7.7: Ok – Let’s Teach! Moving from Theory to Practice

There are Four Cornerstones of Dance Education, as outlined by Brend Pugh McCutchen (2006) which comprise what she calls holistic dance curriculum. The hallmarks of holistic education emphasize the inclusion of diverse perspectives, traditions, experiences, and identities (Florencio-Wain, 2021). In terms of the four cornerstones of dance education, this idea of diversity and holism is in line with the four artistic processes outlined by the National Core Arts Standards in Dance (National Core Arts Standards in Dance) which include:

1. Dancing and Performing
2. Creating and Composing
3. Knowing History, Culture, & Context
4. Analyzing and Critiquing.

Figure 7.6. The Four Cornerstones of Dance Education

(Image from http://www.dancecurriculumdesigns.com reprinted by permission from Brenda Pugh McCutchen, DBA Dance Curriculum Designs, December 6, 2024.)

Dancing and performing is comprised of creating activities where students perform dance choreography, drills, or stage performance. Creating movement ss well as composing creatively choreographed sequences engages dancers in the act of creation, which is a higher order thinking capability (Anderson & Krathwohl, 2001). Teaching dance history, Culture, & Context (Students Connect), and 4) Analyzing and Critiquing (Students Respond).

By setting expectations for technical, artistic, intellectual, and cultural a teacher has challenged their students to be empowered to grow. When students build the capacity to perform dance, create movement phrases, connect with dances around the world, and respond to artistic productions as well informed, knowledgeable, and compassionate in their community of practice, a dance teacher can be assured that the learning outcomes of their curricula has been successfully animated in the collaborative and shared spirit of responsibility and democracy (Neem, 2018). Instead of an expectation of deficiency (Ladson-Billings, 1995), by expecting students to achieve the required expectations is to teach teleologically, or purposefully.

That is not to say that a teacher is exempt from the burden of finding strategies to motivate their students to meet the expectations. Teachers must encourage dancers to be curious and engage in moments of self-education. The Interstate New Teacher Assessment and Support Consortium (INTASC) outlined ten topics in which a dance educator should be proficient. Use the outline of the INTASC 10 Core Teaching Principles when determining your qualifications for this profession (INTASC, 2002).

1. Subject Matter Knowledge
2. Child Development
3. Diversity of Learners
4. Instructional Strategies
5. Learning Environment
6. Communication Techniques
7. Integrated Instructional Lesson Plans
8. Assessment
9. Self-Reflection/Professional Development
10. Community Involvement

Going forward, our deep dive into dance pedagogy will require some deep dives into yourself as you consider being a dance teacher. Please assess your ability as a dance teacher to achieve each of the core principles, were you in front of a classroom today? What would you teach? What kind of learning experiences would you aim for? Supply an example of how you might meet the social or intellectual development of your students. How would you create student interaction that would achieve your dance objectives? Explain how one movement builds onto another in your style of choice. Assess your professional development and what you need to be more successful? How might you involve your community to engage and support augmented student learning? (McCutchen, 2006, p. 60).

Figure 7.7. Dance educators should keep principles of child development at the forefront

(WWWBergen. (19 December 2014). International Dance Academy, Norway. A privately owned academy, run by professional dancers who are specialized in classical ballet and theatre dance. They provide daily classes, for those who just love to dance! Picture: Cinderella Ballet - Academy performance 2014. https://commons.wikimedia.org/wiki/File:International_Dance_Academy,_Norway.jpg)

Effective and impactful dance teachers must address the varied levels in a classroom. The only way to achieve this is to keep the group on task, while also simultaneously meeting each dancer as an individual at their different stage of development. If we are to teach the individuals within the group, we must conceive of our classroom as filled with individuals in a class, not a “block” of learners. There are many different temperaments, moods, shapes, sizes, ethnicities, economic and homelife circumstances, and dispositions in each student. If the dance instructor recognizes and relates to each sovereign individual in their class, they will be on track as an effective and impactful dance educator.

In order to demonstrate that a teacher values their students, always provide feedback. Validate successful attempts as well as signs of artistic growth and use these as classroom examples. But remember, dancers not only learn from the feedback from their teacher; Dancersalso benefit greatly from feedback from their peers! Peer review is constructive critique and helps fellow classmates own their own knowledge. They are co-agents of success in the classroom. Critique is not flagrant criticism! Student peer reviews should be guided and challenged to supply three corrections, and one compliment! Peer review is one way to foster inclusivity.

