7.4: Different Learning Styles in Dance
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- 292833
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)A learning style is a learner’s individual approach or preference in how they acquire, stores, recalls, and uses knowledge (Dunn et al., 2009; Pashler et al., 2008). Everyone is smart in some way. Intelligence is not fixed at birth. Intelligence can be cultivated and activated. Intelligence is cross cultural. Intelligence resides in the physiology of the brain. Before Howard Gardener (1999) theorized the 7 (now 9) different intelligences, “smart people” were validated in either mathematic and verbal tests, IQ tests, something that can be recorded on paper. Gardener’s message rather, focuses on: We ARE Smart. Not HOW smart. Intelligence is not just doing well in school; it comprises different aptitudes for living and learning. A nexus for the theory and practice of dance instruction is where a dance teacher recognizes and accommodates different learning styles by using creative pedagogy. Though an argument could be made for many ways that a dancer might access information, for the purposes of pedagogical structuring a standard dance class, this chapter will focus on four primary learning styles for dance:
- Kinesthetic (learning by moving)
- Tactile (learning by touching, feeling)
- Visual (learning be seeing)
- Auditory (learning by hearing)
Kinesthetic, Tactile, Visual, and Auditory.
Different people learn differently and as dance teachers, we tend to teach others in the way we prefer to learn or in the way our teachers taught us. As we develop our own pedagogical strategies for sharing dance knowledge, beware of any tendency toward one learning style. Perhaps you, as a dance student yourself, needed tactile instruction where your teacher had to manipulate your elbow in ballet class to formulate the correct posture and port de bras in second position. But other students do not feel comfortable being touched and prefer to watch a combination, relying on visual intelligence to access information. One teaching modality cannot serve an entire student population. So, in order to reach every student in dance class dance. If they are in your class, they WANT to learn. It’s your job to be ABLE to teach them.
(Howard. (2020, Jan 1). Illustrative image of Howard Gardner's theory of multiple intelligences. https://commons.wikimedia.org/wiki/File:Multiple_intelligences_of_Howard_Gardner.png)
- Verbal-linguistic intelligence (well-developed verbal skills and sensitivity to the sounds, meanings and rhythms of words)
- Logical-mathematical intelligence (ability to think conceptually and abstractly, and capacity to discern logical and numerical patterns)
- Spatial-visual intelligence (capacity to think in images and pictures, to visualize accurately and abstractly)
- Bodily-kinesthetic intelligence (ability to control one's body movements and to handle objects skillfully)
- Musical intelligences (ability to produce and appreciate rhythm, pitch and timber)
- Interpersonal intelligence (capacity to detect and respond appropriately to the moods, motivations and desires of others)
- Intrapersonal (capacity to be self-aware and in tune with inner feelings, values, beliefs and thinking processes)
- Naturalist intelligence (ability to recognize and categorize plants, animals and other objects in nature)
- Existential intelligence (sensitivity and capacity to tackle deep questions about human existence such as, "What is the meaning of life? Why do we die? How did we get here?" (Source: EBC, 2004).
Being art smart is real! Brain research uncovered how differently the two lobes of the brain function and process information. Gardner’s (1999 [1990]) theory has veracity as society and scientists have begun to acknowledge that music, arts, dance, and movement are valid forms of intelligence. So, as dance teacher, we must aim to engage our students kinesthetically, to heighten body-mind connections. Spatial intelligence --- bodily kinesthetic skills --- musical skills.