Looking back at question 2d has helped me form the following ideas, these are very definitely works in progress but if anyone has any thoughts on any of these questions or better lines of inquiry around them, get in touch:
1: Are there generic weakness in dancers? If so, are the patterns that emerge general, age based, physique based, continentally genetic, or something else. Are these weakness related to the dancers strength/flexibility ratios and could they contribute towards common faults.
2: What is the value of trigger point therapy, myofascial release and self massage for the dancer? Can the implementation of such therapies have a positive effect on dancers flexibility?
3: In a dance environment is there equal value in demonstration and verbal instruction or should one be favoured over the other? Is the divide between the favoured techniques age related?
4: In the industry it is often said that we are married to the profession: How, if at all does the work life balance of a dance teacher differ from other professions?
5: What effect would the implementation of an examination system and/or participation in the competition circuit have on the studio?
6: What are the benefits of the different schools of training used across the world and what are the results? Is one producing a more rounded dancer than the others?
7: What are the issues around working within a foreign environment: Even when there is no language barrier, is language still a problem and do cultural differences have an effect on this?
Hi Megan
ReplyDeleteVery interesting inquiries. What caught my eye was your question about the value of trigger point therapies. I have experienced some of these myself (bowen therapy, acupuncture) and do believe that sometimes a more holistic approach can benefit in the general maintenance and healing process of the body. They work with triggering and rejuvenating the body's energy flow (chi), transporting new energies throughout.
Therefore I would think that if the dancer believed its benefits, flexibility could improve. (e.g muscle release)
Another practice I would highly recommend would be yoga: increases flexibility, energizes the body, creates a calm state of mind and balances the body's 'chi.'
All the best with further inquiries!
Gaby
Hi Megan
ReplyDeleteYou have pretty much the same question as me at number 3.
I am pretty new to teaching dance, so with your own initial thoughts or ideas, how would you answer that question? If I were to answer it I would agree that it depends on the age group. From doing my FDI a long time ago, I remember the simple thing of being expressive with the younger ones, bringing out their imaginative side. Saying this though, I continue to contradict myself, as even with the older ones it's all about expression too as well as technique. They have to use their imagination too. So saying all this, I think at whatever age, verbal and visual are both just as important. (This is coming from a not very experienced dance teacher)
I would greatly value your opinion, even though it is your question too.
Thanks Megan!
Kim x
Hi Guys
ReplyDeleteThanks for commenting.
Gaby, I haven't any experience with/of bowen therapy but this is something I will look into! I completely agree with you about yoga. Back in the UK I practiced Bikram yoga and it really made such a difference to my hips (I have quite limited turnout/inward-outward hip rotation). I haven't tried other types of yoga (I always took pilates) but have just signed up for a new yoga class starting a week on Monday - Let's hope for a magical solution!
Kimberley, I think both have huge value. Being able to give a clear, accurate demonstration is invaluable. It is particularly beneficial for young children who do not have the technical, rhythmical or emotional knowledge to produce what you are verbally asking for. I think it also gains you the respect of your older students. That said, I rarely stop talking during classes of any age! And I definitely do not dance with my seniors ANYWHERE near as much as I dance with my juniors - and there are some things that I can just no longer demonstrate. In this instance I use another student - which I find often works well at any level. For whatever reason the students think it's more achievable if one of their peers shows a level of competency in execution.
I have many mottos: one of them is "learn it once, learn it right" (I think I'm also going to get a T-shirt printed saying "Eyes up! The floor can't help you!"). If it has been learned correctly as a junior, there is rarely a need for me to demonstrate to a senior. When demonstrating at this level I am usually talking about quality and dynamics over technical execution (providing they can recall their vocabulary) but I first try to do this verbally. I talk a lot about them being responsible for their own dancing - It's their body, it's their experience.
However I do ensure I do something that relates to interpreting instructions each lesson for the juniors, whether that be 'musical statues in the style of...' or free dancing with a theme or a step to include in the hope of encouraging self thinking, imagination and creativity.