Figure 7.8. Universal Design for Learning

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Universal Design for Learning (UDL) (CAST, 2020) fosters a principle of student voice and choice. This, in turn, cultivates inclusivity in the classroom. Modeled with culturally responsive pedagogy (Ladson-Billings, 1995) and the authentic support of diversity, inclusion in the dance classroom is diversity in action! Teachers who are adept to create teaching moments where there is unity and richness in the dance classroom (Jensen, et. al., 2018), are placing curricular and instructional emphasis on codified technical skill building, improvisational creativity, knowledge about world dance history which shines a light on diversity and cultivate cultural competence.

Figure 7.9. Engaging with the community, AXIS Dance Company breaks stereotypes about disabilities through dance workshops

(https://commons.wikimedia.org/wiki/F...095840060).jpg)

As an example, the integration of other-abled people, or dancers with disabilities, is featured in Figure 7.9., the U.S. Embassy in Israel initiated a program and invited the American group, AXIS Dance Company to integrate professional dancers, some of whom also have disabilities, to create dance works and art in Israel. This was meant to break stereotypes about disabilities through dance workshops, master classes, and lecture demonstrations throughout the country. The AXIS Dance Company and community dancers worked with an admixture of students comprised of adults, youth, and educators from all abilities, ethnic, and socio-economic backgrounds. “The program was warmly embraced by local communities and attracted considerable press interest” (U.S. Embassy Tel Aviv, 2016).

But in terms of practical application about how to effectively foster a supportive culture of inclusivity, what are some recommendations? There are four effective strategies that educators can implement in their classrooms to foster and support a culture of inclusivity, celebrate diversity, and facilitate student persistence (Costa & Kallick, 2009) to overcome adversity as dancers work toward success.

Recommendation #1: Engage student voice!

Taking a first step to create a new synergetic structure of learning, is to engage student voice! This would be a classrooms where a teacher is willing to take risks on behalf of kids” (Nash, 2020) To engage student voice, you would implement task planning and self-evaluation (metacognitive), self-monitoring, noticing, and self-talking (cognitive), collaboration and comprehension (social), and create fun by showing enjoyment (affective). Engagement can be infused throughout a lesson plan and dance classroom activities to optimize student voice and aid in dancers feeling included in the process of learning!

Recommendation #2: Engage student choice!

Universal Design for Learning (UDL) principle of engagement invites learners’ participation, inclusion, persistence, and positive conduct within the active classroom environment. Scaffolding metacognitive strategies into dance classwork might include task planning and self-evaluation – these would engage student choice. Additionally, creating opportunities for inter-personal understanding, self-regulation and deep learning through assessment options correspond to affective engagement and relates directly to students’ genuine interest and sense of belonging which is cultivated through collaboration (CAST, 2022).

Recommendation #3: UDL lessons use a student-centered model and dance educators who wish to inculcate inclusion should aim to redesign the learning methods. Reliance on the ‘traditional’ model, where the dance teacher is considered to be a ‘sage on the stage’, a dance master at the center of attention, the disseminator of knowledge… In classical dance classes, students in a classical dance setting are expected to be passive observers or “attendees” rather than active participants (Nash, 2020). A redesign to student-centered choices through differentiated danced tasks can optimize learning and promote a sense of belonging, the truest version of inclusivity.

Recommendation #4: Part of this redesign of classical teaching methods might require dance educators to gain some awareness of students' homelife circumstances and engagement dispositions (Lawson & Maysn, 2015) as well as their educational aspirations (Lawson & Lawson, 2013). This can be achieved through greeting students at the door before class begins, to interact with the parents, conduct PMIQ’s (Plus, Minus, Interests, Questions) on the first day of class, or periodically implement classroom icebreakers. Knowing a student’s situation and aspirations can shed light on their academic trajectory and assist educators in redesigning teaching methods to suit the individual learner. Educational activities that embrace affective dance school attachment requires educators to thinking flexibly to imagine, create and innovate (Costa & Kallick, 2009). Maybe ‘Boo” the studio the week of Halloween with small ghosts that each student can decorate and tape to the walls of the studio hallway… or hearts on valentines day, cover the studio walls with hearts decorated by your students, and others from the school. Occasions such as semester-end showcases or recital, where every dancer can take part, also serves as a means to develop students’ self-determination and pride in accomplishment (CAST, 2022). An educator’s redesign of teaching and learning should promote outreach, or a summative course practicum in order to elevate student learning to real world application. Performances, recitals, galleries or fairs transfer student learning to a real audience and can have lasting positive effects as positive reactions by teachers, parents, peers, and caregivers build student confidence that they have something to contribute to the world of learning.

In Class Discussion:

Deep Dive: Statement of Beliefs

Please write your name and answers to the following questions: Why do you enjoy dance?

• What teacher has most inspired you, and how?
• Why do you believe teaching dance is important?
• What do you feel are the characteristics of a well-rounded student of (style of dance you plan to teach)?
• What do you think makes for a great teacher?