What Good Will It Do To Watch Someone Else Dance My Part?

You learn something every day if you pay attention.  ~Ray LeBlond

         Dance is a physical activity, and, like most physical activities, is taught through a teacher modeling the steps while the students imitate the movements.  Kinesthetic learning is extremely effective, and research has documented that motor skills are acquired faster and more accurately via this method than any other. (2)

         In last week’s post about using mental rehearsal, I wrote about a new motor pathway being created in the nervous system each time a new physical activity is learned.  Each time the learned activity is repeated, a specific region of the brain is activated. A study conducted at the University of California at Santa Barbara found that this same region, appropriately called the action observation network, is activated when dancers watch someone else performing the learned activity. (1)

         It is for this reason that observation can and should be used as a tool in dance education.  When the action observation network is activated, blood flow to the brain increases, motor pathways that were created when learning the activity are reinforced, and muscle reaction time improves.

         There are many times in dance classes and rehearsals when dancers are not active, but scientific research indicates that those times can be used to improve through observation.  This evidence is exciting for the educator who may teach a young child that often refuses to participate in class.  That student is benefitting and learning simply by observing from the perimeter of the room.  The activation of the brain and nervous system also means that the student who arrives late to class, misses a substantial portion of the warm-up, and is not allowed to participate is also learning by actively watching his or her peers plié, jump and turn across the space.

         There are times during a dance class when the students are placed into groups and spend time waiting to take their turns.  Teachers need to find ways to ensure that those students are actively watching their peers perform.  By doing so, the group that is waiting will be working on skills without even realizing it.  Moreover, dancers are often double cast in roles.  The research suggests that being present and watching his or her alternate rehearse and perform the role will aid in improving the dancer’s performance.

         Dance educators have always believed that dancers could benefit from watching others, and now there is scientific research that not only supports this belief but also makes observing others a requirement if a dancer wants to improve.

         

(1) Grafton, S. & Cross, E. (2008) Dance and the brain. Learning, Arts, and the Brain.  The Dana Foundation, 71-9.

(2) Mattar, A.A., & Gribble, P.L. (2005) Motor learning by observing.  Neuron 46:153-60.

Envisioning Sugarplums - Using Psychology to Improve Dance Performance

“If you want to dance seriously, do. You must think about it day and night, dream about it.” -Christa Justus

         Dancers dance.  They learn by doing.  They rehearse pieces over and over again, and when they are tired and their bodies are fatigued, they push themselves to dance the piece one more time because that is the only way the dance will improve, or is it?

         There are scientific theories and studies which suggest that envisioning yourself performing a dance piece, or mentally rehearsing it, can also improve the performance.

         When a dance or any type of physical activity is learned, motor pathways are created between the nervous system and muscular system.  Each time that movement is repeated, the motor pathway is reinforced until the movement becomes almost automatic.  This phenomenon is often referred to as muscle memory and was discussed in an earlier post on Dance, Muscle Memory & Neural Pathways.  The widely accepted Psychoneuromuscular Theory suggests that the same messages are sent through the pathway when we envision ourselves performing a dance as when we physically perform it, thereby further reinforcing the motor pathway.

         Envisioning a perfect performance can help even more.  The Self-Efficacy Theory is a psychological theory based upon the connection between imagining a perfect performance and expecting one.  If a performer believes he or she will perform well, personal expectations are raised, and he or she will.  Conversely, if a performer expects to do poorly, he or she will perform poorly.

         Studies have also determined that mentally rehearsing an activity can produce positive results.  A 1992 study of trampolinists showed that those who practiced a skill and then envisioned themselves performing that skill showed more improvement than those who only engaged in physical practice. (1)  A study done on 7-10 year olds determined that children who used mental rehearsal improved their shots in table tennis. (2)

         Mental rehearsal can be beneficial for all dancers, especially at this time of year when Nutcracker rehearsals and performances place stressful demands upon the body.  It would be worthwhile to encourage dancers to mentally rehearse their parts.  While mental rehearsal cannot replace physical rehearsal since it will not strengthen muscles, it will reinforce the motor pathways that are being used.  At this point in the season, muscular strength should be established, and the goals should simply be physical maintenance (see my post on Periodization Training in Dance), and an improved performance.  If dancers spend some time each day, both before and after rehearsals, with their eyes closed, envisioning themselves delivering a flawless performance, that may be just what the audience gets to see as well.

