Annotated Bibliography Fall 2019

Kaprow, A. (1997). Just Doing. TDR (1988-), 41(3), 101-106. Retrieved from 
     https://coyotziculturia.files.wordpress.com/2011/05/kaprow_justdoing.pdf

 In Just Doing It, Kaprow narrates whimsical artmaking experiences experimenting with play, emphasizing the value of the creation process. The author recounts playing with shadows, footprints, dirt, including incomplete conceptual art installations, highlighting dialogue and interactions that establish how creativity and art can emerge from the every day. This also provides much support for how artists can create meaningful artmaking experiences through “experimentation [— bringing] attention to the normally unnoticed” (Kaprow, 1997, p.104). Predominantly useful for art educators, this article illustrates the worth in the process itself than the finalized products of art. Most significant is the author’s sentiments on how “playing with everyday life often is just paying attention to what is conventionally hidden” (Kaprow, p.104), which in turn, are rich untapped sources that may cultivate profound, meaningful art. The author further details, “the playground for experimental art is ordinary life [and argues] playing in this ordinary world does not mean including ... more features of the common-place than [one is] used to find in exhibitions, concerts, poems, dances, films, and performances[. Since these stations/avenues may] never allow [one] to forget art’s higher station” (Kaprow, p.103). As a professional dancer, I can attest to forgetting moments I am on the stage, allowing my body to become one and move through movements as if I were not consciously thinking of performing. For dance students contrastingly, mastering how to speak with one’s bodies, forgetting about the performance aspect altogether develops through time. I deeply connected how “… the condition for experimentation [is] the art is the forgetting of art” (Kaprow, 1997, p.103). This condition, in particular, made me reflect heavily on the rehearsal process as well as comparing the incompleteness of dance rehearsals to Kaprow’s open-ended installations/artmaking experiences. For example, a rehearsal is where dancers play and experiment with shapes the body may form. One may traditionally not consider rehearsal art because it lacks all the identifiable aspects of a finalized dance production (lighting, costumes, music, staging, etc.). Yet, during the playful interactions of a rehearsal, there is insightful dialogue exchange and explorations of the body, and for an artist, those moments are profoundly significant. It is within rehearsals I, as an instructor, can identify the most artistic growth within my students. As, they begin to move and express themselves considering dance a vehicle for their nonverbal expressions; forgetting they are dancing for a set performance date as they start their process connecting to a piece or finding new insights about how they approach specific movements. It is in the rehearsal where versions are modified, and students develop meaningful connections on how to take their everyday interactions, emotions and use dance terminology, as their vocabulary and as an instructor, I highly value this learning process over the finalized dance production itself. 

Walker, S.R. (n.d). Artmaking and Nonesense, 1-27

     Through the author’s own pedological experience, as well as, highlighting works of Conceptual artist, Nina Katchadourian in Artmaking and Nonsense, Walker (n.d) illustrates how nonsense can “function as a productive catalyst for creating a new kind of sense” (p.1). The author makes a distinction and argues nonsense is not the absurd or a “stand-alone entity[;]” instead, works in conjunction with sense when further referencing, three distinct graduate students’ work and how functionally nonsense served as an artmaking tool (Walker, p.1). The author predominantly addresses art educators, yet artists alike may benefit as much of Katchadourian’s artistic work is coined for her use of nonsense strategies as it pertains to studio space and materials she engages with to create. As a dance instructor and performing artists, I deeply connected to the creation of Seat Assignment in particular referenced as, “born from an investment in thinking on [one’s] feet, from optimism about the artistic potential that lurks within the mundane, and from curiosity about the productive tension between freedom and constraint” (Walker, p.9). These words, in particular, highlight the benefits of integrating nonsensical strategies into one’s work, and as a dance instructor and performing artists, I paralleled how beneficial improvisational dance during a lesson may seem like a nonsensical decision. Improv, is greatly beneficial, allowing students to loosen and open avenues of creativity through free movement, breaking from routines. As Walker (n.d.) further states how “nonsense [serves] as a highly productive way to dislodge students from habitual and costumery ways of thinking” (p.3), I began to reflect heavily how often I incorporate nonsense strategies into my own teaching practice. Walker (n.d.) provides vast examples of nonsense strategies effectiveness, referencing artistic examples simultaneously, deciphering dense Deleuzian language like “encounters” (p.2), “line of flight” (p.3), and “deterritorializing” (p.2) through three greatly different graduate student artmaking experiences. Reflecting on this article, I found a reconnection to integrating improvisational dance predominantly within my adolescent groups concerning choreography development and positively challenging my approach to how I could connect to specific terms and make them applicable to the dance realm. For instance, I considered lines of flight the moment when clearer thoughts arise from exploratory freedom. Ballet, in particular, may feel at times as an overly rigid art form, but breaking away (deterritorializing) like doing an improvisational dance exercise or dancing outside of the routinely used studio space, may functionally fuel creativity or may reenergize ideas that may be worth creating into dance works. Most significant, this reading allowed me as an educator explore how to create lessons where I could cultivate encounters for my students to rediscover dance in new ways. 

Walker, S.R. (n.d). Rhizomatic Thinking, 22-34

     In Rhizomatic Thinking, Walker delves into Deleuze's ideas of rhizomatic and arborescent thinking; differentiating the two, as non-linear and linear ways of thinking. Addressing, predominately art educators, Walker (n.d.) points to the significant argument how “the pedological goal for fostering rhizomatic thinking in student art-making is never simply about [being] clever or entertaining, such as it might appear… but the aim is to prepare the ground for thinking about self and the world in new ways” ( p.27). Although Walker never overtly states one manner of thought better than the other, there is much support on how rhizomatic thinking allows for extensive exploratory opportunity. For example, as highlighted, “the difference between filiation and alliance speaks to a core distraction with the tree locking into internal reaction and the rhizome yielding divergent connections drawn from the outside…[and] students [should] …be encourage to generate connections from external relations, not from the already given” (p.14). Valuing the importance of fostering outside connections in my students’ lives through art, allowed me to view how rhizomatic thinking, in particular, is immensely beneficial and how I may open discussion on how to approach it in a dance setting with my dancers. Choreography, for example, is a non verbal manner to express oneself and there may be an immense array of influences that shape a student's work such as, their individual connections to their environment, dialogues, or daily interactions; all of which, may become clearer to understand through their art process constructing a dance phrase or choreographic topic/theme. I sided deeply with this reading connecting in particular to “Deleuze’s rhizomatic position that life is about becoming rather than being dictated [;]valuing process over product in art-making [because there should be, a] …continuous organic evolution through [students] process” (p.28). As a ballet teacher, I am incredibly proud of my students mastery of steps and their execution as our dance courses progress. Yet, I value immensely the growth in the process itself and the maturity that comes during the rehearsing process when approaching choreography touching on subject matter (emotions, ideas, conversation, altercations) from the world that surrounds my students on a daily basis; making connections through their movements what these intersection mean to them, and how they can use their craft to voice what they feel.

