During the Summer 2020 months, my electives, Reel Injuns: Identity, Artists and Representation 7768 and Technology and Digital Texts 7606, transformed my practice through the courses’ collection of authors. My selection of ten annotations’ in particular detail how each author influenced how my practice as a studio dance instructor broadened. Most meaningful during my experience in Reel Injuns, Dr. Ballengee Morris challenged me to consider how I, as a Ballet instructor, could implement a Native American presence in my classes. Her reading material selection distinctly confronted my lack of knowledge of indigenous cultures in the United States and illuminated me how to creatively integrate indigenous pedagogies in my dance classes’ Choreography portion through my journey researching California’s indigenous cultures; adapting, the course material to make it relevant to my students’ experience teaching in Los Angeles. By selecting Creation Stories to appreciate Native American dances, studio instruction successfully applied indigenous pedagogies to spark a students’ own art-making experience creatively. To formulate their creation story dances, telling stories meaningful to them through a students’ bodily physical expression. My practice became much more multiculturally relevant as a studio instructor by providing dance activities that empowered students to research our community’s ingenious presence. In conjunction with dance lessons, I bridged a connection to our city through the information of dance festivals and the local community events, used as teaching material, that presents events exhibiting California’s indigenous communities. How they maintain and continue to transmit their histories and culture through performance.
Significantly meaningful to my education as an instructor, I became aware of my education’s inadequacies in American History and conquest when constructing activities in inquiring about the History of my studio’s location and surrounding community. As an instructor, I was impacted by this course to broaden dance lessons where students can have an opportunity to recognize our past, to understand further how our neighborhood’s present. Most importantly, strengthening my aptitudes in continuing to have a multicultural representation.
Secondly, Technological Digital Texts 7606 provided me immensely vital tools to construct and reevaluate lessons I could teach solely or incorporate much more technology into to form communication. As a dance instructor, I am predominately used to face-to-face in studio settings to discourse dialogue and teach the Balletic Arts. Challenged by my state’s COVID restrictions, which suspended group instruction, this class allowed me to reconsider lessons I teach beyond the physicality of movement; how I could continue to connect, for instance, a community of young dance artists through technological forums. As well as resurrect my passion for continuing to teach and present the ideas that anyone can dance or create dance works anywhere regardless of the environment students may find themselves in.
~Technology and Digital Texts 7606~
Castro, J.C. (n.d.). Teaching Art In A Networked World. National Discourse: Invited Article, 88-92.
This article narrates Mr. Castro’s experience considering and integrating new digital forms of communication in the classroom. Geared towards educators, his views how “surprised …how many …former …and [new] students …so readily self-organize into a community …mentoring each other and sharing [offers a perspective in particular, how art educators may too] …learn through [their students’ online] networks and adapt our teaching and classrooms accordingly” (Castro, n.d., p.88). By following his students’ interests, the author also notes the accelerating data confirming more teen students are on social media. Data shows, for instance, the rate is up “by 95%…and young adults by 80% [according to Duggan & Brenner, 2013]” (p.88). Students are collaborating, detailing, and communicating, further supporting the author’s argument how “it should be no surprise that teens have taken to social media to foster and maintain social relationships…[due to how] isolated pockets of social interaction have become” (p.88). Written a few years before the 2020 COVID pandemic documenting public interactions and spacial changes due to environmental changes, specifically with the growth of commercial structures becoming “primarily accessible diminishing more in face communication” (p.88) the author’s recount is informative and extremely relevant to our current climate. As a dance instructor, I have had to “recognize [much more] the importance of identifying and adapting [my] pedagogy and curriculum [to and with] a networked understanding of teaching and learning” (p. 88). Unfortunately, though I have integrated some digital forums into my current practice, this article, in particular, made me much more aware of the benefits of digital outlets to create community amongst my students. The article provided me with an in-depth overview of “friendship /driven platforms such as Facebook and Twitter and] interest-driven forums like] DeviantArt. [Where,] …both teens and adults [from around the] world [may communicate] to improve their craft and gain a reputation amongst expert peers” (p.88). Forced to teach through remote distance during the Summer months of 2020 and onto our dance studio’s prospecting 2020 Fall, this reading challenged me to reconsider avenues I may have to learn not typical for performing arts instruction—adapt my practice so I may continue to maintain a community of dance artists until face to face instruction can safely reinstate.
McGlynn, P.A. (2005). Teaching Millennials, Our Newest Cultural Cohort. The Hispanic Outlook in High Education, 12-16.
