Understanding the Dance Teacher
Teacher Competencies
To be an effective dance teacher and establish a professional dance teaching business, teachers need to establish a good understanding of core teacher competencies.
The following outlines five core ideals for teacher competency in Dance, as described by Hanna (1999:76-77):
Show commitment to students and their learning
Effective dance teaching relies on careful observation and a deep understanding of students' interests, abilities, and backgrounds It's essential for instructors to be punctual, dependable, and well-organized to create a positive learning environment.
Develop a strong knowledge base of dance and dance teaching
Teachers should understand all aspects of what they are teaching and how to teach it to students.
This includes the following two aspects;
1 Have a strong understanding of dance technique
2 Have some knowledge of how students develop and learn
Manage and monitor student learning.
Teachers need to engage students using effective teaching methods, resources and motivation and employ methods to assess the students learning and evaluate their progress.
Teachers should regularly review and self-evaluate their dance teaching practices to enhance their effectiveness This process involves seeking insights from fellow dance educators, gathering feedback from students, and staying informed about the latest research, ideas, and theories in the field.
Dance teachers should contribute to ATOD syllabus updates, recommend changes and attend syllabus updates and information sessions Teachers should actively seek out professional development to improve their dance teaching.
Paramount to beginning teaching in any form is the establishment of a personal teaching philosophy - a rationale upon which all teaching and learning experiences are based.
Dance teachers develop their teaching philosophy based on:
- Their beliefs about teaching and learning;
- The level of service they wish to provide
A dance teacher’s personal philosophy may also be influenced by the organisation they may work for or the particular syllabus they teach.
Your philosophical approach to teaching is an evolving process and will change as your knowledge of teaching expands and your experience grows.
Smith & Autard (1994) have identified three distinct categories of dance teaching philosophies:
A dance teacher focuses on developing technically proficient dancers for professional careers in dance and performance This instructional approach involves guiding and managing disciplined students to enhance their skills effectively.
This category focuses on enhancing dancers' creative, expressive, and social skills Dance teachers aim to foster an appreciation for dance among students, rather than solely preparing them for a professional career By utilizing open-ended and non-instructive teaching methods, instructors encourage creativity and problem-solving abilities in their dancers.
Utilising elements from the Professional and Educational model, this category encourages artistic education, performance education and an appreciation of dance (cultural education).
The following table provides a comparison of these philosophies:
Professiona l Education al Mid-Way
Objective Career in Dance Education and
Creating, Performing and Appreciating dance
Approach Product Process Product and
Education Knowledge of technical syllabi and theatre dance
Using technical and Creative knowledge
Instructional – teacher as expert, pupil as apprentice
- encourages creativity, individuality and problem solving
Combines the use of Instructional and Non Instructional
ATOD Ltd is dedicated to enhancing the art of dance through thoughtful and attentive training for students, whether they are pursuing dance for enjoyment or aiming for professional careers In alignment with this philosophy, the majority of ATOD teachers are encouraged to adopt a balanced teaching approach.
Dance teachers should establish a personal set of aims and general objectives rooted in their teaching philosophy These aims serve as a foundation for effective planning and programming, while also offering parents a clear understanding of the services available and the teaching style employed.
The philosophy and objectives established by the dance teacher will serve as the foundation for the Dance School Policy, which outlines the overall direction of the teaching and learning program This policy may encompass various aspects essential for guiding the educational framework of the dance school.
• Facilities such as parking, preparation room, parents waiting room
• Pick up and drop off procedures
Teaching styles encompass the diverse methods employed by educators to facilitate student learning, shaped by their individual philosophies Kassing & Jay (2003:59-63) categorize these styles along a spectrum from teacher-centered to student-centered learning environments.
Command Practice Reciprocal Self-check Inclusive Guided
Teacher-centred teaching styles place the instructor at the core of the learning experience, making them the primary source of knowledge In contrast, student-centred teaching styles empower learners to take initiative and responsibility for their education, with the teacher serving as a supportive mentor throughout the learning journey.
This is the most commonly used teaching style The teacher plans and prepares for the class, demonstrates the exercises, and corrects the dancers’ execution
The teacher makes all decisions in regards to the subject matter, class etiquette, discipline and motivation
This teaching style is more student-centered compared to the command style and is frequently used alongside it During class, the teacher provides dedicated time for students to engage in practice exercises.
This teaching style, known as "peer teaching," involves an observer and a performer working together to enhance learning Initially, the teacher establishes criteria for exercises, often provided as a checklist Students are then paired up, with one acting as the observer who evaluates the performer based on these criteria during the execution of a combination After the performance, the observer offers constructive feedback, fostering a supportive dialogue Finally, the roles are switched, allowing both students to benefit from the experience.
This teaching style encourages the instructor to create a self-evaluation checklist for dancers By utilizing this checklist, dancers can assess their performance of movements, steps, and combinations, fostering self-awareness and improvement in their technique.
This teaching style empowers students to select how they will challenge their skills by offering various options from the teacher It also enables dancers to tailor their performance levels according to their desire for self-challenge.
This student-centered approach focuses on enhancing convergent thinking skills through targeted questioning by the teacher By guiding students to analyze their responses, they are encouraged to seek answers to specific questions This process not only fosters critical thinking but also allows students to incorporate their insights into a personal checklist for continuous improvement.
Dance Teaching Philosophies
This teaching style fosters problem-solving skills among students by presenting them with a specific problem and outlining a structured approach for resolution Students are encouraged to work within defined parameters, leading to successful outcomes This method is fundamental in teaching creative movement, improvisation, and choreography.
A dance teacher's unique teaching style reflects their personal philosophy, often incorporating multiple approaches to effectively convey various skills and knowledge By utilizing diverse teaching methods, instructors can maintain student engagement and make the learning experience more dynamic and enjoyable.
