THE IKEA BATHMAT THAT SAVES DANCE CLASS

One of the biggest time consumers in teaching young children is allocating and maintaining space.  SPACE in dance class is essential for safety and organization.  When I came across these affordable round, flat, washable, orange bath mats at Ikea I knew I had found 'gold' for my toddler and preschool classes.

DANCE AND LEARN

In this age of digital entertainment children choose television or video games over physical activity.  Plenty of publicity informs us that their inactivity and poor eating habits will affect their health and well-being as they grow.  But it is also becoming increasingly clear that there is a direct connection between physical and academic development.

THOUGHTS ON ADULT BALLET CLASS

Last night I taught my first adult ballet class.  When I was asked to give this class I accepted the opportunity with concerns.  I was told this was a big group of students with diverse abilities and aged from 18 to 81! 

EXPLORING COLOR THROUGH MOVEMENT

Picasso's 'The Dream'

I am always trying to add depth and value to my classes.  Perhaps then one day while sitting in science class one of my dance students will be able to recall data from dance class!!  Yesterday's post got me thinking about how effectively the color spectrum can be explored through movement.  Different colors vibrate at different speeds and travel at different wavelengths.  Tempo can be used to illustrate the different velocities of each color.  Blue vibrates faster than yellow which moves at a faster speed than red.  Wavelengths can be explored through short and long non-locomotor and locomotor movements and/or movement sequences.  Any other ideas on how to represent color in movement and dance?

TEACHING ART AND ARTISTS THROUGH CREATIVE MOVEMENT

I become very excited when I find books that I can use to add value to my dance classes.  "Pablo Picasso - Art for Children" by Ernest Raboff (1982) not only includes vivid pictures of the artists work by also interpretations of each piece.  I cannot wait to use them, especially this one on "The Rooster".  Here are some ideas I have...First explore movement dynamics using concrete images, such as the strong rooster vs a bird that conjures images of grace and gentleness like a swan perhaps.  Select music that reflects these movements and aids the students to use different space, rhythm and energy.  Secondly the shape and forms in the drawing can be interpreted through dance.  The zig-zag and sharp lines of the roosters crown and beak can be shaped in the body as well as in locomotor movements (skips or running and stopping abruptly).  The rounded belly and soft curves of the tail also allows for contrast between linear and round, sharp and soft.  Thirdly there is opportunity to explore dance through color.  How would you move if you were the red crown as opposed to the blue body or the yellow tail? 

This kind of lesson is both fun and educational.  Dancers end up interpreting and internalising Picasso's work kinesthetically. Have you used this type of teaching in your dance classes?  Do you have any other ideas on incorporating this into your teaching?

DALI'S "HOMAGE TO TERPSICHORE"

During my recent visit to Paris I went to the Dali museum with a friend of mine.  Dali's perception of the world had me engrossed as I viewed his soft watches, elephants, eggs and secret drawers.  I was more than delighted to stumble upon a sculpture named "Homage to Terpsichore".  This is what is written underneath the sculpture:

"Terpsichore is one of the famed nine Mythological muses.  In creating his version of the muse of dance Terpsichore, Dali uses a reflected image, seeing the soft, carnal muse against the hardened statue one.  The lack of definition in both faces clearly underlines the purely symbolic significance of these uses.  The dancer with the smooth and classical form represents the ever-growing and chaotic rhythm of modern life.  Both figures dance side by side in everyone"

Date:  conceived in 1977, first cast in 1984

Material:  bronze

Technique:  lost wax process

CHILDREN WHO HAPPEN TO DANCE

I have a new student who is all smiles when she is in class.  Her excitement and enthusiasm is exhilirating!  She is focussed, attentive and keen to learn.  Of course, these types of students make teaching and training a much easier and joyful experience for us.  But it should be our goal as dance teachers to inspire and light a passion within each and every student.  I wonder what percentage of dance students go on to professional dance careers?  What happens to all those other tens of thousands of dance students?  Do we neglect to give them value for their thousands of dollars spent and hundreds of hours in dance practice.  I hope not.  I hope we ensure that the value of dance does not lie in its movement alone otherwise these students could gain just as much from soccer practice or tennis (and have spent alot less money).  No, the value of dance lies in its status as an art and in its diversity as an educational and therapeutic tool.  Think about how you can improve the value of your teaching by not just looking at each child as a dancer, but by looking at each child as a human being (physical, emotional, intellectual, spiritual) who happens to dance.