(1) Isaac, A. R. (1992). Mental Practice- Does it Work in the Field? The Sport Psychologist,
 6, 192-198.
(2) Orlick, T., Zitzelsberger, L., LI-Wei, Z., & Qi-wei, M. (1992). The Effect of 
 Mental-Imagery Training on Performance Enhancement With 7-10-Year-Old
 Children. The Sports Psychologist, 6, 230-241.

Oh no! My Child Wants To Major In Dance!!

            “Choose a job you love, and you will never have to work a day in your life.” ― Confucius

         As high school juniors begin to explore higher education choices, it is no secret that many parents hold their breath and hope their children will not choose to major in the arts.  Dance, music, art and theater are wonderful, but are they fields you can make a living in?  If someone majors in dance and it doesn’t work out, what will he or she have to fall back on?  Is going to college for something as “frivolous” as dance a waste of money?

            People tend to believe that majoring in dance simply means taking a myriad of technique classes for four years only to graduate and begin auditioning for a performing opportunity that may never come to fruition.

            The good news for college students who are passionate about dance, their parents, and everyone whose life has been touched by dance, is that this assumption could not be farther from the truth.

           

            As dance has grown and continues to grow, so has the number of possible dance careers.  Dancers will always have the option to audition for professional and regional companies, but there are also a multitude of other possible career paths available in the field of dance.

            Choreography:  College students who major in choreography spend time learning about dance composition.  They learn how to manipulate movement phrases in various ways, and they learn about different styles of dance, different choreographers, and gain a historical perspective on dance.  These students can go on to become company choreographers, free-lance choreographers, or musical theater choreographers and are also able to teach dance composition courses.

            Dance Education:  Students who major in this area will be required to take classes in educational philosophy and practice as well as dance courses.  Their courses may include dance history, music for dancers, anatomy for dancers, class and lesson planning, foundations of elementary education, foundations of secondary education and foundations of special education.  Many colleges also offer the option of state teacher certification to enable the graduate to teach in public schools.  These graduates can teach in private studios, private schools, or public schools.  A terminal degree such as an MFA would enable the dancer to teach at the college level as well.

            Dance Therapy:  Dance therapy combines the study of dance with psychology.  In order to be a practicing dance therapist, using dance as a form of psychotherapy, a graduate degree is necessary.  Dance therapists work in private practices, hospitals, schools and prisons.

            Dance Scholars:  Dance scholars study dance technique, dance history, and dance notation and can get jobs with dance companies, in the television or film industries, or in libraries and museums.  Their job is to preserve dance for future generations through research, writing, and recording dance.

            Dance Journalist:  A dance journalist combines dance studies with English classes.  Journalists get jobs writing about dance, editing books on dance, or as dance critics for magazines, newspapers and online publications.

            Dance Science:  Dance Science is a relatively new field of study.  It combines dance with the study of anatomy and kinesiology.  Dance scientists work with dancers to educate them about their bodies and healthy, efficient ways of dancing.  Those studying dance science often choose to pursue graduate courses in exercise science or physical therapy.  They may work with dance schools or companies, designing strength training programs, or in injury rehabilitation programs that work with dancers.

            Arts Management:  These students combine their love of dance with the study of business.  These majors graduate and become company managers, booking agents, grant writers, arts advocates, and community outreach activists.

               The career opportunities for dancers are numerous and all have one common denominator:  they require a love of dance.  A parent whose child decides to major in dance need not panic because dancers are not just performers anymore.  They are the people that keep the art form alive, and by doing so, they preserve a very important part of our culture.

                                   

Dance Studio Etiquette - Part 2

“Good manners will open doors that the best education cannot.” – Clarence Thomas

            Last week’s post focused upon the etiquette that should be followed before class begins.  This week’s post will focus upon expected behavior during the actual dance class.

