October, 2017
Let's start the first of our conversations with the topic of "Greetings."
I should quickly introduce myself. I'm Angela, retired from teaching in the public school system after 30 years. Most of those years were spent at Dulles High School as the Director of the Dulles Dolls. I've been dancing since I was 5 years old. I grew up in a ballet-based studio and went on to study at TCU. I received my teacher certification training at TWU. Over the years I've been a workshop presenter for many organizations and I have written several versions of curriculum for high school dance programs. My passion is giving students' first opportunities to interact in the world of dance. I love both ends of the spectrum: the beginners and the extremely advanced students. I call my post-teaching career business,
Danceable Thoughts. I love discussing everything from setting up a program to new approaches to choreography.
So let me offer you a few thoughts about "Greetings" in dance education!
I sat through many a staff development session with folks telling me to "meet and greet" my students at the door. I will admit that this was something I never fully achieved at 100% because it just wasn't realistic. I will never discourage this practice. In fact, I think this is a worthy, and lofty, and necessary goal for teachers of all types. Although as dance teachers I think we can redefine for what and where "greetings" are all about. I want to transform the vision of these greetings from school hallway to dance space.
As dancers, our greetings are not verbal, they are kinesthetic. We learn from the earliest experiences in class that we must communicate readiness. Body awareness is something we project from the moment we step in front of our students, our audiences. With dignity and a discerning eye, we might stroll to the front of the class to inspect the troop of our dancing soldiers who wait "at attention." There are those times when we stand eerily still, the pack leader among our apex dancing predators, anxious for the cue to pounce into performance. And then there are those mornings when we are the roost keeper, just doing our frantic best to herd the chickens. Every one of these roles is familiar.
The practical tip of the day is to create a non-verbal, non-negotiable way you and your students will communicate readiness and focus. You'll have to decide and rehearse it and give it time to develop into a reliable habit for your group. Don't think of it as "standing at attention." Give it a 21st century vocabulary and philosophy upgrade to something like "demonstrating your commitment."
I say that with the absolute least bit of sarcasm. Where a generation ago we were told to "stand at attention" and we complied out of deference to the rules and regulations... now we need to address a new way of thinking, so instead, ask your students to actively and purposefully focus their attentions and INTENTIONS to your group's goals for the day.
I picture myself and my peers in the early days in dance class as a little chicks, chirping and hopping around waiting enthusiastically for class to start. Miss Beverly would call our individual names and we would walk across to her, give and receive a little curtsey and then we'd take our place at the barre. To some this might seem limiting and entirely top deferential like the 16th century royal court customs from which so much of ballet derives. But to an impressionable little ballerina, this was my moment to shine and be recognized, face-to-face time with my dance idol. Now as a wise, old dance teacher, I wonder was it partly because it was a way to herd the chickens? Was this classroom management? Or was it the way she set the environment in which we learned to love and respect our class, our teacher, our art form?
Whatever purpose those first interactions were for, I classify the experience as a "Greeting" and one of the ways dance experiences trained my brain to focus. Undeniable, Transferable Life Skill.
So let me offer you a few thoughts about "Greetings" in dance education!
I sat through many a staff development session with folks telling me to "meet and greet" my students at the door. I will admit that this was something I never fully achieved at 100% because it just wasn't realistic. I will never discourage this practice. In fact, I think this is a worthy, and lofty, and necessary goal for teachers of all types. Although as dance teachers I think we can redefine for what and where "greetings" are all about. I want to transform the vision of these greetings from school hallway to dance space.
As dancers, our greetings are not verbal, they are kinesthetic. We learn from the earliest experiences in class that we must communicate readiness. Body awareness is something we project from the moment we step in front of our students, our audiences. With dignity and a discerning eye, we might stroll to the front of the class to inspect the troop of our dancing soldiers who wait "at attention." There are those times when we stand eerily still, the pack leader among our apex dancing predators, anxious for the cue to pounce into performance. And then there are those mornings when we are the roost keeper, just doing our frantic best to herd the chickens. Every one of these roles is familiar.
The practical tip of the day is to create a non-verbal, non-negotiable way you and your students will communicate readiness and focus. You'll have to decide and rehearse it and give it time to develop into a reliable habit for your group. Don't think of it as "standing at attention." Give it a 21st century vocabulary and philosophy upgrade to something like "demonstrating your commitment."
I say that with the absolute least bit of sarcasm. Where a generation ago we were told to "stand at attention" and we complied out of deference to the rules and regulations... now we need to address a new way of thinking, so instead, ask your students to actively and purposefully focus their attentions and INTENTIONS to your group's goals for the day.
I picture myself and my peers in the early days in dance class as a little chicks, chirping and hopping around waiting enthusiastically for class to start. Miss Beverly would call our individual names and we would walk across to her, give and receive a little curtsey and then we'd take our place at the barre. To some this might seem limiting and entirely top deferential like the 16th century royal court customs from which so much of ballet derives. But to an impressionable little ballerina, this was my moment to shine and be recognized, face-to-face time with my dance idol. Now as a wise, old dance teacher, I wonder was it partly because it was a way to herd the chickens? Was this classroom management? Or was it the way she set the environment in which we learned to love and respect our class, our teacher, our art form?
Whatever purpose those first interactions were for, I classify the experience as a "Greeting" and one of the ways dance experiences trained my brain to focus. Undeniable, Transferable Life Skill.
My chickens, your chickens... I'm a chicken, you're a chicken. We're all hopping around enthusiastically. We've got a lot of energy to direct but not necessarily confine to a coop.
"Greetings" from me to you as you begin your own quest and explorations as future dance educator!
"Greetings" from me to you as you begin your own quest and explorations as future dance educator!
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