Big Idea Lesson Plan Reflection

What did the students do? 

Throughout four weeks, my Raising the Barre lesson plan functioned to help students create original adagios. The classical dance arts operated as a medium for non-verbal communication. Where, students explored the Bigger Idea, how to vocalize emotions and their identities as artists using movement. The creation process began through the selection of balletic terminology stemming from previous coursework. In addition to viewing excerpts of repertoire and choreographers’ interviews. Which, visually, exposed some youths positively (for the first time) to professional demonstrations of artistic expression utilizing dance. 

To spur creativity, objects such as vanities, kitchen sinks, or dressers, served as a personalized ballet barre. Students maneuvered through working with different spacial limitations, placing movement together to form a nonverbal expression. Breaking from our traditional realm of practicing in the confines of our studio, significantly planted an experience for students to develop deeper connections with their movement navigating through their specific physical surroundings. All the while, simultaneously, stimulating exploration of feelings working through the difficulty or ease maneuvering the body.  

The students finalized adagio, were formed with a total of eight terms and transitional steps of their liking. Students were given creative liberty framing their dance phrases but had the responsibility each week to discuss their challenges in class and explore solutions together through conversations with peers and myself. This further served to understand how, professionally, choreographers need to adapt or modify movement because the body may function physically different than how one may envision dance on paper.  

 How did you implement the plan?

Students were asked to choose various rooms in their home and utilize a vanity, desk, table, etc. as a personalized ballet barre. Deterritorializing from dancing in a studio strengthened the idea of how anyone can dance at any time. In courses past, students communicated their anticipation, waiting each week to use the dance studio, and this, in particular, encouraged me to frame a lesson encouraging self-expression. By reinforcing how students had acquired a vocabulary (balletic terminology) to voice their desires as artists, joys, or any emotion they felt were important to them through dance in the comfort and safety of their own homes. 

Before the end of class throughout our four weeks, my class watched videos showing choreographers discussing how a movement is a form of outward physical expression. Videos of choreography allowed us to discuss further how artists corporally expressed themselves through Performing Arts. Our dialogues, in particular, allowed me to understand further how dance made my students feel. Which provided me the motivation to ask if movement could express the same sentiments they communicated verbally. Some students felt empowered, stronger, reflect on how they are at their happiest when coming to dance class, or have a need to move when they find themselves bored or sad. Each student discussed different emotions, and I asked them to explore further those emotions when at home, working on their dance phrases. 

Raising the Barre centered on providing students an experience to connect to dance on a deeper level. In semesters past, when placing choreography together for performances, I traditionally show movement. My students, in return, mimic the actions. Still, there is often a disconnect to why they are dancing a certain way or connecting altogether with the emotional presentation of the piece. This assignment, in particular, motivated my students to create genuine connections to a movement that ultimately, reveled genuine emotion when performing. Contrast to, robotically moving on a stage with music. This assignment pushed my students to work through their challenges and develop a deeper connection to the movement because they were choosing their balletic terms accordant to their needs. 

Document and describe the artmaking process and the ways in which students engaged in the activity. Look at the products of the activity and your documentation of the process. How do they compare? 

Every week, students structured their adagios by adding terms forming a dance phrase. As the weeks progressed, some students changed their original combinations in accordance with what physically felt more conferrable on their bodies. Though as a class, we checked in to discuss challenges or strives, the students nor I saw the pieces until the end of the four weeks. 

Visually, the combinations on paper did not reflect the nuances each student brought to their piece once performing their phrases in the class. The written terminology primarily functioned to help students practice French spelling and served as a tangible guide as they explored the physicalities of movement. Such as, thinking about how they would modify or incorporate a transitional step to make the term physically possible. 

Most interesting, and what I believe is the most significant outcome of the process was in the presentation itself. For example, students were given the opportunity to utilize music they incorporated at home or sustain from performing with music altogether. Musical choices varied from classical to contemporary instrumental. Though music had been eliminated in a couple of the pieces by deliberate choice, everyone lost themselves in their dance phrases. Facially, I was captivated by how gazes were focussed on port de bras (arm movement) rather than our studio’s dance mirror or fixated on their peers who served as the audience. 

When reflecting on the process of creating an adagio, some students also shared how performing their original pieces placed videos shown at the beginning of class into perspective. For example, in the video taken from the 2015 Festival International de Danza Contemporanea, famed choreographer, and director of Alonzo King Ballet, Alonso King expresses how dance is much more than just steps. Students shared how they felt their peers’ emotions witnessing the pieces, and in return, when performing, students communicated how there were moments they forgot they were dancing. Consciously one does not think about speaking when talking, and successfully I saw students forget about the performance aspect of dancing and allowed their feelings to guide the fluidity of their movement. 

What were some challenges? 

One of the biggest challenges was in the first stages of my lesson. I underestimated how my students would approach choreography. I initially anticipated a universal acceptance and excitement but quickly realized how daunting the concept to create could be for a particular few. Though I structured the assignment in a manner in which students would work slowly developing their phrases each week by adding two terms at a time, I had a few students feel extremely overwhelmed by the idea. 

The majority of the students felt at ease quickly choosing terms and began to form a buddy system looking over what terminology had been selected and by who. My newer students, on the other hand, expressed a strong hesitation and communicated this. 

My goal was to inspire creativity and make a lesson that would be an enjoyable experience. Addressing my student’s concerns to make everyone feel at ease, I modified my initial lesson plan. Initially, I instructed students to approach the terminology where they would choose eight terms by selecting two terms at a time from a list I provided form coursework we had learned. Seeing the hesitation in this stage by some, I then asked students to play with the idea of hard and easy and taking one easily executed step and one more challenging one. For those students that still felt uneasy, we discussed how the execution could be the challenge itself. 

