Four Holistic Teaching Approaches for Producing Well-Rounded Dancers
Hello all fellow dance teachers. My name is Lisa Calverley and I have been teaching dance (contemporary and ballet) for over 30 years. I have taught in British Columbia, Quebec and Alberta. I did not intend to become a dance teacher. In both my post-secondary dance programs we studied pedagogy classes, but at the time I felt that my true goal was to dance and not teach. It wasn’t till after I graduated from my programs and was needing regular work that I fell into teaching. It seemed a better option than working at a coffee shop while dancing (I did that too!) – but, as I went through my first years of teaching, I fell in love with it! My first years of teaching were learning through experience (and I had much to learn), hopefully not to the detriment of my students. Here are four specific ideas I feel are important in teaching that I have discovered for my own classes over the years.
Teach conceptually.
Don’t just go through the motions of teaching technique by going through plie, tendu, etc. to check off the list. Look at the bigger concepts that need to be taught to dancers. This does not mean you will not teach technique, and even steps, but rather the way in which you teach these will be more intentional. Some of these bigger concepts, that often are forgotten to be taught but are absolutely necessary are: spatial awareness, the use of fluid transitions, timing and unison work that utilizes perception, use of dynamics, utilizing the core, how to use imagery effectively (Eric Franklin has some really good books on this), understanding weight and grounded-ness (to name a few). When I use imagery in dance class, I give a wide variety of images (even some really wacky ones!) because each student is unique and each one connects to something completely different. Throw a variety of images out there, even if your students look at you in a funny way. I know from my own experience of dancing that imagery really helped me connect with movement. Wouldn’t it be fun to share all the images our teachers in the past, as well as ourselves as teachers, have used and which ones really helped?! These elements (bigger concepts) will not just happen automatically but must be explicitly taught and are as important as teaching pirouettes, grands jetes, etc.
For example, how many of you have had students execute a dance quite well in class only to have them disoriented once they get to a new performance space, such as the recital stage? We need to prepare our students by getting them comfortable in any spatial setting. I like to change the facing of a dance regularly and without marking ahead of time. That way my students get comfortable with adjusting to their space through the practice of this skill. Often my combinations in class change directions and use different facings and levels, so as to get the dancer comfortable and oriented with the 3-dimensional space (rather than have them heavily dependent on the front). The dance classroom should be a place that is safe to make mistakes and mess up, and I would argue that the best way to learn is by making mistakes and learning to self-correct, much like how one learns to read.
When teaching timing, do we only rely on counts or do we also teach about phrasing and musicality? Let them listen to the music, have them clap out the rhythm or sing (even if you’re not a great singer) for understanding lyricism. Create combinations that play with musicality: slow down, speed up, use counter rhythm, stops and pauses, and accents in various places. Do we teach how to use our senses to make sure that we are completely in unison, so that we learn how to move as one body? Have dancers explore mirroring each other as they face each other, or moving as they feel others move beside them (without seeing them). When working on grands battements stop and implement a release exercise on the floor, so that students can understand the release of the hip necessary for executing a kick. Have dancers close their eyes when balancing so that they have to engage their core to not fall over. Each month, week, or class pick a theme or something specific to work on. This theme could be anatomical, such as working on widening the back (shoulder blades), articulating the metatarsal, opening up eye and head focus… or it could be the element of expression. I encourage the teacher to learn about Rudolf Laban’s Efforts and there are many good books on this.
Even the way we teach technique can be done in a conceptual manner. Don’t just teach steps! What does this mean, and how does this look? I remember my teachers yelling at me to, “put my shoulders down” or to “make sure my hips were square”. But I don’t think I even knew how to do this. We can use multi- sensory information such as tactile cues (such as touch), very articulate verbal information (telling), visual information (showing), etc. By showing and telling dancers to drop the shoulder blades down and out to widen the back in order to have the shoulders drop, the dancer learns an anatomically-sensitive way of dancing. Hopefully then they will not just quickly push their shoulders down every time you, as the teacher yell at them, but rather be able to feel what is happening and even self- correct! This is especially helpful when we are bringing in contemporary technique, such as off-center balance, or complex spine work such as contractions. In this way, we are teaching our students to have a kinesthetic awareness; which is, among other things an awareness of movement and position of ones’ body parts and the sensory experience as we move.