This article addresses traditional versus non-traditional college students’ behavior and learning approaches. Incredibly insightful for educators, the author’s main argument is universally applicable in how educators should be mindful of making appropriate learning changes. Supported by an analysis of various age groups ranging from “Millennials, Generation G, and EchBoomers, born in or after …1992[,]” the author’s views are incredibly valuable in assessing how to teach (Generation G) students (McGlynn, 2005, p. 12). The demographic, for example, I most encounter teaching Intermediate to Advance dance classes. The author emphasizes how essential it is for “faculty to get to know their students [by,] understanding [them] through the lens of culture and history in which they [are] raised” (p.14). Including “the physiological development of students, the integration of cognitive theory teaching practice, and the impact of the political, [and] social-economic status…” (p.14). By comparing how Millennials contrast to how Generation G acquires knowledge, the author proves the importance to “recognize the complexity and diversity within a generation ...” (p.14). As I reflect on my practice as a dance instructor, this reading offered me insight into reevaluating how I was taught dance in relation to how I teach dance. How vital it is for me to “recognize how [I] may need to invest [in] some new teaching strategies, tweak some other learning strategies and learn what [I] can about using technology effectively to enhance learning” (p.15). Forced to suspend face to face instruction (the only manner I have predominately taught a physical art form), I am energized by this reading to create “actively engaging” (p.15) material through distance learning. COVID has provided me, in particular, an opportunity to develop “deeper levels of processing and learning, creating stronger connection [through activities that] facilitate memory …involving [and adapting to our new normal. The reading made me to revisit how I can] create meaning between [my] student’s life experiences and the material [i may] want them to be learning” (p.15). Ultimately, because by “creating these kinds of multiple connections with concepts [I, can] facilitate [my students’ process] of retrieval” (p.15).
Haythornthwaite, C. (2019). Facilitating Collaboration in Online Learning. Online Learning, 7-24.
Particularly helpful for any educator, the author brings forth a series of questions addressing what instructors expect; why do “we emphasize collaboration[for], what outcomes do we expect, [and] what knowledge is created[. How too] pay close attention, how online communication differs from offline, and how does the difference affect collaboration…” (p.7). These questions provide a further understanding of how not only what determines “a successful collaboration of tasks…but also how collaborative activity is evaluated” (p.7). Through a review of how groups work together, the author provides support to the significant “gains [of] increased quality of life by engaging in collaborative efforts [is had apart from] learning and increased knowledge. Since, teamwork in essence, “satisfies the craving for social interaction” (p.8). This particular reading offered me two of the most impactful concepts as a dance instructor. The first, the value of computer-mediated communication (CMC). In my studio, for instance, “students face the dilemma that comments during class are ephemeral. Yet chat rooms keep a record of these conversations” which, are significantly useful for students to revisit (p.16). Secondly, when addressing the “biggest difference in assessing collaborative efforts, [my methodology of separating dance work/choreography assignments was challenged. I reconsidered if I can be content when, “students coordinat[ing] their activities … later assembled into a whole, or [trying a new method where they can] pass pieces from one person to another in an assembly line model” (p.12). Specifically, in regards to group dance pieces, I am much more observant. I have predominately utilized a “latter model, where a division of labor[is had through], picking tasks, scheduling, [and] allocating roles [predetermined to then, create a whole art-making experience]” (p.12). Forced to utilize much more technology in the foreseeable future to continue to teach the dance arts, I am inspired to create and try new forms of separating collaborative assignments. As well as providing technological spaces like CMCs where communication may be revisited, promoting effective means for myself not only to evaluate but also providing students with much more self-accountability when working together.
Allen, M (2016). Serious Learning Games. In Guide to e-Learning: Building Interactive, Fun, and Effective Learning Programs for Any Company. (pp. 328-339). John Wiley & Sons, Inc.