Positively, the discussion of execution allowed me to integrate a conversation of stage directions - a necessary and integral part of forming choreography. For instance, students could choose to explore executing their movements dedans (inward) or en decors (outward). Which ultimately touched how their movements could be a reflection of how they felt at that moment and how it may develop in the course in the weeks that followed. For some, their immediate joy could physically convey an outward excitement while, for some, they could explore further using movement to express what they were grappling with internally as they began to form their dance phrases. Celebrating the students’ differences working through the lesson, we discussed the beauty in delving into an array of different emotions and how, as a class, we could use dance and movement to express that. 

What were some successes? 

The most rewarding success during the initial process of integrating Raising the Barre lesson into our class’ rhythm was how the students came together to work with one another. For example, my eldest students who had had more experience performing worked with newer students after class. There was a lot of encouragement in our class, and I was particularly thrilled about how supportive the students were with one another. 

Throughout the year, my Ballet class traditionally is a very individualized experience. The students use their bodies to learn the art form, and they work within themselves to learn the terminology and how to execute it. It is predominantly during our studio’s second session in Spring, where students explore choreography and begin to work with one another. 

Assigning a lesson where they would create a piece allowed us to have discussions on how, at times, choreographers have to adapt or modify movement. Since, what one may visualize on paper at times, may not always be physically possible working with the human body. When students used a few minutes after our scheduled class to practice, students exchanged insightful support, communicating what worked for them and exchanged ideas on how their peers could approach a movement that was difficult to pair. Such as helping with sharing a transition step that could help the execution or eliminating a movement and replacing it with another one.  

How does your environment affect the teaching big ideas and questions? 

As a studio teacher, my classes, in particular, are tuition-based. Our student demographic is predominantly affluent. Over the years, with the success of our studios business, scholarship and discounts have been a possibility of reaching more youths in our community to experience the Dance Arts. 

One of the underlying lessons detouring from our typical structure of dancing in the studio and taking the assignment home working in different environments in my students’ home, was to explore how dance could be done by anyone at any time. In the process of structuring the phrases, students conversed about how they enjoyed taking Art in their own hands and not having to wait for their scheduled ballet classes. Over the years, my students learned vocabulary (ballet terminology) and our conversations positively touched not only how the arts could be a vessel of communication and expression, they now had the power to practice, create, and utilize their acquire terminology to cultivate and release a creative outlet; not having to wait or pay for studio time to do so.

My class, in particular, is predominately also heavily centered teaching the technical foundation of Ballet. Such as the art form’s terminology and how to safely and physically execute movement with the body. My Big Ideas lesson emphasized why my students learn this particular terminology and how it could be viewed as much like the vocabulary one utilizes to express ourselves verbally as a form of communication. 

How did this lesson plan fit in with your larger curriculum? 

Conducted during our studios Fall session, my lesson served as a preparation for our studio’s set curriculum incorporating choreography in the Spring semester for the culminating Spring performance. Though many of my students are returning dancers, I have a few new students. This lesson opened further conversation about what will be expected in our course, such as remembering choreography. Most significantly, this lesson eased tensions about performing in general. 

For my new students, in particular, performing their adagios amongst peers in the comfortability of our classroom, established an atmosphere of support and encouragement where students felt safe performing utilizing their bodies to move. For some students, performing can be incredibly intimidating and more so for prepubescent youths as they begin to develop physical insecurities or begin to compare themselves to their peers.

When the students demonstrated their adagios, everyone supported the artistic endeavors of their peers by exhibiting appropriate theatre behavior such as clapping after each performance. Our class also had an exchange of one positive reinforcement of how the different pieces made the students as an audience, made them feel. 

How do you think this experience will affect your future practice? 

Assigning choreographic homework for the first time in my class was a lesson I will continue to explore and implement in future practice. My students and I highly enjoyed expressing themselves through dance in a manner we had not done so prior. Many of the dance phrases reflected empowered young dancers. As a result, their outward strength many convayed during the final presentation is a theme our class will continue to explore further and have chosen to work on as our course progresses to form a piece for our culminating performance. I will guide the choreography, but this year, the students will take the reins of the choreographer to structure a dance based on how they have grown and how they feel when they dance. As I reflect on my experience forming a guide for students to structure movement, I was most fulfilled by my students developing the deeper connections to movement as a form of vocabulary ultimately, for them to create dance pieces based on the stories, ideas, and feelings significant in their lives to share with their community as they step on their stage. 

Big Ideas Lesson Plan

What did you choose (key ideas for artmaking and big ideas) and why? 

Designed for intermediate dancers (ages 13-16), Raising the Barre exercise encourages students to push beyond the act of movement. To, explore their identity using the classical dance arts as a medium for non-verbal self-expression. As Walker (n.d.) highlights in Everyday Play, there is immense “potential of the everyday as a rich source of Artmaking with play operating to make the ordinary extraordinary” (p.2). The art of Ballet traditionally follows a specific aesthetic in which it is usually practiced solely in a dance studio. Which, can often be a costly or limited available source due to geographical locations. Addressing this limitation, I have created an opportunity for students to practice dance outside of the confines of our studio’s classroom. Creating as a result, as Walker (n.d.) cites Deleuze in Artmaking as Nonsense, “a line of flight [where my students can] …rethink familiar concepts … to animate [,] energize [and awaken their] artmaking” (p.9). Through this “deterritoraliztion” (Walker, p.9) by assigning an exercise project outside of the studio, I expect an eye-opening experience that will break my students’ routinized manner of dancing. Simultaneously, underlining the notion of how dance can be performed anywhere at any time by anyone. 

Outside of time spent in school, children are predominantly in their home. Thus, I have asked my students to undertake dancing in a few distinct areas within the home. They are taking easily accessible objects in their residence, such as a bedroom vanity, kitchen sink, or dining room table to utilize as a personalized Ballet barre. The primary objective is not to solely use objects as a barre. Rather, it is an opportunity to create a deeper connection to the movement as students work through expected modifications to their movement during each engagement. Resulting from, the location of the objects themselves may be situated in where space may be limited or provide different levels of support- forcing students to engage their core differently during each encounter and analyze why. 

The particular selection of balletic vocabulary all stem from previous coursework. Which, grants students the freedom to pair movements of their choosing to create an adagio — all the while, demonstrating their acquired knowledge of terminology and its application. Purposefully, I have only set a parameter to utilize material known to students relinquishing any expectation of how the adagios need to look or emotions expressed.  “Metaphors [will] emerge from the participation [of students’ individual] experience” (Walker, p.11). Contrast to a typically run rehearsal, where students knowingly enter the space to practice movement to represent roles through a preselected theme. 

