Teaching Dance

In my tagline for this blog I write...”navigating the shifting seas of life as a dance-maker, teacher, and buddhist.” Since different people have different definitions--as well as different (mis)understandings--of what being Buddhist means, it might be helpful (at least for me) to clarify my personal perspective. The teachings of Siddhartha Gautama (a.k.a. the Buddha) have spawned a wide variety of traditions, beliefs, and practices--some religious, some philosophical. From my perspective, I embrace Buddhism as a philosophy, not as a religion. I believe Siddhartha’s original teachings were not meant to be religious or metaphysical. Although, he did allow that an understanding that still included many of the folk traditions, rituals, and myths of the respective cultures was acceptable until a deeper understanding was reached.  So, I don’t buy into the magical/mythical/metaphysical attributes to which some traditional Buddhist perspectives adhere. Rather, I see the metaphysical asp

So, how can the Graves framework be incorporated and applied to dance education? I think it can offer an organizational structure for college dance students that will introduce conceptual thinking toward their craft. While not all undergraduate students would care to understand the development of dance beyond the platitudes they often hear, some may gain a greater understanding of the ideas behind the movements.    Of all the arts, dancers are often saved from the rigors of intellectual thought because we are physical artists and not to be labored with such thinking. However, I believe that this is an old Cartesian modernist mind-body prejudice. Presenting the information will at least give those dancers that are interested the ability to grow into knowledgeable, passionate, thinking artists. And for those who would rather not consider it, we would just accept that they are in the state that suits their current psychological conditions. At the dance studio in Long Island I mention

Graves suggests the next level beyond Relativistic postmodernism is the Systemic state. The Systemic state builds off of the strengths and weaknesses of the Relativistic state. The pluralistic relativism that postmodernism brought to our society insisted on seeing all states as equal in order to upend oppressive hierarchies. In seeing traditional dance as equal to classical as equal to modern as equal to postmodern, relativistic thinking ignored the natural increase in complexity and growth. Systemic thinking, in contrast, embraces this pattern of development as a natural, not oppressive, hierarchy. Systemic thinking believes that universals do once again exist, but that most of what we understand is contextual and we could never know for sure that the universals we personally believe in are indeed universal. Therefore, Systemic thinking is comfortable with paradox. Beauty does not lie in the object alone, or in the artist alone, or in the viewer alone. Beauty lies in

Following the Absolutistic and Multiplistic states, Graves called the next stage of development the Relativistic state. With the Relativistic state, we enter the world of contemporary postmodernism. Beauty is no longer absolute—it is, “created by culture and determined by human view” (Martin-Smith). No universals exist. It is personal to the extreme: whatever the artist says is beautiful is beautiful. Personally, when I tired of the achievement oriented modernist uptown dance scene in New York City, I started to explore different approaches in order to find a more personally relevant voice. And, as my body no longer had the elasticity and bravura strength of my youth, I explored ways of moving that were not simply about spectacular displays of skill. And in this exploration, I started to choreograph. Unfortunately, my palette of movement options was greatly limited by my technical training. I was becoming postmodern in my thinking without an awareness of the postmodern movement i

The transition for Graves from the Absolutistic to the Multiplistic existence surfaces in a change from “a submissive state to one of selfish independence”. The shift from Medeival Times into The Enlightenment is the large-scale rendition of this transition. It is Multiplistic because now there are a plurality of right answers—not just one. In the case of the dancer, she begins to question the dogma she has been reared on in order to find the way, perhaps the style, that works for her personally. My final year of college I started to doubt my discipline. I mean, I embraced how it helped me become a much stronger technician than I was when I began, but I no longer idolized classical ballet or Graham technique. I wanted, at that time and for years after, to find the technique or techniques that best helped me improve. For me, that came when I was introduced to Horton technique from a guest artist workshop with Milton Myers. Conservatory programs often straddle the line betwe

