Most teachers likely agree that demonstration and practice are critical to the success of dance students, but to what extent should the instructor encourage doing over watching or vice-versa? Two research studies involving young children learning complex dance movements support every dance teacher’s belief that modeling as an instructional tool is especially important in learning motor skills, especially with younger children. Furthermore, it’s a good idea to demonstrate as fully as possible, especially with beginners and young children, if you want them to get the most out of your demonstration.
Musical creativity (or musical artistry) is the ability to connect with accompanying music, interpret it, or phrase and add movement dynamics that relate to music even in the absence of accompaniment, in a way that is unique or interesting. Musicality in dance then might be considered a measure or degree to which a dancer is receptive and creative in his translation or rendering of music through movement.
Movement is a layered experience. We develop movement patterns and then continue to relearn them as we get older. Babies learn to crawl, developing the spiral and then relearn and master it as they walk and then run.
It seems we find it hard to justify spending money or attention on our own development, though we would encourage it for our students. My top ten list of reasons you would want to seriously consider some continuing ed for yourself this year.
It can be hard to want to pour more of yourself into inspiring lackluster learners. But, as a teacher, you feel compelled to instill a passion for dance. So, how can you motivate students in a way that won’t deplete your energy reserves?
When you were a young child, before you even understood the concept of reading, you probably learned the letters of the alphabet and the sounds they made. They are the Legos of Language! How is dance like learning the ABC’s?