Understanding the Learner
How Students Learn Movement
Understanding how students learn movement and dance is central to teaching
Gray (1989) describes a human information processing system that has been adapted to create the following Learning Model with three stages:
A student’s perceptual system consists of stimulation to human sensors – such as eyes, ears, muscles and skin – and briefly storing this incoming information into “buffer” memories while waiting processing
As these sensors store information into the buffer memories, the cognitive or
“thinking” system proceeds to organise and process the information Once processed, these perceptions are transferred to the motor subsystem
After the information is transferred to the motor system, appropriate actions are initiated The motor processes implement muscle activity, which results in observable dance movements and postures
According to Kassing & Jay (2003), within each stage of the Learning Model, students will use three senses during dance class while learning:
Visual learners thrive on seeing information to grasp concepts effectively In dance education, this often means observing the instructor and mimicking their movements Additionally, visual learning can be enhanced through the use of visual aids and displays, which help reinforce understanding and retention of dance techniques.
(videos/dvds, posters, images, maps, handouts, charts, graphs, flip cards, overheads)
Auditory learners have a strong connection to music theory and styles, often remembering melodies and associating movements with the music They thrive on learning techniques that involve instructions, interactive Q&A sessions, and varied tones and pitches in speech Additionally, these learners benefit from using rhymes and cues, often verbalizing steps as they perform them.
Learning through hands-on experience is the most effective method, especially for kinaesthetic learners who retain knowledge by actively engaging in tasks Dancers, for instance, often memorize a repertoire of movements through practice and performance This approach emphasizes the importance of demonstrating skills, teaching others, and participating in collaborative activities to enhance understanding and retention.
Every student has a unique learning style, which may be visual, verbal, kinaesthetic, or a blend of these To effectively meet the diverse needs of all students, teachers should incorporate all three cueing systems when delivering content in the classroom.
Motor Learning is the process of improving the smoothness and accuracy of movements
Kassing & Jay (2003) state that it involves practice or experiences which causes changes in the central nervous system, that permanently alter a students learning capacity and performance of skilled dance movements
Kimmerle & Cote-Laurence (2003) describe motor learning as having three distinct stages through which the teacher guides students –
The motor learning process consists of three essential stages: Attempt, Correct, and Perfect In the Attempt stage, students engage in initial practice, experimenting with movements and techniques The Correct stage involves receiving feedback to refine skills, allowing learners to identify and rectify errors Finally, the Perfect stage focuses on consistent practice to achieve mastery and fluidity in performance To optimize learning outcomes, educators can implement targeted strategies at each stage, enhancing student engagement and skill acquisition throughout the motor learning journey.
Learning Implications Teaching Strategies mpt Atte
This stage represents the learner’s first exposure to the new skill
In this stage, the student:
Picks up relevant cues from the teacher,
Forms a mental image of the skill required,
Retrieves or constructs a motor plan of the skill, Executes the skill.
Teaching the simplest elements of the dance form vocabulary and having students perform the exercises and steps at a basic skill level.
Using different techniques to motivate students.
Providing clear and unambiguous instructions
Allowing students to observe and then attempt a step, explaining the movement clearly by breaking it up into parts
Providing regular feedback and corrections
This stage emphasizes the importance of practice time for learners to self-monitor their skill execution Excessive guidance during this phase can hinder long-term retention Instead, students are encouraged to conduct self-checks, fostering a sense of responsibility for their learning and improving their performance.
During this stage, the student:
Monitors their performance externally and internally Assesses and reprograms their motor plan
Once exercises and steps have been learned ensure a reviewing process
Varying these exercises and steps according to time and space
Refraining from giving too much feedback and guidance
Using random practice (new combinations using the step)
Encouraging students to mentally practice the execution of steps and combinations
Selecting imagery to heighten performance and artistry
In the final stage of skill acquisition, students execute the skill with minimal conscious effort, while the teacher's role shifts to providing guidance By offering minimal cues and demonstrations, the teacher encourages students to take responsibility for their own learning and to refine their performance effectively.
In this stage the student will:
Revise their performance, Produce a skilled action, Combine the skill with other skills, music and people. psychological skills while encouraging a positive attitude and confidence in their dancing abilities
Practicing combinations automatically to reduce the influence of outside stimuli or attention demands
To effectively teach dance, instructors should first demonstrate the complete routine before breaking it down into individual steps This approach allows students to grasp each movement thoroughly Once students understand the separate steps, the teacher will guide them in assembling these movements in the correct sequence, ensuring they are well-prepared to perform the entire dance seamlessly.
Applying imagery, mental practice and other psychological techniques.
Promoting personal excellence, positive attitude, confidence and self-talk.
Selection, Sequencing And Presentation Of Content For The Learner
The selection, sequencing and presentation of content will play a key role in assisting students’ understanding and minimising behaviour management problems
When selecting content there are two main factors to consider:
1 Is the level of the content developmentally appropriate? Do the students have the necessary cognitive skills to understand the content, the physical ability to perform the content, and the psychological readiness to learn the content?
2 Is the content engaging? Will the students find the content interesting and be motivated to learn? Does the content challenge the students yet be achievable?
Correct sequencing of the content is essential to ensure optimum learning
Effective learning should follow a logical sequence, gradually enhancing knowledge, skills, and attitudes It is essential that new concepts build upon previously established skills, creating a cohesive learning experience By connecting new information with prior knowledge, learners can achieve more efficient and meaningful understanding.
Programs and lessons should follow a structured progression of tasks and activities, and consider the use of graduated workload, such as:
This refers to how often the dance classes and/or rehearsals occur
This refers to how physically demanding or difficult a class and/or rehearsal is
This refers to how long an exercise lasts
According to Geeves (1990), both teachers and students share the responsibility of adhering to the principle of "start slowly and progress gradually" in dance classes While teachers may be empathetic and skilled, they cannot fully understand the pain or emotions experienced by their students Therefore, it is crucial for each student to recognize their own limits and avoid pushing through pain, fatigue, illness, or injury.