When the Egoistic dancer looks for greater meaning and the traditional and popular forms of dance (Tribal, Folk, Social, Ehtnic) are codified into a canon, the classical forms emerge—like Bharatanatyam (one of eight forms of Indian classical dance) or classical ballet . In the western world, ethnic court dancing transitioned into classical ballet with the canonization that came from Pierre Beauchamp and Jean-Georges Noverre . For the purpose of this series of posts, which follow the development of western concert dance, I will focus on ballet as the exemplar of the classical credo. Classicism fits in with the Gravesian framework in the Absolutistic state of thinking. Graves wrote, “Thinking at this level is absolutistic: one right way and only one right way to think about anything”. From a classical/absolutistic perspective, there is one superior form of dance. All other forms are barbaric or the work of savages who are not sophisticated enough to appreciate the object

From the group cohesive value systems in Traditional tribal, folk, and social dance, individuals emerge with a desire to express themselves, displaying their prowess, in contrast to others--meeting the needs and motivations of the Gravesian Egoistic system. Here, the individual discovers what Graves calls the “awareness of self as a possibly powerful being separate and distinct from others.” This is found in courting dances, recreational dance studios, Ethnic dance, and entertainment or commercial dance. Courting dances, from those found in the rituals of traditional cultures to the pea-cocking behavior of contemporary college students dancing at the local bar, exhibit traditional Egoistic motivations. On a more personal level, I started dance classes at thirteen and enjoyed the camaraderie of my classmates more than anything else. I felt I belonged within the group. Over time, I began to gain confidence in my ability and wanted to explore how I could express my individual prowes

The use of the word ‘traditional’ in dance often describes anything that is older or preceding the current point of view. For instance, to Martha Graham and her disciples, ballet is a traditional dance form, but to members of the postmodern Judson Church movement, Graham’s technique is a traditional modern dance form. While each form and paradigm has its traditions, I use 'traditional' as it refers to the perspectives that pre-date classical, modern, and postmodern times. For dance, this includes tribal and folk (or social) dance. Traditional dance, as I describe it, aligns with Graves’ Tribalistic system. In the Gravesian Tribalistic system, people “develop ritualistic ways full of totems and taboos which is their way to control by incantation and of assuring themselves that they are going to continue to have that which is necessary to take care of their basic needs” (Graves 219). Tribal dance, first and foremost, serves the needs of the group and is tied inextricably

I am going to boil down Graves' Emergent, Cyclical Theory of Human Existence (what a foreboding title) to three main ideas for understanding dance and artistic movements/eras/paradigms. 1. Motivations Change  Graves proposes that there is not one set of motivations and needs that we humans live by. Rather, that our motivations and needs evolve as we mature because “humans tend normally to change their biopsychosocial being as the conditions of their existence change” (Graves 507). Perspectives and worldviews shift as we evolve; the absolutist viewpoint of the medieval Catholic Church has shifted over time into a pluralistic viewpoint that allows for a variety of interpretations. As our understanding of the world and our thinking develops, so too does our understanding of art.   2. Develop Through States  Graves research suggests humans psychologically develop through states of existence and “that each system has a general theme for existence which typifies it”

This past October I presented my paper, Dance Movements: From Traditionalism to Postmodernism and Beyond , at the National Dance Education Organization annual conference in Minneapolis. I am excited by the conversations that it sparked and have been thinking of different ways to share the information so that more discussion and feedback could be generated. I am going to try to include it on this blog as a series of posts. So, consider this post number one--the introduction. I should start by explaining that this whole inquiry began with a lesson I learned long ago: a sustained career in dance—whether it be a performer, teacher, or choreographer—is not about being the best, but about being the best fit. I do not simply refer to the cliché where the dancer who gets the job is the one who happens to fit the costumes of the person who they are replacing, although that does apply. Instead, I refer to the idea that there is not one ‘best’ dancer, teacher, or choreographer. There are o

At the National Dance Education Organization annual conference in Minneapolis this past week, I participated in an interesting workshop that I’d like to share. David Alexander, Education and Community Initiatives Advisor for Boston Ballet, explained how several years ago Brown University actively recruited retiring professional dancers from Boston Ballet for admittance into their undergraduate programs.  David explained, "They saw these dancers, perhaps by their virture of their training, experience, and general positive work ethic as good investments, and great ambassadors for the university's 'Mature Adults Returning to Study' [MARS] program." He added that a few years ago, two researchers from Boston College and Harvard University--Ellen Winner and Lois Hetland--studied the personal habits of students involved in intensive arts training and experience and discovered '8 Habits of Mind' which might explain the university's interest in recruiting t

