Making Dance Available to Every Child


           "The creativity of the arts and the joy of music should be central to the education of every American child." - Richard W. Riley


          “Make Dance Education a Right of Every Child at Any Level of Schooling” is the title of a petition that was started by Dr. Radi Shafie, a professional dancer and parent, from New Mexico who believes in the National Dance Education Organization Child’s Bill of Rights in Dance.  Dr. Shafie’s plan is to submit this petition to the White House by February 15, 2013.  Accumulating signatures on this petition should be an easy task when one considers the benefits that dance offers.

            Because dance is a physical activity, it provides a means for improving health by increasing muscular strength and flexibility, creating neural pathways, developing kinesthetic and proprioceptive skills, and increasing metabolic rates.  Dance also helps develop the right brain hemisphere and reaches kinesthetic and tactile learners through active, experiential learning.  Several studies, which are detailed in my post, The Case for Dance in Public Education, have shown that dance can be used to increase reading scores, increase scores on tests of creativity, and improve abstract thinking.

            Allowing each child the right to benefit from everything dance offers, seems to be a no-brainer, yet the petition needs to gather a total of 100,000 signatures by this Friday and has only accumulated 1560 signatures so far.  There are numerous dancers and dance educators across the United States.  They perform on community stages, in regional and professional companies, and on Broadway as a result of the influence dance has had on their lives.  Dance educators exist in private studios, dance company schools, private schools, magnet schools, universities, and schools lucky enough to have dance as part of their curriculum.  So…where are they and why has this petition not gathered more signatures?

            A general lack of understanding has caused many to remain hesitant about adding their names to the petition.  Many dance educators will not sign this document because they fear it will change the role of dance educators in the private sector.  They fear that, by making dance available to all, we would eliminate the need for private studios and extracurricular dance classes.  It is important to understand that, if dance were to be included in the public school curriculum, it would be very different from the types of classes that students attend at private studios after school.  In an educational setting, dance and movement are used in an integrative manner to help reinforce the traditional learning that occurs in the typical classroom.

            Integrating dance in the classroom involves using movement to illustrate concepts introduced in the general curriculum.  Students might be taught multicultural dance forms while learning about other countries.   Students are taught to use movement to solve various problems or puzzles posed in other classes such as determining how the solar system works or how a right angle is formed.  Using dance and movement reinforces what is being learned traditionally, reaches students that might not respond to traditional, educational approaches, encourages teamwork, and encourages creative thinking.

            Although the actual solutions must satisfy given parameters, no dance creation can ever be wrong.  This approach showcases multiple solutions and encourages seeing things from multiple perspectives.  Additionally, students are taught to communicate in a new way, learn how to collaborate with others, are taught to think creatively, are forced to use the higher order skills of analyzing and synthesizing information, and develop self-esteem and self-confidence while becoming invested in their work.

            Schools like Bates Middle School in Annapolis, Maryland have found that using an arts integrative approach to learning reaches all of the children, re-energizes their interest in learning, and teaches an appreciation for the arts.

            This educational approach is a positive one for everyone involved.  Students benefit from a new approach to learning, classroom teachers benefit by reaching students in new ways, dance educators are given the opportunity to offer dance to everyone, and private dance schools will benefit because, as more students are exposed to dance, more will become interested in pursuing the art form in the specialized way that private dance schools provide.

            Making dance a part of every child’s educational experience would be beneficial for everyone…makes you want to sign this petition now, doesn’t it?


            Last spring, thanks to a generous grant from the Guilford Foundation for Education, geometry came to life through dance and movement at an elementary school in Guilford, Connecticut.  If you are interested in obtaining a copy of that curriculum, click on this link.

Keeping the Spine in Alignment


           “A man is as young as his spinal column.” – Joseph H. Pilates

         It is impossible to discuss proper body alignment and healthy dancing, without writing about the spine.  The bones of the spinal column, or vertebrae, house and protect the body’s life line, the spinal cord.  Attached to the spinal cord are the nerves that carry messages between the brain and the rest of the body.  Additionally, when the spine is aligned correctly, it supports and stabilizes the body, allows movement of the torso, and acts as a shock absorber.

            The tailbone, or coccyx is at the base of the spine and is several bones fused together as is the next section of the spine, the sacrum.  The sacral spine is made up of five vertebrae that are fused together and is responsible for distributing the body’s weight evenly to the pelvis and hip joints.  Balancing the body on top of the sacrum are the 5 lumbar vertebrae, which are the largest vertebrae and support most of the body weight.  The 12 thoracic vertebrae are stacked on top of the lumbar spine, and they allow for the movement of the torso and connect to the ribs.  Sitting on top of the thoracic spine are the 7 cervical vertebrae.  This portion of the spine is very flexible, makes up the neck, and supports the skull.



            In between each of the vertebral bones are the intervertebral discs.  The discs are composed of cartilage and contain a fluid-like substance.  The discs serve as shock absorbing cushions during activity and allow the vertebral bones to move in different directions without grinding against each other.  As gravity pulls us down during the course of a day, the discs flatten a bit, making us shorter at the end of the day than first thing in the morning.  A gradual flattening of the discs during a lifetime is what is responsible for people shrinking as they grow older.

            The spine’s natural ability as a shock absorbing mechanism is a result of the natural curves that occur in the vertebral groups.  The cervical and lumbar spines curve toward the back of the body while the middle part of the spine, the thoracic spine, curves toward the front of the body.  The curves allow the spine to act as a spring rather than a solid structure when walking, running, dancing, or jumping and allow for spinal flexibility.

            When a dancer does not pay careful attention to spinal alignment, several problems can occur.  When lengthening the body, it is important that the dancer not think about only “pulling up” from the front of the body.  The dancer should lengthen the torso equally in front and back, trying to create as much space between each of the vertebrae as possible.  Additionally, a dancer should never try to eliminate any of the spinal curves.  Tucking the tail under to artificially increase turnout or achieve greater height when raising the leg causes the lumbar curve to disappear and tips the pelvis backward.  A backward tilted pelvis causes tightened hamstrings and overstretched quadriceps muscles, creating a muscular imbalance.  An opposing muscular imbalance will occur if the lumbar curve is exaggerated if a dancer sways his or her back.  Similarly, dancers who round their shoulders or push their chins forward change the curve of the cervical spine and cause similar imbalances in the muscles of the upper torso and neck.

            In addition to creating imbalances which cause the body to compensate in various ways and can lead to injury, exaggerating or increasing the curves of the spine places the intervertebral discs in unnatural positions and creates unnecessary pressure.  Resultantly, these discs may slip out of position or rupture and leak fluid.  Either of these problems will put pressure on the surrounding nerves and cause extreme pain.

            If taken care of and kept in correct alignment, the spine will allow dancers to flex (bend forward), hyperextend (bend backward), flex laterally (bend sideways) and rotate while also providing necessary protection and weight distribution.  However, the instant the alignment of the spine is ignored or altered, a dancer begins to compensate and starts down a road toward the possibilities of pain, muscular imbalances, and injury.