Other strategies for sequencing content include:
Steps are taught in order of difficulty For example, a single time step would be taught before a double and a jump from 2 feet would be taught before a hop
The teacher breaks down complex dance steps into fundamental components, instructing students on each element individually before guiding them to combine everything into a complete movement For instance, when teaching a time step, the teacher focuses on the separate elements—shuffles, hops, step, and tap steps—before integrating them into a fluid sequence Similarly, in teaching a pirouette, the process begins with releve, progresses to arm positioning, and includes the technique of spotting, ultimately culminating in the seamless execution of the entire move.
This is a variation of part - whole where the teacher would demonstrate or perform the whole step first for the students before breaking it into parts
This requires the teacher to break the step into ‘chunks’ or groups of basic elements, which are taught separately then added together once learnt
In this teaching approach, the instructor first presents the entire concept in a general manner before dissecting it into smaller, manageable parts For instance, a teacher may demonstrate a port de bras in its entirety and subsequently analyze each section for technical understanding.
This effective teaching method is widely utilized for instructing dances and complex combinations The instructor begins by introducing the first step, allowing students to practice it Next, the teacher adds the second step, and students practice both steps together This process continues as the teacher introduces additional steps, enabling students to gradually learn and practice the entire sequence in a cohesive manner.
To effectively engage and motivate students, it is essential to present content in an interactive manner that enhances their understanding Incorporating imagery and playful teaching strategies can significantly support students' learning experiences and comprehension.
Mental imagery serves as an effective teaching strategy that helps students enhance their understanding of postural alignment, technique, and artistry By utilizing mental imagery, students can generate the necessary kinaesthetic responses in their bodies to facilitate movement corrections This technique sends prompts from the central nervous system, leading to changes in muscle action and improving overall performance.
Imagery used in dance classes can be categorised in two types:
Indirect imagery employs metaphorical images to enhance understanding For instance, students struggling with turns might be encouraged to visualize a spinning top, helping them connect this image to their turning technique Similarly, those facing challenges with pelvic alignment can imagine their pelvis as a bowl of water that will spill if tilted forward or backward, promoting better awareness of their body positioning.
Direct imagery is a powerful technique that involves visualizing and mentally rehearsing specific movements or sequences, proving to be as effective as physical practice For instance, a nervous dancer can mentally walk through their routine before stepping on stage, enhancing their performance confidence Additionally, instructors often guide students to visualize key aspects of their technique, such as imagining the leg rotating in the hip socket to improve turnout.
Overby (1991/2) indicates mental imagery is used by dancers:
1 To practice a well-learned skill or choreography for a performance
2 Who are injured or sick
Imagery can be categorized into two types: internal imagery, which focuses on the sensations and feelings experienced during the movement, and external imagery, which visualizes how the movement appears when observed, such as on television.
Overby (1991/92) categorizes imagery based on kinaesthetic and visual senses, where kinaesthetic imagery relates to the sensation of movement and visual imagery pertains to the appearance of movement Franklin (1996:49) expands on this by introducing additional sensory categories, including tactile, proprioceptive, olfactory, auditory, and gustatory imagery For educators interested in the application of imagery, Franklin offers practical examples linking imagery to alignment, technique, and performance in dance, along with guidelines for both students and teachers on effectively utilizing imagery in their practice.
Children love to play, and it is an important aspect of their physical, psychosocial and cognitive development, especially in the early childhood years
According to Santrock (1997), as referenced by QUT (1999), children engage in several types of play, including sensorimotor/practice play, pretence/symbolic play, social play, constructive play, and games Each type of play serves a unique purpose in child development, and the accompanying table outlines these play categories along with effective teaching strategies tailored for each stage.
Type of Play Description Teaching Strategies
Involves the repetition of behaviours when new skills are being learnt
Focus on gross motor movement Repeat movements so children become familiar
Make-believe play appears around 18 months and reaches a peak at 4-5 years old (then gradually declines)
Use characters to help with learning new movements
Tell stories and get children to participate
Involves social interaction with peers including sociodramatic play and rough-and-tumble play
This play increases dramatically around pre-school years
Occurs when children engage in self-regulated creation or construction of a product or a problem solution.
Get children to create their own movements
Games are activities engaged in for pleasure that include rules and often competition
For younger student, focus on simple games using groups For older students, use complex games (can also introduce winners etc.).
Motivation
Understanding learners requires attention to their motivational needs, as motivation is crucial for initiating and persisting in tasks Educators should foster a learning environment that inspires students to engage actively, encouraging independent thinking and action.
According to Taylor & Taylor (1995), highly motivated students exhibit distinct characteristics, including high energy levels and enthusiasm for classes and rehearsals They show a strong desire to learn and improve, often being the first to arrive and the last to leave These dedicated dancers consistently give their full effort and invest additional time in acquiring new skills or rehearsing their roles.
Understanding the diverse motivational needs of students is crucial for teachers, as each student may be driven by different factors influenced by their unique personalities It is essential for educators not to mistakenly believe that students who lack conventional motivational traits are unmotivated, as motivation can manifest in various ways.