In this chapter, the author shatters antiquated notions that “learning is a serious thing—It [is] work and is [not] meant to be fun” through an in-depth analysis of how educators can build meaningful experiences through games to promote learning” (Allan, 2016, p.330). The author’s point of view eases tensions when creating games for students by addressing how “the fundamental components of successful games…[are] not [to be] complex or expensive to exhibit strong appeal to players” (p.330). Not to be confused with “gamification, the author highlights an excellent point on how [instructors must] focus on the ... attributes of [a] Serious Learning Game ... to gain confidence that proper development of them will make learning experiences effective. For instance, "ornamentation [may] refine work, but [a] ... learning game[s'] development [contrasts to] developing mass-market games for [sole] entertainment purposes" (p.333). Though graphics may not necessarily be essential, rules “provide a critical element of context for gameplay while [a game’s] strategies provide a means to win” (p.335). Through an overview of classic games like Tic Tac Toe, the author provides evidence that to play a game, one must be sufficient in knowing the Rules of Play and Outcome Rules. Thus, players may apply successful strategies to advance in the games. This particular reading expanded my thinking about developing digital games for my students to review all the lessons I incorporate within a movement class. Case in point, through a Jeopardy-like flashcard pdf, I constructed an effective game a student may view during times of rest or in-between rehearsal on iPads. Prior knowledge of the semester is needed to play, but students can reverse cards to review. To attain points to answer correctly, students must fill in the bank, choose multiple-choice questions correctly on terminology, composers of ballet, and balletic acts through photographs of performances, and answer properly on musical timing. More than a means to pass the time or an overly ornamented game with graphics saturation, my dance jeopardy builds on students’ prior knowledge and tests their critical thinking skills. All the while, attaining points to win.
Trybus, M. (2014, Winter). Redefining Education Through Technology: An Interview with Alan November. The Delta Kappa Gamma Bulletin, 7-12.
In this interview, author Margaret Trybus notes a discussion with “education writer and leader[,] Alan November regarding technology and the future of education” (Trybus, 2014, p.7). More than a source to store projects, Mr. November voices his ideas, how “technology can help transform [a student’s] craft by changing the paradigm of teaching and learning into experiences that help students become critical thinkers” (p.8). His ideas are supported by how the 21st century, in particular, has changed communication. For instance, there are countless “interactive learning communities beyond classroom [settings] due to the development and utilization of communication tools such as Facebook and Twitter and of smartphones, tablets, iPads, and other mobile devices that are now a part of society” (p.8). Extremely illuminating for teachers, in particular, Mr. November purposes the questions, how not only do these technologies impact classrooms but “emphasizes, how essential learning tool[s] require creative teaching[;] inspir[ing] …educators to make fundamental shifts in their roles and relationships with technology-literate students” (p.8). This interview, in particular, made me reflect on how important it is for “teachers to embrace new perspectives in the field of technology [in order] to make the most meaningful changes possible that will prepare students to be college and career ready” (p.8). Observant of my own students’ interaction with technology (their fascination with Facebook, Tik Tok, and Instagram to share dance routines in particular), I have come to embrace these online platforms to enhance art-making experiences. Or, be vessels to share dances with students’ family and friends. One example of embracing youth-geared technology in a dance studio, providing an engaging and fun experience for students to use their devices familiar to them, has been viewing American Ballet Theaters’ principal dancer, Isabella Boylston’s dance routines via Tik Tok or seeing her warm-up barre at-home routines. As the uncertainty of COVID looms over how studios like the one I teach in can continue to operate, I have embraced the exploration of apps like these. To creatively develop and proceed to educate my community of young emerging dance artists remotely from home. Which, in turn, may inspire dance students to go into the professions of production using the dance arts as their gateway.
~Reel Injuns: Identity, Artists and Representation 7768~
Buffington, L.M. (2017). Contemporary Approaches to Teaching American Indian Art. In Ballengee, M. & Staikidis, K. (Eds.), Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies. (pp.177-181). Alexandria, VA: National Art Education Association.
In this chapter, the author exposes the risks of creating art-making activities without a lack of personal connections, precisely without any prior in-depth understanding of the cultural background. More descriptively, through an evaluation of art-making activities, the author provides evidence and crucially advises educators and art educators alike, how “lack of knowledge creates stereotypes” (Buffington, 2017, p.178). For example, “the idea that Native American cultures have not changed over time is centrally referenced by various media and visual culture imagery that continues to promote narrow stereotypes. Thus, “teachers and especially art teachers [are] crucial because they ... influenc[ially] shape how young learners make sense of the information they absorb” (p.178). One particular idea I embraced is how “a teacher [can] lead students on a journey to investigate who used to inhabit the space where their school is located or … a more general investigation of the ingenious people of their geographic area” (p. 179). For instance, “through learning about the peoples and cultures of the past, …students can ... investigate how and when the land changed and how their current school came to be” (p. 179). Ultimately, leading “to an awareness of …issues of justice in their local area with students investigating the status quo perhaps related to the land and who owns it” (p.179). This reading inspired me to embrace indigenous dance predominately by researching the indigenous presence of my community. To construct lessons based on creation stories and how our environment influenced those stories native to California’s peoples. I was motivated to narrow our lessons to peoples of the Northern and Mid-Californian area, for my students to become aware of their geographic surroundings, how the Chumash Indians land, for example, once reigned before Spanish contact. That promotes conversations to discuss expansion and the land changes that have molded our community’s neighborhoods where their studio resides today. More profoundly, creating a broader appreciation of the people who once populated California. In conjunction with embracing indigenous creation stories as a means of artistic inspiration for choreography rather than mimicry (through a dance investigation of indigenous dances), I developed an appreciation of culture through performance appreciation rather than promoting a stereotype of our indigenous community.