Warning: nerdy dancer jargon incoming. Today I subbed ballet classes for Maddie D. and I introduced the upper level students to the concept from Luc and Rebecca’s book (and workshop) about using the double spiral in pirouettes. In a nutshell, in the preparation for a pirouette en dehors from fourth position to the right, the diagonal through the torso from the left arm in a la seconde to the right hip are in a secondary spiral. Before turning, you collapse the spiral toward primary. The body coils like a spring and then releases into the pirouette. This is a really remarkable thing to feel and see when done right. For many of my students the results were immediate and exciting--floating, effortless, well-placed pirouettes where there used to be struggle and strain. However, it did not work for all of them. Some of the students were so entrenched in their habitual turning patterns that they could not let go of those habits to make room for this new exploration. This is where I m

I presented my presentation! It felt great and I am excited with the ideas and conversations that followed from those in attendance. It was really kind of Luc and Rebecca to come to my presentation when they had a workshop for their book Dance and the Alexander Technique following right after it. After I finished, I rushed back to the hotel and changed so I could take their workshop. Their book, which I own and use, provides the missing link for applying Alexander Technique in a practical way toward teaching dance (no matter the style). What resonated with me this particular workshop was the use of the spirals in turning. I look forward to exploring it with my students this week. The closing ceremonies consisted of the presentation of a lifetime achievement award for Anne Green Gilbert, a Bill Evans piece choreographed on college undergrads in attendance, a 50-and-over dance performance, and a reception. Curious note: the dance educators are so tame in comparison with the Americ

Day 2 of the conference began with an early breakfast/awards/business meeting. That was followed with a jazz class with Billy S. His dynamic energy comes out not only in his class but in the way that he talks and walks. Truly the only instance in my life where, with all seriousness, I can call someone a true “swingin’ cat.” Over lunch I did some work on my presentation and then found an Office Depot to reprint my handout. While checking out the white board setup in the space I will be presenting in I ran into Shirlene from Long Island School of the Arts. It has been about 10 years! She was great to work for and with and I get a kick out of how simultaneously both big and small the dance world is. I attended a panel discussion on collective/collaborative models of dance making. It brought up many questions for me about the modernist ‘one person/one vision’ company model versus the project-based model versus the collaborative and collective models. A couple of the panelists were tr

Incredible first day at the conference--over 900 people in attendance. Saw my professor Kaye (from Akron U over 18 years ago) give a presentation with Brian (who I danced with in GroundWorks Dance Theater some 13 years ago). Took a master jazz class with a group of incredible, masterful teachers: Karen, Thom, Patricia and Darwin. They were truly inspiring...and, my friend Billy (also one of our great living master jazz dance teachers) was in class with me. Got to tap with Anita (I have used her book for years) in a workshop she presented on collaborating with a composer. Attended a presentation by Yo-el who I had danced with in one of the 5x5 Dance Festivals (can’t remember if it was a NYC or CT one). He teaches modern for Boston Ballet School and was there with a researcher who demonstrated (experientially) a way to use research in dance education--specifically in the classroom. After grabbing a quick bite to eat, I met up with a whole group of jazz dance educators at the hot

Last night I went to a kirtan (featuring Jai Uttal ) with Melissa and our friend Jennifer. This was my second time going to one, but the first time was only a month ago (thank you Pia for hosting my first experience). Before that, I had no real idea what a kirtan was. For those of you who know about kirtans , please excuse the simplistic, uneducated, and incomplete explanation that I am about to go through for those who are as uninitiated as I. A kirtan is chanting done in a call and response format. Each chant can go on for quite some time--reminiscent of a jam band (think Blues Traveler or Grateful Dead). But, instead of pithy contemporary lyrics, the chants are incantations to Hindu gods and goddesses. The percussion and accompaniment bring the chants to an ecstatic frenzy at times and people burst out in dance. I enjoy the music, the talent of the musicians, and the jubilant participants, but I am sing-a-phobic. I dread singing out loud, especially if I think the person sitti