Designed in three parts, the first, students play with their object (desk, kitchen sink, vanity, etc.) and pairings of movements from the list provided; considering the surface texture, type of floor, and room’s spacing. In class, a reflective discussion will address any difficulties. To, discuss a more in-depth understanding of how choreographers must be open to change and how, at times, combinations of steps desired are not always functionally applicable when using the body. In addition, if the textures of the objects or room influence the students’ movement (i.e.: a soft surface may influence fluidity in a section or a curvature in the object may interfere a pairing). I anticipate most changes by students during the selection process along with a further understanding of spatial awareness as they come in contact with how they will execute a desired full range of motion to express themselves. Part one forces students to face how different movements and their particular execution may convey an intended meaning. During the second part, students play with musical choice and experience if movements structurally change; if their music had/or had not any influence and why. In class, our reflective discussion will address musical choice while creating a piece and the emotional connection developed. The last part is performing the adagios in the classroom. Each student will have worked individually in the course of a few weeks adding or eliminating their selection to create a piece of their own. Our final reflection will address what they internally experience during their performance utilizing balletic vocabulary; how they created a conceptual piece depicting an intend emotion using movement. Ultimately, exploring further how they came to identify with those particular emotions and how they see themselves. 

Choreography intertwine elements such as music, textures (influence costumery), movement, and space (staging) to create an outward physical expression. A choreographers identity reveals itself through the artwork as it is an internal reflection of emotions, experiences, or maybe memories. What this exercise attempts to teach is Ballet is not only a series of reproduced steps paired with music; it can be an inward form of outward communication. 

What artists are you drawing from? Include information about the artist and images/videos you present to the class.  

The first video I will show in my class is a recorded discussion taken from the 2015 Festival International de Danza Contemporanea. In the video, pioneering choreographer and artistic director of Alonso King Ballet, Alonzo King, addresses a professional company about losing themselves within the movement. Contrast to, representing a role “by taking the [audience] into ideas than just steps” (King, 1:25). I chose this particular video because Mr. King poetically shares how dancers can utilize movement to communicate “what they are saying….feeling … living … experiencing … and [not just pose; creating] pictures…[on for astage]” (King, 2:17). Mr. King encourages a group of professional company dancers to connect with everyday human conditions while performing. I anticipate his words will empower my students to play and genuinely tap into characteristics of their personality when dancing as they create their art and “avoid …[as Walker (n.d.) guides in Everyday Play] …the temptation to simply ‘represent’ the everyday rather than probe for invisible complexities ” (p.4).  

https://www.youtube.com/watch?v=1RS56ZxwRy4

The second video I will show in my class is an excerpt of Lines Ballet’s, "Scheherazade". I purposefully chose this video because it visually incorporates the terminology I have provided for the creation of my students’ adagios. Besides the recognizable movements the dancers use, I want my students to focus on the sustained counts, corporal, and facial expressions of the artists; without, the traditional balletic scenery.  "Scheherazade" is a classical ballet which premiered in the 1900s by the Paris Opera. I chose this particular rendition by famed and culturally diverse American company Lines Ballet to highlight how the emotional connection of the artists is just as compelling to the original version. 

https://www.youtube.com/watch?v=7cOBdZaRrGI

Inspired by Walker’s (2004) question in Big Ideas: Understanding the Artmaking Process, “what is it that artists do when they create?” (p.7) I aspire to establish a higher purpose of why my students learn the technical dance movements. Such as, considering balletic terminology as the vocabulary to express themselves with depth and meaning rather than, robotically moving on a stage to music. For this reason, my last video showcases excerpts from, a renowned American company, Complexions Contemporary Ballet. Who, incorporate Baroque, Folk, symphonic, Gospel, Jazz, and Industrial music, all the while, utilizing balletic terminology to move expressively unfolding different, emotions, stories and sensations within each dance piece. The gender-inclusive and multicultural cast perform in a gender-neutral garment where visually one pays more considerable attention to the movement. I lastly, chose this company’s showcase due to the open location dance is presented to the public (a college campus) contract to, their (and most dance company’s) traditional theatrical setting.  

https://www.youtube.com/watch?v=o4gqx0_vgJg

How do you anticipate your class responding to this plan?

I anticipate my class to responded enthusiastically about creating an adagio. That will conceptually stand for how the students feel as well as, a positive experience rediscovering how they may utilize movement to express themselves authentically. As Walker (n.d.) highlights in Everyday Play, “it is essential to convey the idea that the Artmaking is about experiencing the idea, not representing it” (p.16). One of my most significant challenges as an instructor has been encouraging students to relinquish preconceived ideas on how Ballet “should” present emotion. For, the goal is to internalize emotions as if they are forgetting they are dancing; experience said feeling or state of mind so it may reveal itself through movement.

As Walker (n.d.) references Deleuze in Artmaking and Nonsense, “[one] cannot produce encounters on demand, but [one] can always be on the lookout for that thing in the world, …[such as a] conversation [or] artwork…that might ‘move the soul, ‘perplexes’ it—in other words, forces it to pose a problem as though the object of encounter, the sign, were the bearer of a problem” (p.13). I have come to realize with the rise of social media students’ primary source of Ballet, and balletic images are through social media outlets like Instagram. By incorporating video of discussions by famed choreographers and renditions of actual movement, I want to open the discussions on why art is created and explore the action itself. Referencing, Walker (2004) in Big Ideas: Understanding the Artmaking Process, I do not expect a straight forward answer why or how will my students identify using dance as for “sometimes... in the midst of performing an act, [the act itself] …leads to surprise -pleasant or unpleasant - the designer may respond by reflection in action: thinking about what [they are] doing while doing it, in such a way as to influence further doing” (Walker, n.d, p.8).  

 Raising the Barre Exercise 

(Intermediate: 13-16)

Objective: Create an adagio that is a direct reflection of your uniqueness. Seek new ways how to utilize movement to express yourself. Engage in all aspects of dance traditionally done so in our studio and explore how, when, why you dance in locations different than what you are accustomed to. Question how you feel when you move and above all, Have Fun!  