Teach adaptability in a systematic manner.
What are some of the things that a dancer needs to be adaptable in? Timing, spacing, relationship to other dancers, quality, force used (gentle or strong), to name a few. Be diligent in planning your classes thoughtfully, leaving some room for spontaneity. I still use a teaching notebook to write class plans (though I use them as a way to process my class rather than feeling glued to my notes). In planning, stay away from symmetrical, predictable exercises. Even young students need to learn phrasing from the start. Rather than the students’ “dance routine” and students’ “class” being separate in the skills taught, integrate them. Teach them exercises that would have phrasing similar to the phrasing of a routine. Students need to learn to dance all throughout class, not just during their routine, so continually remind them of this. Address expression and performance during their barre exercises or floor exercises. Repeat an exercise but with different dynamics. Add improvisation into class. Take a break from technical exercises to allow students to explore their space through a guided improv in which students dance around other dancers, sometimes interacting with the others in the room and sometimes keeping their own bubble of space. This is excellent for spatial awareness. Take a detour in class to work on the floor (when teaching any style), utilizing strengthening exercises and release exercises. This detour should not be random, but rather should work specifically on what you, as the teacher, are working towards. Teaching movement on the floor can be a great systematic approach because the floor can be used as a guide; This way the student avoids falling into bad habits. The teacher can help the student feel their posture on the floor, use gravity as resistance, and implement many amazing exercises that can be a stepping stone to understanding how a movement should feel when standing up. Don’t save this kind of teaching for just the advanced students. Right from the start teach young students’ adaptability as well. Some of your students may be shy to do some of these exploratory exercises and may even think you are a “little weird”, but do not let their initial reactions dictate how you teach or if you will abandon the exercise. Keep confident when bringing these exercises into class and eventually the students will adjust and engage in them.
Be authentic.
The goal of authenticity is valuable. Find your unique voice as a dance artist and teacher. Don’t get distracted by what others are doing or by comparing yourself to other peers. Be convicted in your strengths, ability, style, preferences, and form. I spent time before teaching or after teaching in the studio, as well as in my free time, to really hone my authentic voice in movement, style, choreography, as well as ideas for class. I cannot stress enough the importance of spending time alone in the studio (or your own empty dance spot at home). Finding your own voice does not mean to negate being inspired by other influences, nor to stop being challenged to grow and develop.
Seek out professional development.
Professional development is highly important as a teacher. The best teachers are those who are always learning. You need to continually stay fresh in what you teach. Watch dance performances, read books and articles (on anatomy, dance, choreography), take workshops, take other classes that are different from your chosen style/s (though I teach contemporary and ballet, I have taken Karate, Flamenco, Khatak (Indian), Bartenieff, release work, Pilates, Floor Barre, Gaga, and more…). I do not copy them, but rather use them to influence, inform, and challenge my craft. Network and share with and learn from other teachers. We need to create a community of dance teachers and artists who exchange and encourage one another so that we can be the best that we can be.
Dance is both sport and art. We need to teach with an anatomical framework in mind (making sure to relay solid technique and safeguard our dancers from injury and bad habits) but we also need to teach artistry. I feel we need to reclaim dance as an artform. This may mean going back to its pure roots. There is nothing more beautiful than movement from a pure, solid foundation. I am not saying that it is taboo to ever incorporate tricks into a class or choreography (when done safely and with proper technique), but I feel that dance is going too much in this direction so that it is expected in a piece, and expected at young ages. Do not bow to peer pressure from other studio’s, parents or students to make your work acrobatic, exciting, cutting edge, and entertaining. Stay true to your creative ideas and style – always aim for authenticity. You can set this bar as a teacher. As you stay committed to who you are as a teacher you will gain respect over time. I know at first with some of my students they questioned my approach, but over time I gained respect and trust. I did not let these initial doubts sway my convictions and intentions in teaching.
So, to recap here are my 4 main points: 1) Teach conceptually, not just teaching steps 2) Teach adaptability to students in a systematic manner right from the start 3) Be authentic in the way you teach, choreograph, and conduct your classes and interactions with parents and peers, and 4) Continually seek out professional development and hunger to learn and grow.
