Continuation of Task 4 B/C

Having spoken with a large proportion of my sig, and following a conversation with Alan this week I feel closer to achieving the question that I want.  My current working idea is:

Exploring flexibility and strength of a dancer with particular reference to Asian and Western physiques and implications for dance teaching.

And any thoughts on this would be gratefully received. 

Initially I suggested looking at 'nature versus nurture' within this question as I have a variety of students some of whom are of Asian descent, some western and some of Asian origin but with western upbringings and therefore the nature versus nurture idea appealed to me as I considered it to be relevant to my current situation with my question posed as:

To what extent does nature versus nurture apply to the flexibility and strength of a dancer with particular reference to Asian and Western physiques.

Alan noted that using "nature versus nurture" sets up a dichotomy and also suggested I add an applied aspect and suggested"Implications for dance teaching"

I feel that this question has links to my previous first and second question. And below is a quick brainstorm of my thoughts:

Task 5b

What is a Code of Practice?

Below are three documents relating to ethics within my profession and my current role:

ISTD Code of Conduct

RAD Code of Profession Practice

Dance Studio Employee Code of Conduct

Having read the above policies and reflected on my personal ideas of professional ethics in task 5a I discovered my thinking is in line with what is required. I neglected to use the word 'confidentiality' in task 5a, however to me that along with many other points is part of professionalism. Other than that, I found very little that I had not thought about, the policies just expressed things in a different (and longer!) way.

As a dance teacher outside of Voc. School you are often the sole professional in charge of your students with little outside management or support despite your setting - for example the Principal also often holds a full teaching role. As a result of this, combined with my personality, I have found the above policies are natural practices for me however I do appreciate not everyone in society does have the same morals, ethics, or beliefs.

Two things that I don't think I touched upon, as I considered it a prerequisite for any job are:

• To be dressed appropriately - something which interestingly has made dance headlines this week.  

• Not to attend work under the influence of alcohol of drugs, or to smoke on the premises.  

I have asked my further professional circle for any documents they may have regarding the statutory ethical practices in China, however I do not envisage there being any differences

Task 4B/C, Question 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?  

Teacher 1

You should know this better than anyone now you're in Beijing!!!

Teacher 2
No response

Teacher 3
Obviously iv had no experience of this but yes I think that a language barrier could cause big problems when trying to tell students how u want something to look or feel. Demonstration helps a great deal but I feel u need to understand your teacher

Teacher 4
Yes. For a Chinese to travel and train in an non-vocational school in UK may struggle with the lack of discipline. The Chinese parents may struggle with the red tape which hinders many teachers being the teacher they want to be. (This is a massive general point I have just made. I am simply generalising and know that there are many good schools in the UK. There are more fodder schools than product schools though.)

I think if both parties communicate in English, Language can still be a problem as phrases, or sarcasm can be misinterpreted. Mannerisms can be mis-understood.... even simple things like swearing in the UK are different words to the USA. You also have to be aware of the religious differences surrounding you and how this could be irritated by simply playing the wrong music or giving out Christmas candy in December.

BAPP Student
With 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?

Task 4B/C Question 6

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?

Teacher 1

Different training in what styles?  

Ballet - Russian training, Italian/french, british, danish, American - all worth looking at.

British from Ashton - British style, very precise technique, developed slowly through careful training.

Whereas Russian - teach tricks and turns etc first and technique develops with the trick.  Little children do things very early.

Danish - Bournonville influence - strong male dancer, elevation.

Some schools not so exam based.  More competitive within training.  Some pulled out because of their physique and developed in a career from young age.

Teacher 2
No response

Teacher 3
I think that all depends on the student themselves, obviously if u train 5/6 days a week your gonna be better and achieve more therefore increasing standards of the school

Teacher 4
I think it depends on the student and their needs. I think this related to your first question on generic weaknesses and really connects with genetics. Americans create very athletic dancers, however, with a body type that has the wrong musicle fibres this type of training is lost. The americans work very well with Asian body type!!
Russians, personally, create very weak dancers who have fabulous pyrotechnics but no quality of movement or true line. They are over stretched and have no control in their movements- leg lowerings, hight of jumps.