            The learning that occurs in dance class is largely based upon observation.  It is important to pay attention to and carefully observe each detail as a teacher demonstrates combinations and ask as few questions as possible.  Dance is mainly visual, and students need to train themselves to carefully watch and internalize combinations.

            It is for this reason that dancers must remain focused in class.  Talking during class disturbs the necessary focus, and since someone is always dancing in class, talking is considered to be rude.  Those who are not dancing are expected to act as audience members and watch their peers.  A large part of learning in class can, and should, occur while watching others dance and observing their successes and any difficulties they may be having with the combinations. 

            Respect for others is paramount in class, and it is illustrated by where the dancer stands in class and how he or she moves through the space.  When standing at a barre that accommodates dancers on both sides, dancers should place their hands pinky to pinky with those on the opposite side of the barre.  This formation allows dancers on either side of the barre to freely move their arms forward during exercises that require weight transfers without hitting each other.

            When standing in the center, dancers who are in front during a combination should rotate to the back of the room when the combination is repeated, offering those who were in the back a chance to move to the front of the studio.

            When performing combinations that travel across the floor, dancers need to be ready to begin when it is their turn.  It is not acceptable to stand at the front of the line but not begin.  This behavior is unfair to the other dancers who are waiting and forces them to either continue to wait or jump in at the last minute.  If a dancer is unsure of a combination, it is best to move to the end of the line and watch other dancers go first.  It is also often helpful to dance in a group with someone else who knows the combination well.  If a dancer makes a mistake or gets confused when going across the floor, he or she must never stop in the middle of the floor.  Other groups will have started moving across the floor and a collision will likely occur.  The confused dancer should simply keep moving across the space, trying to jump back into the phrase.  The same should occur if a dancer falls.  As long as he or she is not injured, the dancer should stand back up and rejoin the dancers.

            When entering the floor before a combination or exiting after a combination is completed, dancers should move quickly so no time is wasted.  Dancers should never turn and walk backwards through other dancers who are moving but should instead exit the floor by moving forwards and to either side of the space.  Dancers should also make every effort not to cross in front of the teacher while he or she is watching another dancer.

            It is never permissible for a dancer to sit during class.  Sitting implies that a dancer is too tired to be in class and also relaxes the muscles and body in a way that signals the brain that movement is coming to an end.

            Dance class often involves some waiting while the teacher demonstrates a combination, discusses a correction or other groups are dancing.  Those who are not dancing should never treat these times as an opportunity to relax.  Just as a dancer who is posed on stage must keep performing, a dancer in class must keep working.  When a teacher is demonstrating, the students should be “marking” the combination along with her or him.  Although while marking the phrase legs do not have to be held at full height and jumps and turns do not have to be fully executed, arm and head movements should be performed completely.  When dancers are waiting for another group to do a combination, they should be watching and learning from the other dancers and working on parts of the combination that they are finding difficult.

            When it is the dancer’s turn to perform a combination, he or she must always put forth his or her best effort and dance full out.  The worst thing that a dancer could do is to hold back while dancing in class.  Class for a dancer is equivalent to a practice for an athlete.  It is in class that new skills are learned, practiced and mastered, but that cannot happen if a dancer approaches combinations hesitantly or tentatively.  Dancers make mistakes and fall all of the time and that is the purpose of class.  Working in the studio allows the dancers to perfect their skills for the stage.

            When a mistake is made, it gives the teacher the opportunity to give a correction and help the dancer grow.  Corrections are compliments as was discussed in my post, Correction: Compliment or Insult?  When a dancer is corrected, he or she should thank the teacher and try the exercise again immediately while implementing the correction.  This action helps the teacher be certain the student understands the correction and gives the student the opportunity to internalize it.

            At the end of every class, the students should applaud and either curtsey or bow to the teacher and the accompanist if there is one.  Dance etiquette also requires that each student walk up to the teacher individually to verbally thank him or her when the class is finished.

            Etiquette is a large and necessary part of any dance class.  It shows respect for the art form, the teacher and the other dancers and is part of the discipline required to keep dancers safe when they are all moving together in the same space.