="width: 294px;">
<dt class="wp-caption-dt"><a href="http://www.flickr.com/photos/listenmissy/118306355/"><img src="http://farm1.static.flickr.com/45/118306355_349b7b48fc.jpg" alt="Photo by Missy S." width="284" height="189" /></a></dt>
<dd class="wp-caption-dd">Photo by Missy S.</dd>
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<p style="text-align: justify;">Generally if a student is in your class they like <em>something</em> about dance! Make an attempt to discover what that one thing is. This may or may not be directly dance-related. Perhaps it is a portion of class, maybe it is the thrill of performing, it might even be socializing with friends.</p>
<ul style="text-align: justify;">
<li>If there is a portion of class the student enjoys, give him/her positive attention and feedback, especially during this part of class.</li>
<li>If the enjoyment does not come directly from movement, try to remind yourself  that not everyone will feel as <em>you</em> do about dance, and then find ways to allow your student(s) to enjoy the aspects of dance they are most fond of.
<ul>
<li>For instance, if it is socializing they want, make it a point to encourage socializing <em>outside</em> of class if possible (dance studio slumber parties, pizza parties when students earn enough points for behavior in class, etc.)</li>
<li>Or, occasionally <em>in class</em> (quiz days where the students can work together on a vocabulary game, 5 minutes to socialize at the end of a productive class, etc.).</li>
</ul>
</li>
</ul>
<p style="text-align: justify;"><strong>Be Crystal Clear<br />
</strong></p>
<p style="text-align: justify;">Be clear when giving instructions and be explicit and firm about what you expect from students. Let students know exactly what you are looking for and/or why you are doing certain exercises. If you expect them to get through a class without leaning lazily on the barre then say so when you set your ground rules. If you expect them to work hard for the 60 &#8211; 90 minutes they are in class, discuss the rewards for doing so.</p>
<p style="text-align: justify;">Be dependable so that students know what to expect from <em>you</em>. If they are not meeting your expectations, be consistent about not letting them compete, or perform, or remain in class for the day. If you are not sure you have the power as a teacher to enforce these things, talk it over with the studio owner.</p>
<p style="text-align: justify;"><strong>Encourage Critical Thinking</strong></p>
<p style="text-align: justify;">Instead of presenting students with conclusions and then offering examples to back it up, try presenting the examples first and let your students draw their own conclusions. &#8220;We have a dress code which requires you to wear a leotard, tights, and proper shoes. Why do you think we ask you to adhere to this code?&#8221; Or, &#8220;I know practicing the same exercises each week can seem boring. Why do you think we do it?&#8221; This engages students and allows them to feel like a participant rather than one who is being lectured. As a bonus, this encourages analysis and synthesis skills.</p>
<p style="text-align: justify;"><strong>Make Class Sensational</strong></p>
<p style="text-align: justify;">Dance may seem like it is already a very sensory activity, however, watching videos, looking at diagrams of important bone and muscles, manipulating objects that increase students&#8217; understanding of certain concepts or images, using touch or auditory cues &#8212; these things make the class interesting and can ignite curiosity and a desire to learn.</p>
<p style="text-align: justify;"><strong>Emphasize Mastery of Skills</strong></p>
<p style="text-align: justify;">Designing a method or methods of assessing skills helps students to set goals for improvement. When these goals are focused on clear levels of mastery, students feel less personal risk throughout the learning process. Their self-worth is at stake when their sole measurement is based upon placement in the front row of a dance, medals at a competition, or comparison to others. Many students will give up before risking making a mistake if they feel their value is dependent on these external evaluations of their abilities. Skill-based assessment encourages self-evaluation and motivates from within. (<strong><a href="http://danceadvantage.net/2009/04/23/the-value-of-praise/">Click here</a></strong> for more on encouraging self-evaluation)</p>
<p style="text-align: justify;"><strong>Perhaps you are thinking. Wait a minute, this sounds like an awful lot of work!</strong></p>
<p style="text-align: justify;">Yes, I suppose if you suddenly tried to do all of these things at once it would be. What&#8217;s great about all of these approaches to learning and encouragement is that there is no right or wrong way to get started. Change occurs with gradual steps in the right direction. I often have to remind myself of these core philosophies when dealing with uninspired students. Have patience with yourself. Pick one to try with your classes and take note of how students respond.</p>
<p style="text-align: justify;"><strong>Shouldn&#8217;t students just do things the way I want them to?</strong></p>
<p style="text-align: justify;">Sometimes I think teachers are inclined to believe that changing tactics for certain students or classes is akin to &#8220;caving&#8221; or &#8220;letting them win.&#8221; However, these strategies do not require that you relinquish your principles. In fact, they often allow students to see more clearly the reasons certain standards and ethics are important.</p>
<p style="text-align: justify;">Meeting students where they are is much more efficient than wasting your energy trying to drag them along with you. Though these strategies do take effort, they won&#8217;t drain your energy, they may even invigorate you! And in the long run, you may find you no longer need to beat your head against a wall, go hoarse from yelling, or waste time threatening or bribing unmotivated students. Class will be easier for you and your students &#8211; you&#8217;ll all enjoy the process a lot more!</p>
<p style="text-align: justify;"><strong>A Note on Playing Detective in Severe Cases<br />
</strong></p>
<p style="text-align: justify;">
<div class="mceTemp" style="text-align: justify;">
<dl class="wp-caption alignleft" style="width: 225px;">
<dt class="wp-caption-dt"><a href="http://www.flickr.com/photos/listenmissy/201934202/"><img src="http://farm1.static.flickr.com/57/201934202_512e912c20.jpg" alt="Photo by Missy S." width="215" height="137" /></a></dt>
<dd class="wp-caption-dd">Photo by Missy S.</dd>
</dl>
</div>
<p style="text-align: justify;">Sometimes lack of motivation can be a product of even deeper issues than lack of confidence. In severe cases, I try to play detective and get a sense for what is going on. Different tactics work for different kids. Sometimes a talk with the parents is needed. Maybe a one-on-one chat with the student. Perhaps it requires comparing notes with other teachers. Occasionally it&#8217;s all of the above.</p>
<p style="text-align: justify;">Find out what they&#8217;re afraid of or insecure about and try to remove or alleviate the fear factor. Are they feeling bullied by other students? (<a href="http://danceadvantage.net/2008/05/04/bullying-in-dance-class/">yes, girls bully too</a>) Are parents putting pressure on them &#8220;from the sidelines?&#8221; (also see our life as a dance mom guest post &#8211; <a href="http://danceadvantage.net/2009/03/05/life-as-a-dance-mom/">friend or fanatic?</a>) Are they comparing themselves to other students?</p>
<p style="text-align: justify;">Obviously, as a teacher, you may be limited in your ability to help. Sometimes, accepting that there is nothing you can do and suggesting that a negative or severely unmotivated student move on or try another activity is the best thing you can do for yourself, and for others around them.</p>
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<p><small>© Nichelle Strzepek for <a href="http://danceadvantage.net">Dance Advantage</a>, 2009. |
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