Feedback from Tutor 

...This one is far harder to answer:

 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?

This is far harder to answer because the question sets out a some difficult preconceptions: that there is such a thing as a ‘more rounded dancer’ ... that a ‘more rounded dancer’ is better than some other type of dancer, that schools of training are the only thing to effect this … etc. This question implies strongly that there is a correlation between cause (schooling) and effect (result = rounded or non-rounded dancer). This is a difficult question to answer because it is laden with preconceptions that get in the way.

This type of question could be better tackled by thinking in terms of where the insights lay, e.g.:

What qualities do established professional contemporary dance practitioners attribute specifically to their training, experiential and other factors?

This type of question does not imply that ‘specific type of training = rounded dancers (as something of value) rather seeks to understand how different qualities of their experiences and how the dancers feel this links to their capabilities.

Task 4 B/C Question 5

What effect would the implementation of an examination system and/or participation in the competition circuit have on the studio?

Teacher 1

For - Implementation of an examination system to a certain degree would standardise the teaching methods and what is being taught throughout the school, would give a fixed aim to the class, targets to aim towards, ensures that all teachers are following a tried and tested route and that children achieve recognised accredited qualifications.

Against - You would need to ensure that teachers use syllabus well and as a means to an end and that not the entire lesson revolves around it otherwise fun and creative side could be lost.

For - competition circuit could help to higher standards, motivate and challenge children to reach higher levels, promote name of school, develope teamship within school.  Competitions can be good for building confidence and getting used to dealing with winning/losing.  BUT as they do in schools could in some children have bad effect which is why they no longer have placings on sports day etc.

Against - Could be costly, would not necessarily involve all students causing unrest and favouritism/discrimination issues within school.

Teacher 2
No Response


Teacher 3
Personally I think it's makes the kids work harder knowing that they are achieving a grade/exam or medal. Makes them see that hard work pays off... Also, nowadays they take certificates in to school assembly's so that's an incentive too. I only enter a few kids in to the festival so maybe schools who enter loads may notice a difference in people being bitchy or spiteful

Teacher 4

• Seeing the standard of dance outside of your own studio can either encourage a change of work ethic and inspire children to commit harder, or quit all together.
• To have outsiders praise and acknowledge the students through exams or competitions helps the children with pride and self satisfaction. It allows teachers to gauge where students truly are levelled.
• When working in smaller communities where good dance is not as easily accessible as say London, competitions and exams can help encourage students to focus and be inspired to aim higher.

Task 4 B/C question 4

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?

Teacher 1

Hobby that becomes a job, therefore you will spend more hours doing it than an office/shop job.
Unsociable hours as classes held evenings after school and weekends which does not always fit in well with family life.


Teacher 2

I think the difference between dance teachers and other professions is to do with the emotion involved, we often as dance teachers have been dancing since a young age so are very emotionally attached to it and ready to spend all our time and effort choreographing/doing extra exam classes/putting on shows ect also I think in some ways most of us are perfectionists so will keep going until we get it exactly how we want it which often involves a lot of overtime. Not to mention the personal relationships we have with the students- we are willing to put in more time and effort with students, staying late for extra classes/private classes in the lead up to exams etc



Teacher 3
That's so true, I for one never switch off, always working. Of I'm not teaching in listening to songs that I could possibly use, watching YouTube for ideas on stuff, buying props or things that I think might work in class. Music cutting also takes forever! There's always a pen and paper next to my bed to write down. Being a teacher you are also a primary carer, a friend and always trying to find ways of making things look/sound better. A " normal" 9-5 job allows you to switch off as soon as you leave and not think about if again all night! Also the constant texts, calls and emails from parents asking can you do this? Can you do that?!


Teacher 4
…..you're asking the wrong person. As I have said, I surround myself with like minded people...or with people who can help me further my students. Where I live abroad, I think everyone is the same. Work life balance is un equal with work having a higher percentage. In general UK life..... I think it depends who the person is. I think many GP's or doctors, CEO's, regular school teachers etc would all be married to the profession. I think when you have other people relying upon you the pressure encourages you to take an unhealthy balance. Working in a shop.... if I wasn't there Bob would still gets his daily newspaper! As a dance teacher to create a product and thus self satisfaction and pride, you have to rely upon children. I think 'dance teachers' who only do nursery classes or younger students who don't do exams or shows are probably NOT married to their profession....because it's simply a job! To better the kids we have to better ourselves. That includes CPD and constant self evaluation.

