Many contenders could claim to be “the king” of paddle and roll (also called paradiddles) but no other dancer is identified more with the tap step than tap icon, Lon Chaney. Bunny Briggs has also made his mark with the step, as have others. Learn more about paddle and roll and its origins.
had gotten away from using them elsewhere but, at any age or level of dance, props are a great tool for communicating concepts and enlivening your teaching. There’s no limit but your imagination, really, but here are a few ideas that I’ve used along the way.
Instead of actual snapshots I’m sharing some of the thoughts and impressions I picked up along the yellow brick road. I hope you’ll use, think about, or act upon these little nuggets from the Dance Teacher Summit. I had a great time collecting them for you.
Jack be Nimble, Jack be Quick, Jack Jumped Over the Candlestick
I have the students run and jump over our “candlestick” on the word OVER. We accent the third beat and the children clap along. (one, two, Three, four/one, two, Three, four/one, two, THREE, four/ one, two, THREE, four.)
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.
There are many inventive ways that dance teachers can lay a foundation for musicality and a competency in musical theory within their classes. The suggestions (or perhaps more accurately, principles) below are by no means a complete guide to accomplishing the task but, hopefully they’ll prime the pump of your own creativity.