Hope this helps? I find it really difficult writing in this little reply box where I can only see two sentences at a time!
Take care guys
Megan
Hi Megan
DeleteThank you very much for that response. I hope you don't mind me mentioning your wisdom on my blog? I have also added you to my SIG.
I really like the TShirt idea. It's reminded me of a Kosovan program that I saw literally about 20 minutes ago with a kosovan girl doing a ballet routine on a massive stage, with absolutely terrible technique, but what irritated me the most was the fact that she did not lift her eyes off the floor, despite being in front of thousands of people. I don't blame the child at all, I blame the teacher and their lack of expertise.
You have also answered a question that myself and Chiara Vainelle have started to discuss on teachers being able to teach if they can't physically show them. I have dodgy knees and can do very little ballet now, so your method on using a student to demonstrate gives the answer 'Yes you can teach dance without physically being able to'. The question is now though, can you be a dance teacher with an absolute disability?
Your response has been more valuable than you know. So Thank you.
Kim x
Hi Kim
DeleteReally glad I could help!
How have you gone about setting up your SIGs? What tools have you decided to use etc?
I have been dancing with an MRI diagnosed injury for the last year - indeed I took my Advanced 2 exams and my licentiate teaching qualification on the injury. Some days are worse than others and for my Advanced 2 Modern I had to take prescription painkillers for a week in advance, but I have found ways to extent the time I am able to dance - e.g. I know wearing flip-flops or Uggs exasperates the injury and has a knock-on affect to the length of time and level I can dance.
I see no reason why you could not be a teacher with a complete disability, although unfortunately I wonder how employable you would be? When any of us have shortfalls in our capabilities we look for ways to work around these - I use youtube, and other students a lot. I also film my students as often as I can as they rarely believe they are doing what you tell them - and I find it hard to demonstrate their fault! Although qualified to teach ballet, I no longer choose to, instead focusing on Tap and Jazz however I know plenty of Ballet teachers who rarely get up from their chair and when they do they are doing little more than walking around verbally and physically correcting as opposed to demonstrating.
With regard to blaming the teachers lack of expertise for the child's poor presentation, I am not sure I agree. And without seeing the programme or speaking with the teacher I cannot be sure of the reasons behind the piece. Some children are just painfully shy, and the teacher/student spends their lives looking for the Eureka! moment. Some teachers, as you say, have no idea of standards and that is something that needs highlighting and addressing.
Keep in touch
Megan
Hi Megan
DeleteYes perhaps you're right, although I know that in Kosovo there isn't a lot of ballet teachers. They mainly teach their national dances. When watching the little girl, the footwork had no ballet steps that I could recognize. So I do think that it's mainly them taking ballet in to their own hands, and making it up as they go along. I agree that she was probably shy for definite.
This has been an interesting topic. It also shows just how much you are devoted to your dance.
Will definitely keep in touch.
Oh and I just made a new circle and named it SIG.
take care
Kim x
Megan!..Hi
ReplyDeleteWith regards to question 7 as long as you can count to 8 in that specific language you should be able to teach dance anywhere!! (joking) My good friend teaches in France regularly and never seems to have a problem and he doesn't know the language. I think confidence and preparation are key factors in teaching in various different cultures. Have you experienced difficulties before?
Leon
Hi Leon
ReplyDeleteResults day today! Hope you did well.
I live and work in China, and do not speak Chinese. That said, all of my children are educated within an International/American system. There is no issue with their understanding in fact most are fluent in multiple languages, but are they confident enough to speak up when required? What does their cultural background dictate to them. And is my use of language/vocabulary what they are used to (pants/trousers debate...)/british turn of phrase etc etc. I've never had a problem, but we often joke that I don't speak American. I try to adapt my use of vocabulary to suit my environment... which is really embarrassing when I come back to the UK and just sound like an idiot discussion 'pants' and 'chips' etc.
Take care
Megan