Task 4B/C, Question 3

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?

Teacher 1


Young children to not have the vocabulary to understand so well therefore demonstration probably better but still needs to be supported with verbal, particular imagery which is age related, to bring out the musicality and artistry within.  As people grow they develop their own preferred learning styles which can be tested for (various theories) but which would become evidence to a teacher as they get to know the student - audio, visual or kinaesthetic.  A good teacher should try and use all three to cater for everyone in their class.
A good demonstration supported by good verbal instruction that helps to connect the whole would be favoured.

Teacher 2

I think demonstration should be favoured over verbal instruction due to experience children tend to learn a lot more through watching how its done rather than listening and their attention span is a lot less when they are just getting verbal instruction. A mixture of the both is the best option, in the run up to exams I tend to take a step back from the demonstration and concentrate more verbal instructions to get them used to performing on their own. I do think there is a link between age, the old school way of teaching used to be mainly through verbal instruction especially with more mature teacher not being physically able to demonstrate some of the movements.

Teacher 3
Definitely equal value... I always teach everything by speaking AND demonstration... Possibly a bit more demonstration for younger ages as they seem to pick things up quicker by seeing. Older students I feel still need to see what you want from them bit obviously it's easier to talk though how u want things to look

Teacher 4
yes. To ensure foundations are strong- larger percentage of younger children need see the product in order to understand and replica it. They learn in a visual way. Also, younger children can not/ struggle to understand performance, movement quality and style through verbal explanation. Concentration span does not allow! You also need to gain respect and trust from middle school students. Ability through demonstration is one way to assist here.…. Older students…. personally…I can’t do 60% of the advanced syllabi requirements. My seniors respect and trust me in my ability…which is no longer execution at 100%. My technique is solid….but 45 degrees lower than examination requirements. I can do a fantastic releve pirouette…minus the turn. Personally to develop senior grades, analysis of movement is a far stronger tool. When coaching style and musicality, Marking the steps but performing the emotion/ musicality is good enough. 

I am thinking about this with regards to examination syllabi though….. when choreographing I find I have to ‘dance’, (at a lower level of execution,) to create and teach the work. After the piece is set though, the same rules apply. 

BAPP Student

You 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.

My response to Kimberley

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. 

Task 4B/C, Question 2

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?

Teacher 1

Don't know about the first two, only self massage to help relax muscle tension.  Many of the flexibility courses recommend use of massage to help with this

Teacher 2
No response

Teacher 3
Hmm, personally I think that it's very beneficial but iv never had students try it so can't really comment, I think a lot more beneficial for a full time student rather than a once a well kid

Teacher 4
No response

BAPP Student
Very 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!

Task 4B/C Question 1

My next posts will be a series, detailing the responses from my professional circle:

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.

Teacher 1 (Vocational College Principal, Higher level quals ISTD) 

Bone structure can be generic throughout a family and this would affect flexibility e.g. shape of hip socket and also height - may end up too tall or short.   Back shape, feet shape and then think about what you do in your body to try and get the right shape and knock on problems from muscular imbalance and other things (think about some of the things you have done to correct over the years that have then given you problems!   Diseases could be generic - not sure which ones - but that would obviously affect and may be kick in at certain ages.  The build of japanese/chinese seem to be smaller and often very flexible - not sure if that is to do with continentally genetic or just to do with their training.    Probably need a good knowledge of anatomy for this one.

Teacher 2 (Expat teacher)

No Answer

Teacher 3 (Teacher currently studying at DDE level)

Obviously everyone is different, everyone has different levels of flexibility but generally from my classes iv only noticed that the teenage years are one of the worst for flexibility unless they stretch at home or in another club. Iv got big and small kids but that doesn't seen to make a difference, in fact some of my bigger girls are better than the thin ones! Also, Dunno if it's relevant but iv never had a dancer/class that could turn well, dunno of you would count that as a generic weakness??