Edwards, S. (2017). Hawaiian Eyes: Pedagogy for Teaching an Indigenous Worldview. In Ballengee, M. & Staikidis, K. (Eds.), Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies. (pp. 65-69). Alexandria, VA: National Art Education Association.
This chapter is a personal recount of Ms. Edwards’s experience learning Hula dance. Though not of Hawaiian descent, the author details her experience frustrated with not “learning to understand the [Hula] beyond its physical[ty. Unlike her instructor’s experience,] who spent the majority of his educational and professional career learning, dancing, and teaching [acknowledging,] .. the importance of adopting a Hawaiian worldview to convey the spirit of Hula through dance” (Edwards, 2017, p.65). The author makes a notably striking argument on how one must embrace an indigenous lens, especially when learning about indigenous cultures and art forms such as dance. Most intriguing was how “western expectations had taught the author to [simply] learn yet not apply the process of learning [—For instance, beyond its steps, the Hula,] is about bringing to life the stories, histories, and spiritualities embodied in the land and the people of Hawaii” (p.65). One of the most significant statements the author points is how to “understand [dance] beyond its physical aspect” (p.65), which is immensely vital in my teaching approach, especially when incorporating indigenous dances into my curriculum. I concur “educator[s should] reach beyond the narrow confines of pedagogy imposed by Western obsession with standardized curriculum and assessment[; embracing the importance of a worldview]” (p.65). For, there is immense value and wisdom [within] indigenous pedagogies, traditions, and spiritual perspectives that can become marginalized in our discourse [when] teaching, learning, and knowing” (p.66). In particular, this reading embraced my viewpoint on how dance is more than its physicality and can be a means to express and or record significant histories of one’s experience. When proposing indigenous dances in my classes, I reflected heavily on how vital it is to present the dances through their appropriate lens. Since "lessons [indeed] can further perpetuate negative [or] inaccurate stenotypes[. Educators must] integrate indigenous pedagogues and perspectives further [when] attempting to educate children about …histories and customs” (p.66). For “certainly learning the choreography [is] an important part of the process [in a studio course], but all of the other lessons (separate from the physical act of dancing) [are] even more important to [my students] overall [dance] education. Choreography can teach [one] how to go through the motions; everything else teaches [one] how to see [oneself] through [a cultures’] eyes[; forming a greater appreciation and understanding]” (p.68).
Mohler, E.C. (2017). Connecting Indigenous Ways of Knowing in the Native Studies Undergraduate Classroom. In Ballengee, M. & Staikidis, K. (Eds.), Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies. (pp. 92-96). Alexandria, VA: National Art Education Association.