Taylor & Taylor describe the following Performance formula which describes how increased motivation results in expending more time and effort in physical, technical, and mental training
Motivation + (Ability – Task Difficulty) = Performance
Gray (1989) describes three factors that influence motivation in students:
1 Arousal Often specific to the individual student and task being learnt, arousal levels can also be tied to the student’s emotional and physical state Often, too much or too little tension will adversely affect the student’s motivation to learn Performance anxiety frequently creates inhibitions and mistakes, and for this reason non-threatening environments are suggested for the dance class that provides opportunities to involve all children
2 Interest Dance students learn efficiently and effectively while they have a purpose and interest in what they are learning Individualising learning and personal responsibility for learning usually increases students’ interest in dancing, and can be maintained by the teacher’s enthusiasm in class and by the introduction of new and challenging material
3 Goal Orientation Students should set goals and work towards these goals,while clearly understanding the teacher’s expectations It is important for students to participate in setting their goals and understanding why the goal is important, as they are more apt to understand it and be more motivated to achieve it Goals should be specific and attainable within a distinct time frame
In consideration of the factors that influence motivation, dance teachers can apply the following teacher strategies to influence motivation of their students, as described by Taylor & Taylor (1995):
This is an action of collaborating with your students to set short-term and long- term goals Goals should be challenging but realistic and attainable.
Pair students with a regular training partner with similar ability and goals and a compatible training regimen.
Help students decide what dancer they aspire to be like as a role model
Use motivational key words, phases or photographs/images of favourite dancers and performances.
Encourage students to maintain a dance diary to pinpoint areas for improvement By consistently documenting their dance activities, dancers can assess their current performance levels, track their progress towards goals, and understand how close they are to achieving those objectives.
Encourage students to imagine them performing successfully, therefore inspiring them to practice more diligently and perform harder
Encourage students to reflect on their hard work and stay focused on their goals by asking themselves two daily questions: “What can I do today to become the best dancer I can be?” and “Did I do everything possible today to achieve my dancing aspirations?” This self-assessment will help them remain motivated and committed to their progress.
By the end of this section students will:
1 Develop an awareness of learning conditions
2 Apply appropriate use of physical contact and corrective techniques
3 Demonstrate appropriate and fair selection procedures
4 Devise methods of self-expression and creativity
7 Have an awareness of inclusive learning environment
A positive learning environment is essential for enhancing student learning and supporting dance teachers in fostering an effective teaching atmosphere To cultivate such an environment, dance educators should focus on key elements that promote engagement, motivation, and a sense of community among students.
• Expectations and Behaviour Management Strategies
Brian Cambourne (1988) examined the way children learn to speak and devised a number of conditions necessary for language learning These conditions may also be adapted to learning dance
The following outlines these conditions, and explores some dance teaching strategies:
Just as meaningful language surrounds children from the day they are born, the art of dance should also surround children (to motivate and encourage them to learn dance)
Display posters and images on walls
Have libraries of dance books and videos/dvds.
Organise group bookings to dance performances
Demonstration s Demonstration is an important learning condition of dance This includes physical demonstration (for visual learners) as well as verbal descriptions (for auditory learners)
Teachers should ensure that all
Physically demonstrate steps Use older students to demonstrate.
Show videos/dvds with emphasis on correct body alignment and mechanics for safe dance practice
Children developing their language skills benefit from regular opportunities to practice in meaningful contexts Similarly, mastering dance necessitates ongoing practice Educators should create diverse practice scenarios and incorporate the use of alternate sides to accommodate all learners effectively.
Include practice and rehearsal opportunities
Use motivational and musical cues to encourage students to practice regularly
Teacher expectations significantly impact student learning by shaping their self-expectations To establish effective expectations, dance teachers should concentrate on attainable short-term goals that still present challenges, while providing encouragement and support to help students achieve these targets.
Teachers need to foster a “can do” attitude Students need to see themselves as successful learners
Speak honestly to students/parents about what they want to achieve, and what the teacher expects they may achieve
Review short-term goals regularly
Help students reach decisions about their dance goals
Students need to take responsibility for learning dance Using the Goal
According to Gray (1989), the orientation approach fosters a sense of responsibility in students for their dance learning by involving them in goal-setting, which enhances their understanding and motivation to achieve those goals Additionally, the Problem Solving approach emphasizes teaching students how to learn rather than what to learn, providing continuous support from the teacher until they can independently navigate their learning journey.
Encourage students to define goals
Ask open ended questions which require effort and thought on the part of the student (i.e “why did you fall backward in your pirouette?”)
Encourage students to help others learn
Ask students to complete a learning log or dance journal
Dance students should be acknowledged and rewarded for their hard work, as recognition fosters a sense of capability It is essential for students to understand that making mistakes is a natural part of learning, and discussing these errors can help minimize their impact By embracing mistakes, students can enhance their growth and development in dance.
Provide constructive criticism if students make mistakes
Encourage students to learn from their mistakes and improve Notice improvements and efforts by students, communicate this to the students
Build confidence in students by focusing on their successes, acknowledging the difficulty of a task and providing encouragement
Feedback from others plays a crucial role in enhancing motivation and facilitating learning Educators should focus on delivering positive feedback that acknowledges effort and improvement, rather than solely pointing out mistakes It is important for teachers to recognize that the way feedback is communicated can either uplift and encourage students or, conversely, lead to discouragement.
Effective feedback distribution is crucial in the classroom Educators should adjust their own positioning as well as that of the students during lessons to ensure that feedback is evenly shared For instance, rotating student lines after each activity can enhance engagement and promote a more balanced feedback experience.
Provide positive and encouraging feedback to all students
Provide one student with positive feedback to achieve a class correction.
Provide positive comments to the group
Ask students to demonstrate a particular step or sequence
Use mirrors for students to use to gain feedback
Encourage students to provide positive comments on each other
Use applause, stars, stickers and rewards
Rotate students to ensure the teacher is able to view all students equally, and from different angles.
Inclusive Environment
To foster an inclusive learning environment, educators must recognize and accommodate individual differences among students, actively addressing barriers to participation and striving to create equal opportunities for all The section titled "Understanding the Learner" explores physical, cognitive, and psychosocial differences, along with effective teaching strategies to support diverse learners.