With all the political debate brewing this election cycle, I am trying to drink it all in from a buddhist perspective. So far, I find that I am fascinated by the passion-drunk discourse certain topics create, mixing truth and fiction. In buddhist philosophy, final validation for truth comes from reason and logic in ways that are very close to the scientific method. Sometimes I wonder if people and candidates are really interested in reaching the truth of an issue or just enjoy picking sides and verbally 'duking' it out. Today, fact and fiction-believed-passionately are often conflated and confused. I remember in elementary school learning the difference between fact and opinion. This seems like a lesson we, as a collective, could revisit--at least for some of our politicians. Imagine this: before you stand two doors and you must go through one of them knowing that one will lead you to safety and the other to certain death. With you in the room are 100 people who have been

Tree uprooted in park two doors down. Notice Buddha's favorite bench. Hurricane Tropical Storm Irene visited Ridgefield this past week. She knocked down two hundred trees in town and left most of us without power for a period of time. Luckily, the only damage was to 'things' and not 'people'. We are fortunate. I think it is appropriate as I write this on Labor Day to recognize the incredible work of all the people in the community and from communities far and wide that pitched in to help out our little town. First, there were the police, firefighters, city workers, and EMS who were out in the storm making sure we were all safe so the rest of us could afford to tuck ourselves away in our homes. When this tree fell and blocked the road around 7:45 am, it was cut and cleared away for emergency vehicles to pass within the hour. Keep in mind, the eye of the storm was passing around the same time someone was out their with a chainsaw clearing the way. Then th

I am sitting in Starbucks (my unofficial office/study) doing research and came across this quote from Howard Gardner that, juxtaposed with Michele Bachmann's interview on Meet The Press this past Sunday (yes, this her second appearance in my blog ), distracted me from my work. Bachmann's 2004 statement that being gay was "part of satan" and her insistence on Meet The Press Sunday that she was not being judgmental seem insincere to me. Can you really say one thing and claim the other? If you are going to stand in judgment then own up to it. Their would at least be integrity in that (albeit misguided). The need for her to hide behind the nicety of "not being judgmental" suggests that something might be off--either in logic, thought, or in the balance between her beliefs and the public she is speaking to and hoping to represent. Now, am I being judgmental about her lack of integrity? You bet. At least I admit it.  But are her ideals and beliefs

The word “contemporary” in dance is often confused, misused and abused. As a performer and teacher of contemporary dance (holding a master of fine arts degree in contemporary choreography and performance), I am often challenged by the tricky task of answering the questions: What is contemporary dance? What is the difference between modern dance and contemporary dance? and What is the difference between ballet and contemporary ballet? It is no wonder there is widespread confusion. The word “contemporary” is used in a multitude of unrelated ways in dance today. If you go to see a contemporary dance company like Bill T. Jones/Arnie Zane Company , it will in no way resemble the contemporary dance category on television shows like SYTYCD where they actually present contemporary jazz. The very “modern” Martha Graham Dance Company runs a school called the Martha Graham Center of “Contemporary” Dance . Ballet companies that exclusively apply modern era principles to ballet choreography

When I consider the combination of the confrontational political atmosphere of today with the instant (no thought necessary) medium of tweets and status updates, I shouldn’t be so surprised by some of the mindless statements people make. Yet, I am surprised. And bothered. And I really can’t sit around being all “zen” about it. It’s not the politics itself; it is the confusion of opinion with reality and the intentions underlying the statements. Yes, we are all entitled to our own opinion. But that doesn’t mean all opinions are equal. If I believe the moon is made of moon rocks and you believe the moon is made of Swiss cheese, these beliefs are not equally valid. Enter Michelle Bachmann. "I wish the American media would take a great look at the views of the people in Congress and find out: Are they pro-America or anti-America?" -Rep. Michelle Bachmann, Oct. 2008 ( more quotes ) Politics aside, claiming that any of our representatives in Congress are anti-American is