Materials: 

Paper/ Journal and Pen/Pencils 

Videos Shown in Class: 

https://www.youtube.com/watch?v=1RS56ZxwRy4

https://www.youtube.com/watch?v=7cOBdZaRrGI

https://www.youtube.com/watch?v=o4gqx0_vgJg

Vocabulary to Choose from: (any combination) 

Demi plie

Sous-sus 

Soutenu 

Developpe (devant or a la seconde) 

Port de bras

Arabesque

Attitude derriere 

Passe

Coupe

Pirouette

Promenade 

Rond de jambe a terre

Rond de jambe en l’air 

Take Home Assignment: Choose 5-8 key terms of your choosing and pair creating an adagio. 

Find a  room your home (ie: Bedroom, Kitchen, Bathroom, Dinning Room, Study, etc.) 

Consider an object in the household (ie: A bedroom Vanity, The Kitchen sink, A Cabinet or Dresser) and utilize as your own personalized barre. 

KEY: You have the artistic freedom to consider utilizing your object -hands on/or not. The choice is yours. Did your core placement change if incorporating this idea ? Can you use the same movment to express yourself the way you desire ? 

Part 1: 

a Think about how you would apply your terms so they physically feel comfortable when executing them? Did you make any changes from the initially choosing ? Why / Why not? 

b. Think how will the space allow you to use full range of motion? If not, what do you need to change ? Can you express yourself the same way with different movements ? Why? 

Part 2. Move to another room. 

Repeat questions 1 a & 1.b. 

Part 3. Choose a  favorite song. It can be instrumental, Jazz, Classical, Pop. 

• How did your music influence your initial phrasing ? 
• What are you feeling inside when dancing to your music ? How did you communicate the action?
• What made you choose this song ? 

KEY: Ask yourself: What do I need to focus internally to make the movement applicable. What are you using/ not using? (Core, Upper body stability, lower body, pelvic placement, etc.) 

Showtime ! 

You have not rehearsed but, Let Have Some Fun and dance your phrase in class. 

KEY: Ask yourself: What did I go through internally while dancing? (sensations)

In what way (if any) do you see dance differently ? Is there anything you learned about yourself throughout this process that you can convey through movement ? 

Did you find any connections to how the artists in the videos verbalized or moved that you could identity with using movement to express an idea, emotion, etc.? What may that be ? 

Annotated Bibliography Summer 2019

Barrett, T. (2009). Stories. The International Journal of Arts Education, 41-54. 

          Barrett’s article “Stories” speaks to a broad audience through a series of narratives that enhance deeper understanding and perspectives through the experience of sharing. Barrett argues that “...if people were more open and transparent about their lives [;] we would have a more compassionate world” (Barrett, 2009, p.44). Thus, prompted to gather varied points of views from colleagues in the field of education, students, including the authors own experiences; sharing commonalities how they see the world, experience hardship, and influenced by art. Narratives help broaden peoples’ perspective, and in the process of sharing, they can “heal” (p.46) as the narrations come to reveal (Barrett, 2009). Essential questions such as “how does [one] find language for the deepest of all issues?” (p.50) highlights, the particular healing property art has (Barrett, 2009). Initiated by personal interests to explore the significance of dialogue exchange, analyzing artwork interpretation, the author supports how emotionally, connections with art allows us to find a greater meaning to our human experience (Barrett, 2009, p.51). Theoretically, one can examine how many of our questions may be answered through art; in its interpretation, and how our peers’ experience, though contrast to our own, may enhance a new outlook. I connect to how significant dialogue exchange is. When I share artworks for example with my students and ask to interpret a choreography, I am in awe how my point of view will shift. I also come to understand my students in a more profound way how they perceive the world and how they interact with it. Unbeknownst to them, my stories, pain, love, and past inspires my choreography. They may see beauty or peacefulness I had not felt initially but, become aware of when seeing dance through their eyes. Most important, is the ignited creativity from my students that comes forth when establishing dialogue to describe how they see the movement represented. 

Garber, E. & Garber-Pearson, E. (2012). Tramps and bruisers: Images of roller derby and contemporary feminism. In M. Bae & O. Ivaskevich (Eds.). Girls, Cultural Productions, and Resistance (pp. 92-106). NY: Peter Lang.

          This paper discusses the influence of imagery, vital for educators in particular to understand. For example, roller derby images influence onlooker perceptions about the sport that often oppose the sentiments the athletes may actually have about themselves. Case in point, there is a particular image associated with the “tough girl” (p.95) that is either violent or eroticized as Garber and Garber-Pearson (2012) shines light on when one thinks of roller derby. Thus, providing fuel for the exploration of generational influences, agency, and media perception of female empowerment (Garber & Garber-Pearson, 2012, p.97). Imagery is incredibly influential and when evaluating media’s “girl power” (p.98) branding deeper, it is apparent there is a correlation between influences and idealized notions that threaten a female’s body and self-image (Garber, 2012). Contrast to, the images athletes (the roller derby girls) have set for themselves as a reflection of creativity and expression (Gerber, 2012, p.98). Through “email interviews… observations of performances [and analysis of] poster[’s] advertising” the authors frame how “ roller derby [is] an expression of girls’ empowerment … that embodies athleticism, creativity, play, community, …and resistance to traditions of both felinity and 1970-style feminism” (Garber & Garber-Pearson, 2012, p.97). In my experience, images play a significant role in whether a student particularly young males, want to engage in Ballet. Typically, a ballerina, is the prominent image one envisions when describing the art form and her male counterpart, is rarely at the forefront in popular culture posters, or other forms of advertising. To break the stigma that Ballet is a female-only art form, I often showcase renowned male dancers, choreographers, and pieces where males are highlighted in order to create an inclusive environment where my male students feel encouraged and supported to engage in the Dance Arts.