Other issues relevant to creating an inclusive environment include the following:
Every student enters the classroom with distinct beliefs and behaviors shaped by their parents, upbringing, and community values To be effective, teachers must recognize these cultural differences and adapt their teaching methods accordingly For instance, certain cultures may view direct eye contact or physical proximity as disrespectful, highlighting the need for sensitivity in classroom interactions.
Kassing & Jay (2003) have devised a table of cultural considerations that highlight the differences between the Anglo-American perspective and other culturally different perspectives.
Perspective Culturally different perspectives Family Name • Father’s surname usually used •Father’s and Mother’s surnames are used
•Family name may be written first, followed by the given name
•Marriage contract can be terminated
•Older children care for younger children
•Authority delegated by maleness and age
•Young people think independently and make decisions
•Stress on verbal fluency and application to life
•Teacher is an authority figure or surrogate parent
•Ability to feel comfortable in main stream society
•Obstacle course to be surmounted
•Stress affected and psycho motor skills
•Hero is a person of action
•Dependent on others – family and peers
•Money is symbol for success, intelligence and power
•Work to satisfy present need and physical survival
•Share group spirit of achievement
•Acceptance of the status quo
•Governed by clock and calendar
•Concerned with joys of the present
•Little concept of wasting time
•People are more important than time
Touching •Acceptable in some situations •May be a sign of acceptance in some groups; may be offensive for religious
Smiling acceptance •Sign of disrespect if one smiles when being reprimanded respect
•Used to act as an interruption in conversation
Eye Contact •Shows interest in what is being heard
•May be indirect in conversation
•Indirect eye contact is a sign of respect
Work Habits •Independence preferable to dependence
Teacher Role •Respected •Highly respected
Strategies •Teacher-directed lessons are familiar •Teacher-directed activities are familiar
•Silence preferred to noise •Noise tolerance high
•Not waiting for turn in line and in conversation is considered impolite
•May not form an orderly line
•Getting service by getting the attention of the clerk may be acceptable
•Interrupting in conversation may show enthusiasm and interest
•Waiting may also show respect
Language •Language used for direct communication •Language may be used to express feelings
•Money is symbol for success, intelligence and power
•Work to satisfy present need and physical survival
•Share group spirit of achievement
•Acceptance of the status quo
•Governed by clock and calendar
•Concerned with joys of the present
•Little concept of wasting time
•People are more important than time
•Linear organisation •Language may be used to show status within a group
•Organisation may be non-linear, circular or zigzag in nature
Style •Listen to one person at a time •Capable of listening to more than one person at a time, even while talking
Discipline •Consequences should fit the misconduct
•Punishment may cause loss of face
When catering to students with disabilities, teachers must understand the specific disability and assess the dance curriculum to identify suitable activities that meet the student's needs This may involve adapting the physical environment, objectives, strategies, equipment, and assessment methods Teachers should determine the necessary level of support and make appropriate arrangements, while also preparing other students to facilitate and support their classmate's participation.
To create a supportive environment for all students, teachers must avoid favoritism and ensure equal distribution of feedback It is essential for educators to recognize and manage their own positive and negative feelings towards students, providing encouragement and constructive criticism to everyone, not just their favorites Additionally, evaluations and assessments should be conducted impartially to promote fairness and inclusivity in the classroom.
Individual students should be assessed objectively against clearly stated criteria and that to demonstrate objective assessment the teacher must:
• Base any reporting system (written or oral) on the clearly stated criteria made known to students prior to assessment
• Give regular (e.g daily) verbal feedback in class
When providing assessments, it's essential to use constructive criticism language that fosters a positive learning environment Encourage students by acknowledging their progress with phrases like "You're getting there" or "Almost got it," while also highlighting specific achievements and strengths Additionally, offer objective feedback on areas that need improvement to guide their development effectively.
• Where available, use external standards (e.g if students undertake external exams) as an independent yardstick
Teachers should strive to minimize comparisons among students; however, during auditions or competitions for solo performances or troupe positions, it is essential to implement fair selection procedures To ensure an equitable process, teachers must establish clear guidelines that promote fairness and transparency in the selection criteria.
• Assessment is relevant to the student’s ability, age, and fitness (i.e is not beyond level of competency)
• All assessment measures (e.g practical demonstrations, theory questions) are clearly understood by all participants prior to assessment
Confidentiality is upheld, ensuring that sensitive matters are addressed discreetly It is essential for the studio or school to clearly communicate its policy on performance opportunities, with teachers making it clear that no guarantees or implications regarding casting for performances are provided.
Effective communication is crucial for creating a positive learning environment in dance education Dance teachers must not only convey clear instructions but also address important class-related issues, motivate students to be responsible dancers, and offer constructive feedback The language used should be tailored to the age and developmental stage of the students; for instance, explaining "turnout" will differ significantly when addressing preschoolers compared to mature students.
Effective communication in dance instruction is significantly shaped by delivery methods, including tone of voice, body posture, and gestures To foster a positive learning environment, dance teachers should maintain a confident, informative, clear, and supportive manner in their interactions.
Effective communication is a complicated skill to achieve, and is based on a number of skills, such as:
• Friendliness, smiling and speaking gently
• Positive Attitude Look for solutions rather than dwell on problems
• Listening Value and respect the opinions of others
• Compliment genuinely Acknowledge student improvement and effort
• Attentiveness Displaying interest in class activities; speaking frequently with students
• Reinforcement Show continual support and encouragement
• Approachable Be continually willing to help and be approachable to students.
To prevent vocal injury, teachers should employ effective vocal skills by using a natural pitch and incorporating visual gestures It is essential to take regular water breaks, avoid grunting and harsh speaking, and focus on deep abdominal breathing Utilizing a microphone while maintaining a normal speaking voice and facing the class with good posture will further enhance vocal health and communication effectiveness.
