This article shares the author's experiences in teaching dance in an elementary school setting and initiating a project that involves teaching dance through several subjects. The author first started by collaborating with other special subjects teachers to teach songs and dances and develop an opportunity for students to physicalize their homeroom…

This topic stems from the author's experience in the technique classroom, and from her training in Laban Movement Analysis. The three fundamental branches of Laban's system--Body, Effort and Space--offer an opportunity to approach teaching through these separate, yet inextricably linked, lenses. This article defines each of the three categories in…

Integrating principles from the Alexander Technique into a dance technique class can provide tools for facilitating a more coordinated use of the self. While the methodologies of Alexander Technique and dance technique may present differences, there are ways of applying the principles of Alexander within the context of a dance technique class that…

Based in bodily awareness, somatic education has many points of relationship with dance education. Body-Mind Centering[R] (BMC), with some of its roots in Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF), has a particularly easy link to dance. When studying Body-Mind Centering, the theoretical components are often taught through dance…

There are many body therapies from which dancers may choose in order to gain and maintain strength, flexibility, and balance and to avoid injury or facilitate rehabilitation from injury. The questions are: which system is best for the given student, and how can educators incorporate the many somatic perspectives into their curriculums. This…

As issues of equity consistently surface as a fundamental concern for dance education's past, present, and future, this commentary is the first of a number of pieces that will focus on root common goals, new ways of seeing the field, and acting upon both of these realizations in one's own site. In this initial commentary, the author discusses…

In the dance studio, the mirror can play a large role in the dancer's learning process. Research on learning and memory shows that reducing the amount of feedback during training enhances long-term motor skill retention and that more externally focused attention may aid performance. Research testing the effectiveness of training with a mirror as a…

The dance studio typically features a wall of mirrors; however, there has been little research on the pedagogical advantages and disadvantages of mirrors in the training environment. Psychological studies on objective self-awareness, the ability to see one's self as an object, suggest that the mirrors magnify this state. How this increased…

As a Certified Laban Movement Analyst and a classically trained ballet dancer, I consistently weave the Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF) theories and philosophies into the ballet class. This integration assists in: (1) Identifying the qualitative movement elements both in the art of ballet and in the students' dancing…

Reconstructions are critical in giving body to the history of dance. For student dancers, participating in reconstructions is a participation in both the legacy of dance and in dance as a form of cultural discourse. When choreographers generate movement vocabulary and improvisational parameters together with performers, the resulting collaborative…

Crossing artistic modalities so that students respond aesthetically to dances rather than through written critiques can enhance the teaching of dance technique. This integrative method encourages the practice of artistry, the act of finding voice, along side the learning of technique. The use of a basic premise from expressive arts--that art…

This article offers a specific example of the benefits that might result from integrating scientific principles into the daily practice of dance training. Using the mastery of turnout as our focus, we 1. describe the anatomy of turnout in terms familiar to the dance artist, 2. explore conditioning and imagery work designed to improve the use of…

The author talks about the benefits of dance education in the middle school setting. The author describes a scene in a dance classroom where all students can be successful, for within the confines of the space, a broad spectrum of learning preferences are addressed and multiple intelligences are acknowledged and validated. The author stresses that…

For many years, the author has incorporated creative process into the way she teaches ballet class. The author shares the philosophical, practical, and artistic reasons for the creative process in ballet classes. She also shares the rationale and how this practice developed over time.

An evaluative study was conducted wherein student choreography in 14 Utah secondary schools was assessed by student teachers for incidence and frequency of sexually objectifying or exploitative movement and thematic development. Data regarding each student work was compared with information provided by student choreographers in a written…