Lee, N. (2012). Culturally responsive teaching for 21st-Century art education: Examining race in a studio art experience. Art Education: Journal of the National Art Education Association, 65 (5), p. 48-53 

          Lee speaks to educators in this article; specifically, how to correctly approach race dialogue in art education. There is a clear argument of the “importance that teachers [must] understand that racial experiences are real and impact how ... [one] views and understands the world” (Lee, 2012, p.48). Thus, by examining the “role of culture and race in students, live’s” (p.48) educators may become better equipped to address certain viewpoints and help nurture that outlet of expression through art for greater understanding (Lee, 2012). Dialogues about race and ethnicity tremendously aid students to understand the “lens” (p.49) in which they see the world and become enlighten in regards to understand oppressive thoughts and behaviors (Lee, 2012).  Light is shown, questioning if teachers are equipped to enter the field as the cultural dynamics of students has grown so diverse. More poignantly, what is the impact of “lack of [multicultural] teachers” (p. 50). The interest of students is primary for the author and states, by stemming away from “…color-blind socialization … in the lives of … diverse students” (p.49); engaging in racial issue, educators become aware and “begin to develop the skills necessary for cultural proficiency” (Lee, 2012, p.50). Ultimately, the most significant impact is in the classroom itself “…[because] art-making provides [an]…overlooked avenue of understanding and an underused avenue for exploring.” (Lee, 2012, p. 50) Referencing scholarly articles, theorizing how “many teacher’s cultural expectations [may] not [be] aligned with students’ cultural needs,” (p.50) provides fuel to seek the significance of addressing racial issues in art education and made apparent in group activity dialogue using “a constructive epistemological stance” (p.51). Dancers, in particular, communicate through movement to convey an emotion or an outlet of expression. When I introduce choreographers from various ethnicities into my curriculum and allow the students to physically also perform the repertoire, the contributions of these artists become much more memorable than If I were to mention their impact unto the Dance World in a lesson by solely, a verbal reference. I concur with Lee (2012) that retention of the lesson is my primary objective and that through “hands on” (p.51) learning, children have a life long memorial experience.

Morris, C. B. & Carpenter, S. (2014). On being invisible and passing through walls: Toward a pedagogy of seeing and being seen. In (S. Goncalves & M.A. Carpenter, Eds.) Diversity, Intercultural Encounters, and Education. NY: Routledge. 

          Morris and Carpenters’ article addresses educators who may greatly benefit from the authors' research on the impact of feeling invisible amongst our society. Specifically, signing light on curriculum that may not, if ever, address or know how to address these issues. The exchange of narration is vital for, “exploration of invisible identity and is educationally significant because research in the areas of racial identity and multicultural identity development is ... relatively young” (p.199) and as educators, one strives to maintain, a positive and inclusive learning environment (Morris, C. B.& Carpenter, 2014). Through the “ tell [ing] of ...stories as invisible others ...[educators and students benefit] reconsidering and reconceptualizing ... disempowered positions” (Morris, & Carpenter, 2014, p.195). By questioning the systematic way, things in our society are one can begin that dialogue how people are represented. Quintessentially, this research provides evidence “stories are not only informativ[e], but they also have the power to convey change” (Morris & Carpenter, 2014, p.207). Stories, as presented, clearly expose how people have experienced feeling marginalized. Thus, having a curriculum being able to address these issues or a “methodology available in ... various educational environment[s]” (p.207) is the most significant interest this research targets (Morris & Carpenter, 2014). Through gathered autobiographic stories spanning fifteen years, issues such as “race, representation, internalization, and implications ...[help]... explore how [people] ... have been affected by history, social structure and culture...[ultimately, to help address the affected, deal with our own experiences and]... “deal with/in institutions for social justices” (Morris & Carpenter, 2014, p.195). Theatrically, as referenced by Ladson-Billigns and Tate (1995) “one’s social reality is constructed by the formulation and exchange of stories (Morris & Carpenter, 2014, p.195) and “the exploration of invisible identity is educationally significant because ... negative attitudes and pre-judicial treatment... threaten the self-concept of minority youth” (p.199) something one must be conscious of as an educator (Morris & Carpenter, 2014). This reading made me heavily evaluate how often I incorporate dialogue with my students in regards to their differences so I may represent them better in dance as part of our lessons beyond the integration of successful choreographers and dancers of different races when choosing choreography. I want every one of my students to feel prideful who they are in class and it is important to showcase an array of successful multicultural artists who mirror the ethnic/cultural backgrounds of my young students in order to see how inclusive Ballet (a historically European dominant art form) world is. 

Staikidis, K. (2007). Maya paintings as teachers of justice: Art making the impossible possible. JSTATE, 27, 79-118.

         As a student and fellow painting artist, Staikidis (2007) discusses the significance of Maya paintings in this article as part of an arts curriculum. The author, speaks to educators and students alike to see the message within the images; paintings become a teaching tool, reflective of rich culture and historical documentation of the past. The author argues art, is a “need [for] creative expression [; ]” ( p.126) a means to document and hold on to traditions (Staikidis, 2007). As a result, “paintings [become] the vehicle to present and commemorate the identities, as well as the atrocities, experienced on a daily basis (Staikidis, 2007,p.126). There is concern for “particulars rather than generalizations” (p.127) both for indigenous and non-indigos how one should observe; questioning a painting’s subject matter as a “reflect[tion of ] the loss or maintain of Mayan cultures” (Staikidis, 2007). For “Mayan artists[,]… there is a felt need to visually represent community values” and, there is a ‘transmission [of] the tradition of the Maya cultures…separate from that of the dominant one” (Staikidis, 2007, p.28). For onlookers, “paintings … capture and crystallize the essence of Maya culture” (Staikidis, 2007, p.131). Various interviews by Mayan painters, sharing similar stories of cultural identification and need to preserve traditions through their art provides evidence of the theory paintings are a tangible narration, “both visual and vocal” (p.129) of a people’s rich history and voice for political and social injustices to a community (Staikidis, 2007). In terms of my world as a Dance educator, I reflect on how choreography/dance, similar to paintings, can encapsulate or record historical accounts. For example, folk dances that have influenced classical repertoire or found through character work illustrating particualr eras in a Ballet. As well as, how Traditional Dances, tell of creation, war, or harmonious periods. Dance, in this instances, vocalize stories or hermitage, essential to be seen, appreciated, passed on to generations and for students to have exposure to them in art classes, such as the one I teach. 

Research Context

Who uses the space/classroom/program area? 