Providing a class with clear instructions is essential to dance teaching Dance teachers must explain content and activities using clear instructions, explanations and demonstrations
Instructions may be given using the following instructional methods and examples:
Using counts, descriptive words, and terminology
Eye contact, pauses in verbal communication and body language
Sound effects (whistles, bells, claps) and imagery
Signs and black/white boards
Importantly, instructions need to provide clear and specific directions that break down information in a logical way
Feedback is crucial for effective communication between dance teachers and students, serving as a foundation for setting future goals and fostering improvement It should be viewed as a valuable opportunity for growth, and must be clear, specific, and focused on the necessary changes Effective feedback is integral to the teaching strategies employed in class, and according to Kassing & Jay (1999), it can be categorized into three types: verbal, nonverbal, and guided manipulation All feedback should be positive and motivating to engage students in the learning process, while negative feedback, although sometimes necessary, should be used sparingly.
Verbal feedback, similar to verbal instructions, involves a teacher's statements and vocal tones directed at students This feedback is essential for providing dancers with constructive criticism and recognition of their performance efforts Dance instructors should emphasize students' performance and improvements, avoiding remarks that may demean or embarrass them.
Some teaching strategies and examples that can be employed to provide positive verbal feedback include:
Gives the dancer information about their performance in a positive way - i.e
“You did a single pirouette without losing your balance, now try a double.”
Directs the dancer to perform correctly, i.e “Remember to keep your shoulders and hips square at the start of your pirouette”
Indicates the error that the student made and presents a solution to correct it, i.e “You are having trouble executing your pirouette because your weight is shifted back during your releve”.
According to Schlaich & DuPont (1993) corrections can be:
Involves dealing with the correct use of the body
Designed to make movement easier
Dealing with counts and music
Use to improve movement aesthetics
Choose students who are executing the step correctly to demonstrate for the group, and then explain the technical merits.
Nonverbal feedback plays a crucial role in communication between teachers and students, primarily through the teacher's body language This includes facial expressions, gestures, nods, and eye contact, all of which convey valuable information to students Effective body language can enhance understanding and engagement, making it an essential aspect of the learning environment.
Marsh (1996), as quoted in QUT (1999: 103-104) suggested a number of ‘Dos and Don’ts’ for verbal feedback which should be considered by teachers as teaching strategies:
When speaking to students, keep regular eye contact with all students.
Frequently scan all students while talking
Use a number of positive expressions and gestures
Direct your body to specific students that are being addressed
Move systematically to students in different locations in the room
When you are talking to students.
In the room, for example sitting on tables, leaning on walls or doors when speaking Teach students from a single location.
Nonverbal feedback often involves demonstrations, such as the teacher demonstrating a movement, using other students to demonstrate, using mirrors and asking students to observe their movements
Guided manipulation is a technique where teachers physically assist students by handling their bodies to facilitate proper movement in dance Given the physical nature of dance, this hands-on feedback is crucial for helping students understand and experience the correct movements This method proves to be particularly effective during one-on-one lessons, allowing for personalized instruction and enhanced learning.
Negative feedback highlights areas where a student's attitude or actions need improvement, but it should be used judiciously to avoid damaging their confidence When necessary, dance teachers should deliver negative feedback either to the entire class or privately to the individual, ensuring that it serves as a constructive tool rather than a demotivating force.
Alternative Ways to Give Feedback
• Group Correction - Give the corrections to the whole group, even though not all students require each correction you give
• Questioning - Ask questions of the group rather that stating the correction yourself, even though as a teacher you are fully aware of the correction needed
• Praise One Student - Make corrections through recognising and praising the work of one student
• Quiet Praise - Adolescents may prefer feedback to be given in a quiet and individual manner, and not a loud in front of their peers
• Student Demonstration - Ask one of the students to demonstrate a step in front of the class
• Use of Mirrors - Mirrors are a good way for students to gain feedback without a word being spoken
• Peer Feedback - Students are also able to comment on another’s performance (comments should always be positive)
Managing the dance classroom
By the end of this section students will:
2 be able to utilise a range of teaching strategies in lesson planning
3 be able to devise suitable methods for student and program evaluation
4 Develop and implement self-evaluation strategies
5 Develop an awareness of available resources
Effective classroom management and organization stem from meticulous planning, which is particularly crucial for beginning teachers By thoroughly detailing their plans, educators can address all essential aspects of teaching This comprehensive approach allows teachers to consistently monitor, evaluate, and enhance their teaching practices Planning occurs in two distinct forms, ensuring a structured framework for effective instruction.
Effective educational planning offers a broad overview of instructional strategies, with timeframes varying among educators While some teachers opt for yearly planning, others prefer organizing their curriculum by terms or semesters, typically aligning with the four terms most schools follow annually Additionally, many educators choose to structure their lessons around thematic units, such as preparations for concerts or exams, or creative themes like "Under the Sea," which help to engage students and provide a cohesive learning experience.
This type of planning is specific to a single lesson or class Several lessons around a common organising idea or theme make up a program
The following section outlines the Program Planning considerations of the
Planning & Evaluation
Program Planning
After gaining a comprehensive understanding of each student's unique needs, teachers should assess their available resources and recommend a tailored program that aligns with those needs This program must encompass essential factors to ensure effective support for the student.
• Frequency and duration of lessons
• Class size – group and/or private lessons
• Average age of students in classes
- Grade level of class, indicating general technical content
- Participation in various levels of competition
Most lessons will follow a similar sequence or routine
The common elements of a lesson are:
• Teaching strategies/activities which include input, guided practice and independent practice
Lesson plans should adhere to a specific sequence while incorporating essential details The table below outlines key elements to be included in a lesson plan, along with important considerations for educators.
Lesson Plan Elements Examples Considerations
List the main focus of the lesson
•New Step: Pas de Bourees
At the beginning of the plan indicate how long the lesson will take overall.
Then give a time allocation to each section and teaching strategy of the lesson plan.