Teacher 4 (Dance Studio Principal, higher level quals RAD)

Yes, Lack of turn out. Lack of strength- muscle fibre type, lack of line, posture-structure of joints and alignment, in ability to shape arms, in ability maintain shapes while transitions through levels. Lines of feet and the effect it has upon, jumping or pointe work.

It depends on what is being discussed. For example: Lines of the feet- Asians have traditionally flat feet. This causes problems with their ability to jump and control lowerings. Suspension within the air. It creates a poor line both en L’air, ( whenever the foot is off the floor!,) and even en Pointe. The line never seems to be concluded…… However, the traditional caucasian, over arched foot can actually cause similar problems. (There problems can also be seen as age related- as long as they are caught and trained early enough.) Feet with high arches can be weak and thus causing all the same problems as flat feet.


Lack of turn out, can also be covered through all the categories, genetics, age, but again also continentally. Most asians have bowed legs which distort any type of line which can not be alerted. Posture- is a genetic and continental problem. It depends on structure of joints and alignment, as well as general practices that different cultures do regularly which affect the ligaments and therefore posture.

I think generally all Genetics, physique based and continentally reasons for most generic problems can be inter-related. Issues such as ability to shape arms, muscle strength, understanding of posture, line, transitions through levels can all also be age related- both maturity and physical readiness.

Over stretched muscles lack strength which has detrimental effects upon, posture, line, allegro, balance- Everything. It can also be the same problem for dancers who are on the other end of the spectrum and have poor posture due to the lack of flexibility within their hip flexes. Poor line due to tight hamstrings and lower back.

Feedback from Tutor

Here we can see that the inquirer is trying to get at whether we can find a broadly agreeable notion of whether particular aspects of training and/or practice lead to particular effects in terms of weakness. The question itself acknowledges that there may be no absolute truth, but that there may be ‘typical’ consequences.

...the above example is answerable and carries all sorts of helpful framing

Task 5a - What are the codes of practice that guide my setting?

Below is a quick brainstorm of codes of practice that guide me:

As a member of the ISTD I am bound by their Code of Conduct in addition to any studio policies and my contract, which I will look at these for task 5b.  However my personal opinion of the ethics which apply to a dance teacher are as follows:

• To be professional at all times: to work with integrity, objectivity and competency.
• To treat all children equally and not discriminate on grounds of race, religion, gender, sexual preference, talent or any other grounds
• To ensure the children are dancing in a suitable safe clear space, ensuring good ventilation, lighting and adequate flooring and to report any issues regarding this to management. 
• To seek permission from parents before using images of their children for any purpose
• To be well prepared and give suitable lessons with a clear goal. 
• To ensure the safety of the children, and prevent injury or harm arising through bad practice
• To adhere to, and enforce school policies  
• To undertake regular and relevant CPD

Science enhancing Art

The more I think about my inquiry, the more keen I am to base it around something to do with the acquisition of flexibility.  Maybe this is because this is something I have always struggled with, and I would love to be able to help those under my tuition who are struggling too.

An email landed in my inbox a few weeks ago regarding a conference I really wish I could attend.  However it is to be held in Louisiana - and it is neither finically or logistically viable.  The email was from Deborah Vogel and stated:

"There is a science to dance training - incorporates knowledge of how to improve technique through understanding of anatomy as well as exploring best practices in mentally and somatically training for optimising performance along with increasing awareness of how nutrition and neurology can influence and effect the dancer's results

Come join Deborah Vogel, Lisa Howell, Beverly Spell, Elizabeth Gillaspy and Dr Jennifer Shults as we share leading edge information with you..."

Now I already know, and follow Deborah Vogel and Lisa Howell... indeed some time ago I bought Lisa Howell's "Front Splits Fast programme" and so I have added some links a quick search gave me on the others.  I will look into these more deeply soon.

The idea of science enhancing art is really interesting to me...

In Task 4a I posed some potential questions (of which I will shortly post some responses) and question 1 and 2 were loosely around the above subject. I will now look at developing these.