  

Physically designed for dance and movement, the studio where I teach accommodates Ballet, Hip-hop, Jazz, Contemporary/Modern, and Acrobatics class. Equipment includes multiple mirrors, mounted and portable Ballet barres, sound equipment, Wifi, and i-Pads for students to view repertoire, mats, and a sprung floor to learn and practice dance. Supplemented to instructors are teaching materials that include practice costumes, texts to reference dance works/ dance history, anatomy, and other props facilitating engagement. As a learning facility that supports and prides itself in establishing a multicultural establishment, the previous decor, which included outdated posters of predominantly European Ballet dancers in the hall that welcomed students, is replaced by images of student work. As “multicultural scholars maintain[,] knowledge reflects people’s social, cultural and power positions within society. [V]alued only when it comes from an acknowledgment of the knowledge’s specific positions in any context …defined by gender, class, [or] other variables” (Banks & Banks, 2004,p.14). The replaced posters showcase prospecting pupils an illustration of the dance program that includes various dance styles the studio offers, then solely Ballet and the diversity of students who perform each term. During business hours, children use the space to take dance classes, rehearse, or rent the facility to conduct private lessons. During non-operational hours, professional companies or local troupes rent out the space to rehearse, conduct auditions or castings. Over the years, this has positively allowed our learning facility to create a strong dance community; bridging the professional art world and our program; accommodating guest appearances, performance information, and student discounted prices. 

  

Conveniently placed in the radius of a community center and park, in addition to the close vicinity of a public library, middle, elementary school, and few preschools, the studio has become the epicenter for after-school activities to learn the Performing Arts and a center for families to congregate. Weekend classes, in particular, allow children, parents, or extended family to gather to support the artistic endeavors of their children. Advantages located within a metropolitan area as vastly ethnically diverse as Los Angeles is that our dance family comprises a beautiful array of different multicultural and ethnic backgrounds. Socio-economic diversity is vastly diverse as the studio is located within Hollywood Boulevard—the proximation vicinity between the wealthy neighborhood areas of West Hollywood/Sunset and more industrial communities of East Hollywood. Program classes are all tuition-based. Students have the choice to take multiple weekly classes and schedule private courses to supplement their studies. Due to the expense of classes, particular materials students require, such as specific uniforms, scholarships, and discounts, are provided and reviewed by the administration at the parents’ request. 

Quarterly, all classes have an exhibit week where families observe classes and see their children’s progress. Students in other participating classes are encouraged to view their classmates to enhance a support system. Simultaneously, as means to expose students otherwise uninterested in registering in a course, in considering. Events such as “bring a friend for a free” month, apart from scholarships, sibling discounts, have allowed students with financial strain to participate in the program or a series of techniques. If, for only a period. 

Who is it designed for? 

Though the studio offers various techniques, I solely teach Ballet and Choreography. All classes are separated by age and technical level. Apart from regularly scheduled courses, the studio provides a Pre-professional program (8-13/13-16/16+). Students take multiple classes and techniques, rehearse for competition (which is an additional out-of-pocket expense), and most all take private lessons. I acknowledge that this unfairly accelerates a groups’ physical aptitudes compared to a student of the same age who only trains or engages in one weekly course in Ballet. 

Regular standard programs start as young as 3 1/4, and many students who have entered the pre-professional program have commenced at that or similar age. Ballet is available three times a week for Pre-Ballet for younger students is 50 minutes. When students culminate, typically at six years of age, they partake in Ballet I&II courses twice a week for 60 minutes. In these classes, children use their foundation skills in introductory courses before executing a much more virtuous movement. At about 8-10 years of age, the student may remain in progressing advanced classes or register and try for the pre-professional program. Teachers and parents work together to cultivate and engage the student’s interests at this age. If recreational interests are preferred, children are encouraged to take classes and partake in the yearly show with all students enrolled in the studio. Children committed to the pre-professional program take multiple hours of dance a week and attain a much more rigorous performance schedule. The mini-company performs frequently and has a more prominent opportunity to develop comfortability on the stage.

  

How does that impact who feels comfortable in the space, who uses it, and how? 

 

Not all students partake in the mini-company separate from semester classes. A key observation I have made is the racial imbalance between the regularly scheduled classes’ diversity and if I mentally separate the pre-professional group. “Children have an acute knowledge of racial differences, sometimes mak[ing] incorrect racial self-identification [if teaching practices unknowingly practice an] expressed preference for White” (Banks & Banks, 2004,p.16). Thus, in each class, I attempt to create an equitable space to practice, creating “Free dance.” That is implemented towards the ending of each of my class’s lessons. By calling down the roster of class enrollment, to fairly allow all students to experience and become familiarized with being on a stage setting observed by their peers throughout the semester, simulating the time the pre-professional group engages in stage time. 

Some students may attain a faster or stronger aptitude to execute a step than other classmates, and I am most perceptive of this when choosing or allowing students to demonstrate in front of their class. I am aware that not all students have adequate additional time to practice through private instruction. As an instructor, one must be cautious of “democratic curriculum [practices and methods]” (Banks & Banks, 2004,p.17) “giving students experiences that prepare them for equal status interactions before assigning group tasks to students from different races [and different socio-economic backgrounds]” (Banks & Banks, 2004,p.18). For, “if not done, both minority and White students will expect that White students to dominate …group situation[s]” (Banks & Banks, 2004,p.19).

What limitations are there/ Is there anything missing? 

As Rose (2019) states, “critical [meaning, as an] approach [functions to aid one to] think about the visual in terms of the cultural significance, social practices and power relations in which it is embedded[.] This means[,] thinking’s about the power relations that produce, are articulated through and can be challenged by ways of seeing and imaging” (p.22). “Socially and historically agreed upon representational and symbolic meanings in art and teaching are susceptible to intentional fallacies” (Buffington & Mckay, 2013, p.17 p,179). Thus, as a “theoretical concept, [I use Semiotics a means to navigate] various connections among works of art, educational theories, classroom practices [such as the creation of dialogue; understanding, and explorations of views in addition to bringing an understanding of], teachers beliefs, and a wide range of critical theories” (Buffington & Mckay, 2013 p.173).

When I reflect on the Ballet program, the most significant limitation that impedes some students from taking Ballet is cost. For example, taking higher notice of dance uniforms for Ballet, attire consists of slippers, pointe shoes for the older students who raise en pointe, toe pads, tights, leotards, and dance skirts, apart from other warm-up garments. Practice garments typically range at a cost higher than other techniques, in comparison to, Hip hop, modern, Acrobatics, and Lyrical uniforms that utilize a universal black slack for male and female students or dance shorts paired with a studio logo top. Footwear for Hip Hop is sneakers, and Modern Dance and Acrobatics practice in bare feet. Historically, the Classical Performing Arts have upheld a specific image of how one should practice dating back to the European Opera houses. As an educator in an American metropolitan city, I question how to make the art form much more relatable to students’ experiences.  