10 mins Revision of Prior Learning
5 mins Execution of new step at barre
5 mins Execution of new step in centre
5 mins Individual practice and feedback
10 mins Cool down and evaluation
Effective lesson pacing is crucial for successful teaching It's important to incorporate sufficient content and diverse activities in your lesson plan to align with the duration of the lesson.
Indicate the grade level at which the lesson is aimed and the age of the students
Silver Medal Ballet – students 10 years of age
Bronze Star Jazz – Adult learners
The teaching strategies and selection of content and resources in your lesson plan should be tailored to the specific grade level and the developmental stages—physical, psychosocial, and cognitive—of your students.
Start with the stem statement “At the end of this lesson students should be able to”
Follow with the specific knowledge, processes, attitudes and skills the students should achieve starting with a verb such as: identify, extend, describe, perform, recognise, apply, interpret, choreograph and create.
Outcomes are similar to objectives but state skills or competencies the students should achieve in an explicit way.
By the end of the lesson students should be able to perform
‘developpe jump’ from Silver Star using correct safe dance technique.
Students perform a single time step identifying components and counts.
At the conclusion of each lesson, it is essential to assess the achievement of defined objectives and outcomes These objectives should be articulated clearly to ensure that their attainment is both explicit and observable, fostering a better understanding of student progress and learning effectiveness.
When selecting verbs, opt for clear and specific choices to ensure accurate evaluation Incorporate exercises and gentle stretches to effectively prepare the body for heightened activity levels and minimize the risk of injury Additionally, include a cardiovascular component that is vigorous enough to induce perspiration, enhancing overall fitness.
Continuous movement is essential for effective learning, starting with localized body part movements and advancing to small skips, jumps, or specific techniques relevant to the lesson.
A set of stretches appropriate to the content of the lesson should follow Stretches should be well detailed so that their safe dance practice can be assessed.
This section must be able to help students understand what they are doing, why they are doing it and motivate them to want to do it
Show a DVD/picture of a step to be taught.
Demonstrate the step in a spectacular fashion
Understanding the significance of a specific technique in dance is crucial for improvement Students should engage in self-evaluation by reviewing a DVD or video of their own practice sessions, allowing them to identify strengths and areas for growth Setting clear goals and actionable recommendations will guide their progress To enhance accountability, instructors can outline the sequence of activities on a whiteboard, enabling students to track their accomplishments by ticking them off as they complete each task.
Try to make this part as interesting as possible to involve the students as much as possible
The subject matter and technical details should be listed.
• Pirouettes- strong preparation and releve with correct pirouette placement, use of arms and head
• Elevation – developpe jump from Silver Star – posture, using the knees when leaping and landing, arm placement, leg extension
• Tarantella – Italian dance performed with a tambourine and use of skirt
• Time Step – components: shuffle, hop, step, tap step, step
Counts: 8&1, 2&3&, 4&5, 6&7&, Technique: ankle action on shuffle and tap step, accent the hop, use of arms
Content must be appropriate to the developmental stage of the students, engaging and sequenced correctly.Ensure links are made with prior acknowledge
List safe dance procedures related to the safe operation of the lesson
• Ensure students align the knees over the toes when bending
• Remind students to wait for their turn when choosing an instrument
Incorporate specific techniques essential for executing movements while also addressing classroom organization and safety rules Focus on the technical content of the lesson plan by providing alternatives for potentially risky movements and implementing safe methods to enhance students' physical abilities.
List ( in point form if possible) the actual teaching strategies used to give input and facilitate guided and independent practice
Refer to sample lesson plans at the end of this text Instructions
Variety, practice Allowance for different types of learners
Appropriate to age and stage of development Graduated workload Use of imagery
List all resources used in the lesson
CD Player, IPod, MP3, MP4 etc.
Listing resources in advance allows teachers to be fully prepared for their lessons, ensuring that valuable learning time is not wasted When teachers spend time searching for materials during class, it can diminish student motivation and hinder the overall learning experience.
Indicate whether the class is working as a whole group, in small groups, with a partner or individually.
Indicate whether students are on the barre, in the centre, in lines, travelling from corner to corner, in a circle etc.
• Instruct students to sit on the floor
• Move students into the centre facing the mirrors in lines
• Direct students to find a partner and discuss
• Students execute the step one at a time from the corner
• Ensure students rotate lines after each step
To ensure smooth and safe movement while fostering positive student interaction, it is essential to establish clear routines These routines help students understand the rules and expectations in various settings, ultimately enhancing their learning experience.
List all activities and stretches designed to take precautions to reduce post exercise muscle soreness. knees, these areas will require particular attention in the cool down.
Evaluation should align with the specific objectives outlined in the lesson plans It is essential to assess student progress, teacher performance, and the overall effectiveness of the program Utilizing evaluation results is crucial for enhancing the success of future lessons.
Every educator will establish a preferred format for creating lesson plans The provided scaffolds offer examples of various lesson plan formats that you might consider adopting Whichever format you select or create, it is essential to incorporate the necessary elements outlined previously Utilize the Lesson Plan Evaluation Criteria to help assess the effectiveness of your lesson plans.
