Teaching Dance

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