When I teach Choreography, I attempt to combat the fallacy one solely needs specific expensive garments to practice/create Balletic work through the integration of a multitude of repertorial renditions by contemporary artists/companies apart from original works. I acknowledge if I present only one lens within the selection of tools to illustrate movement, I may be discouraging some students. Descriptively, as an example, to show a port de bras as seen in Swan Lake to emphasize how the upper body can accentuate storyline in Ballet, I would incorporate renditions of Contemporary dance artists and companies for students to have exposure in underscoring how professional dance artists currently use the same movement found within the original works when first premiered on the European stages. The integration of past and contemporary work becomes a moment to inspire creative agency for students to experiment with the many fashions and paths using movement in their original choreographic dance work. My goal as a dance educator is not for students to mimic the imagery on the screen/stage of other artists but to cultivate an emerging young dancer’s artistry. “Reform for schools [or studio programs may challenge the status quo but is necessary ] to increase the academic achievement of low-income students and students of color” (Banks & Banks, 2004, p.20). 

The Ballet program’s tools, seen in the texts, reportorial videos, or posters that once enforced a perception of how the art form should be done, seized my attention when I began to experience a trend where students would disenroll towards the end of the second session. Or not participate in the Spring commencement performance. The cost of tutus, tights, headpieces, footwear, and performance tuition was too much for some families to consider, and students were under the impression if they did not buy these items, they could not perform Balletic work. 

“Many school reform efforts fail because the roles, norms, and ethos of the school do not change in ways that make the situationazation of reform possible” (Banks & Banks, 2004, p.20). Removing our studio’s antiquated posters was the first step in the right direction. Still, a reevaluation of performance garments and how curriculum reinforces how to create dance work by selecting repertoire and images teachers utilize should be continuously analyzed and revised. “Careful Historical description and analysis [could] help the field [of Ballet if it] identif[ied] its links to the past, gain deeper insight into the problems and premises of multicultural education today[that can help] plan more effectively for the future” (Banks & Banks, 2004, p.20). 

“Constructivists believe that reality or truth [is created] and that numerous realities and truths can exist simultaneously” (Buffington and Mckay, 2013, p.28), and Semiotics has allowed me to construct and reflect on curriculum aligning with a Constructivist Paradigm. Since I am most concerned about dance Myths—the “stor[ries] or tale accepted as history that serves to explain a world view or particular curtail knowledge” (Buffington & Mckay, 2013, p.190). Also known as “shared cultural meanings that [signs communicate which] can change over time but serve to naturalize ideological beliefs (Buffington &Mckay, 2013, p.178) that can perpetuate or decimate biases within a Semiosphere. The “conceptual and physical space that [one] inhabit[s] as mean making creatures” such as classrooms, studios, or other institutional environments for learning (Buffington &Mckay, 2013, p.178). I continuously revise and consider my teaching tools, such as repertorial presentation of performances that also include not only paths to reimagine garments but the spaces in which the Performing Arts displays work. 

Suppose I return to Swan Lake as an example, in addition to the original work I may mention, such as presenting the textual images of the Russian Bolshoi Ballet. In that case, I may include Mexico’s Compañia Nacional de Danza outdoors rendition in the outdoor space of Chapultepec Park. To spark creative discussion on how Ballet can be and is performed currently by contemporary leading Ballet companies outside of the boundaries or realms of expensive Theaters, sparking intrigue to what stage designs would students consider in their dance work. For, “it is not nearly about adding to [dance] curriculum[.R]ather, the curriculum is reconceptualized to help students understand how knowledge is constructed and how students understand how knowledge is constructed and how it reflects human interprets, ideology and the experience of the people who create it” (Banks & Banks, 2004, p.23). 

My array of teaching tools in the form of reportorial videos, texts, images, posters before incorporating and fusing the works of contemporary dance artists/companies’ renditions were limiting. They were heavily Eurocentric and only presented one lens of how Balletic Work can be performed and practiced. The 2020 Pandemic was one of the most valuable teaching lessons of my practice, forcing a thorough reevaluation of teaching material, specifically since I witnessed how teaching material could either inspire or alienated students. When students, for instance, found themselves at home, it would have been erroneous of me to continuously show them material that reinforced how to practice with the tools they may have found themselves without. The use of Barres in my own demonstrations online converted to using chairs and any accessible items found in my students’ homes. Repertorial presentations incorporated links to performers’ renditions with a reimagination of garments to perform Balletic work and spaces. Of which were often found and shared by students through online engagement and their story why they were looking for material; why, what, and how they did not feel connected to certain ways of doing things. As, Morris, C. B.& Carpenter (2014) state,  through the “ tell [ing] of ...stories as invisible others ...[educators and students benefit] reconsidering and reconceptualizing ... disempowered positions” (Morris, & Carpenter, p.195). By questioning the systematic way, things in our society are one can begin that dialogue how people are represented. Quintessentially, “stories are not only informativ[e], but they also have the power to convey change” (Morris & Carpenter, 2014, p.207). 

Our semiosphere no longer resides within the physical four walls. Through acknowledgment and reflection, I make the changes to how practice is relevant to our experience transiting online without the studio space’s tools. “Together art educators and students need to engage in outside analysis of the contents of multicultural lesson plans, including what they do well and needs reconceptualize” (Acuff, 2013, p.311). For, one should “continuously engage in [a] critical examination of all the ways in which information is delivered to and used by….practicing art teachers ” (Acuff, 2013, p.313). 

References: 

Acuff, J. (2013). (Mis)information highways: A critique of online resources for multicultural art education. International Journal of Education through the Arts. 303-316.

Banks, J., Banks, C. (2004). Handbook on research on Multicultural Education. Chapter 1.   Multicultural Education: Historical Development, Dimensions, and Practice. pp. 3-25.

Buffington, M. & Mckay, S. (2013). Practice Theory: Seeing the Power of Art Teacher Researchers. Reston, VA. National Art Education Association. 

Morris, C. B. & Carpenter, S. (2014). On being invisible and passing through walls: Toward a pedagogy of seeing and being seen. In (S. Goncalves & M.A. Carpenter, Eds.) Diversity, Intercultural Encounters, and Education. NY: Routledge. 

Rose, G. (2016). Visual methodologies: An introduction to researching with visual materials. LA, CA. Sage Publications.

Canal 22. (2017). Tchaikovsky. El lago de los cisnes. Compañía Nacional de Danza. Retrieved from https://www.youtube.com/watch?v=VBR6vd7E2M0