Title Does the lesson plan have an appropriate title? Yes No Unclear
Duration Is the duration of the lesson plan included? Yes No Unclear
Does the lesson contain enough content for the amount of time allocated? Yes No Unclear
Grade Level Is the grade level indicated? Yes No Unclear
Are the specific objectives/outcomes appropriate? Yes No Unclear
Warm Up Does the warm up include a cardiovascular component? Yes No Unclear
Are all the exercises and stretches detailed? Yes No Unclear Are all the exercises and stretches safe? Yes No Unclear
Introduction Does the introduction focus the students on the specific objective? Yes No Unclear
Are the instructions clear? Yes No Unclear
Are the teaching strategies sequenced appropriately? Yes No Unclear
Are the questions included appropriate? Yes No Unclear
Is the correct technique included? Please make comments on the lesson plan if necessary
Are links made with prior knowledge? Yes No Unclear Are the resources appropriate? Yes No Unclear Are opportunities for feedback included? Yes No Unclear
Is the type of feedback used developmentally appropriate? Yes No Unclear
Does the plan allow sufficient practice time? Yes No Unclear Does the lesson plan have enough variety to keep students motivated? Yes No Unclear
Is the room organisation included and appropriate? Yes No Unclear
Are different types of grouping used? Yes No Unclear Does the lesson allow for all types of learners? Yes No Unclear Does the lesson progress appropriately? Yes No Unclear
Cooldown Are all the exercises and stretches appropriate for the lesson? Yes No Unclear
Are all the exercises and stretches safe? Yes No Unclear
Evaluation Does the evaluation relate to the specific objective? Yes No Unclear
Are the methods of evaluation appropriate? Yes No Unclear
Alternative Sample Scaffold Templates for Lesson Plans
By the completion of the lesson the students should have:
Specific Parts of Activity Focus Teaching Techniques Safe Dance
By the completion of the lesson the students should have:
Specific Parts of Activity Focus Teaching Techniques Safe Dance
Dance Style: (Classical Ballet, Jazz Moves, Hip Hop, Contemporary etc.)
Topic: (Focus for the lesson)
Grade/Level and age of students: (grade or level of the class and the age of the students attending the class)
Students Attending: (however many students are attending the lesson)
Lesson Duration: (how long the lesson runs)
General Aim / Goal for the lesson: Students should be able to
Prerequisite knowledge: (What they already know)
(what the students should be able to achieve in that section of the lesson)
(sitting, standing at the barre, in the centre)
Resources (DVD, posters, props etc.)
Assessment Strategies (Observing, surveys, feedback forms etc.)
• Students should be able to
• Students should be able to
Synthesising Phase be able to
2 What could be done differently next time?
3 How can I use the feedback to assist me for the next lesson?
A Teacher or Mentor may use this template to record observations of your teaching methodology and strategies for feedback for quality teaching and learning
Dance Lesson Observation Sheet Lesson Plan
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Activities: Planning, Learning and Teaching
Use the text to assist you in completing the following activities:
Read section 1 Introduction – the Teaching Learning Process - and complete the following table by placing a tick in the appropriate column to categorise these teaching skills as Planning, Implementation or Evaluation.
Teaching skill Plannin g Implementati on Evaluati
Identify aims and objectives on
Give clear instructions to the class
Observe students in class and complete checklist of skills
Invite peer/mentor to observe teaching and provide feedback
Communicating classroom rules and routines to students
Complete diary/journal, noting successful teaching strategies
Ensure safe dance practice is followed during the execution of steps
Determine prior learning and level of skill
Discuss student progress with parents
Establish friendly rapport with students and parents
Understanding the Dance Teacher Activities
Read section 2 - Understanding the Dance Teacher - and complete the following activities:
Complete the following table by evaluating your development regarding the listed teacher competencies
Show commitment to students and their learning
Develop a strong knowledge base of dance and dance teaching
Manage and monitor student learning
To enhance your professional development as a dance teacher, utilize the insights gained from the previous activity to establish clear goals Reflect on the skills and knowledge you wish to acquire, and identify effective strategies for improving your teaching abilities through this module.
Identify the dance teaching philosophy category your philosophy of dance best suits, and write a brief explanation.
Categorise the statements listed below as either
1 Aims and General Objectives; or
Develop a love and es appreciation of dance
Apply safe dance technique when performing pointe work
Instil an understanding of dance technique
Develop positive personality traits, such as self-discipline, commitment, persistence and confidence.
Choreograph a jazz dance suitable for performing in Gold Star
Provide specific training to undertake examinations and gain qualifications in dance
Work within a group to ensure exact arm placement for a performance routine
Describe which of these teaching styles you have used or observed, and provide examples:
Read section 3 - Understanding the Learner - and complete the following activities:
To enhance teaching implications across various age groups, complete the table by indicating the most suitable stage for each idea Many of these concepts are applicable to multiple age ranges, highlighting their versatility in educational settings.
Develop a deeper awareness of how the body works and its movement capabilities
Show caution with stretching exercises
Develop a greater awareness of dance technique and its expressive value
Use peer tutoring and increase activities which involve working with others
Promote a healthy lifestyle through a good dietLessons should
Older Adult be activity based
Lessons should progress quickly from one activity to the next
Offer opportunities for students to view each other’s work and comment positively
Increase learner’s knowledge of anatomy
Structure programs to ensure exercises requiring strength and flexibility are given adequate preparation
Teachers should ensure students are able to recognise (and adjust own program accordingly) when experiencing signs of physical stress
Frequently praise and recognise children’s’ efforts
Use concrete materials and visual aids
Be aware of eating disorders,
Implication d d e Adult Adult substance abuse and other factors leading to an emotional imbalance and a greater risk of teenage suicide
Choose one of the psychological issues facing the dancer today, research an article and attach to this page Complete a short summary of the article.
Physiological stress (and performance anxiety)
Label the diagram below with the three stages of learning movement according to the human information processing system Also, draw a line from the example to the appropriate stage.
Perceiving ?# 1 Attempt to execute the time step
Thinking ? 2 Watch the teacher demonstrate the time step
Doing ? 3 Think about the components and counts of the time step
Find your preferred learning style by circling the appropriate response The column with the most responses indicates your preferred learning style.
When you spell do you … Try to see the word Use the phonetic response Write it to find if it feels right When you concentrate do you
Think in sounds Have few images and those that you do have involve movement When you concentrate do you
Get distracted by untidiness Get distracted by noise or sounds Get distracted by movements