As a professor, Ms. Mohler “shares her [experience] with challenges and success …teaching Native American studies to mainly non-native students in a liberal arts context. [Detailing her practice, in particular, she reveals] how [one] can call upon Indigenous ways of knowing to transform the classroom into a community open to new perspectives and creative learning process” (Mohler, 2017, p.93). Extremely descriptive and insightful, the author details how “some Native pedological strategies [are integrally] key topics [to improving a] Native worldview[. To better understand, for example,] cosmology, historical and contemporary experiences with colonization and assimilation, transformative cultural and artistic practices [and] contemporary modes of decolonization” (p.93). The author shares how by drawing from her own experiences, she “establishes an environment based on trust and respect, such as when, she shares her stories and,] …asks [students] to interview a partner and present [their] partner to the rest of the class [.To,] bridge a connection and form a community within her classroom learning experience” (p.93). Teaching a worldview is critically supported by the fact that though different cultures may be taught, “students have been mainly educated in the Western tradition within the United States education system[;] despite differences in [a students’] ethic, cultural, and socio-economic background[. Most importantly,] many students [may] have never been exposed to non-western modes of thought, nor have they spent time critically analyzing their bases” (p.93). As a dance instructor, I connected to this reading from the perspective of how dances from different cultures tell of creation stories/histories as the physical embodiment of oral traditions. As the author notes, “a challenging aspect is helping students understand that [though] history [is] written, [it] does not [necessarily] mean it is a ‘fact’ [.Especially when] discussing the making of history; the differences between history and historiography, and how these differences relate to the colonization process” (p. 93). For example, when approaching “historical matter on Native America [in a dance course, one] can include examples of creation stories[.] Alongside, the current anthological theories on early human migration patterns to the American continents…to not to discount science nor History as fact but rather, to broaden the scope in which students consider the past” (p.94). As an educator, I deeply connect with the sentiment more than just teaching dance; as an educator, I “strive to expand [my] students’ understanding of multiple world views” (p.96). As I reflect on specific dances I have integrated into my classes, the “concept of oral history [and its documentation through dance is an immensely important opportunity studio dance instructors may incorporate in their own curricula to further explore] and discuss how written history is widely privileged, despite those peoples whose stories it silences or attempts to represent” (p.93).
Acuff, J.B. (2017) A Critical Race Theory Analysis of Online Resources for Creating Native American Art. In Ballengee, M. & Staikidis, K. (Eds.), Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies. (pp.144-149). Alexandria, VA: National Art Education Association.
In this chapter professor, Joni Boyd Acuff, “us[es] an analytical lens of race theory, …[to] analyze art lesson plans that present Native American art. [Particularly insightful for art educators,] American art as [like] construction paper headdress, [is a prime example how these art-making activities] dramatizes the critique of how these simplistic and erroneous objects in accuracy[,] represent Native Americans and their art” (Acuff, 2017, p.144). The reading aids art educators and teachers alike “looking to educate [instructors] to become critical pedagogues who can identify the misuse of power, privilege, and (mis) representation in education. [Extremely informative the author’s] analysis is supported by critical race theory as are the suggestions for combatting the flawed representations of Native Americans and their art embedded within …multicultural education” (p.145). As a dance instructor, I reflected on power ideas; specifically, the power lessons can encompass. More descriptively, how educators must review how “historically, aspects of society have aided in constructing stereotypical images of minority groups to maintain power; how members [thus,] in these groups after internalizing these manufacturers’ portrayals [can] begin to believe that they are indeed powerless” (p.145). Adapting this reading to my teaching practice, when integrating specific classical repertoire, I acknowledge the extreme offensive portrayal of ethnicities within antiquated racist roles, for instance, in Classical Ballet like La Bayadere. Which, embodies an Orientalist romanticized fantasy. As a dance instructor, I am instrumental in creating a welcoming atmosphere for all races in my classes. Dance instructors must be careful selecting repertoire when they exhibit classical renditions; it is most advisable to provide, detail, and explain the historical misrepresentation of culture in Ballets and how the balletic arts must, and has evolved. Though this reading speaks to educators in the Visual Arts, as a performing arts instructor, one of the tools Dr. Acuff gave me is a deeper awareness of the digital lessons websites offer teachers as material. Youtube links and other online material I may use should (as do all dance teachers) be vetted since “projects [can] help sustain a particular narrative for Native American [as other cultures]. Such as a narrative about mysticism and exorcism and the life of the ‘other’” (p.147).
Ashbury, T. (2017) Artist Profile: Terry Ashbury (Cherokee, Sioux, Scottish, and German). In Ballengee, M. & Staikidis, K. (Eds.), Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies. (pp.220). Alexandria, VA: National Art Education Association.
In this artist profile, Ms. Ashbury shows artworks of corn husk dolls with the “hope that teachers might use [her] work to teach and to encourage …students to use their imagination and not mimic [her work]” (Ashbury, 2017, p.220). Though being of the Visual Arts realm, the artistic perspective speaks to educators as me in the performing arts, for the artist presents how the arts “is a way to explore a creation story” (p.220). The artist’s corn husks dolls, for example, are an embodiment of Native American folklore of the Three Sisters. That according to “legend, corn, beans, and squash are three inseparable sisters who grow and thrive only together” (p.220). Moreover, the artist’s work is a prime example of how I strive to build personal connections for students to express themselves through art-making. Adapting this profile to my practice, I am inspired to reconsider how studio dance teachers can create lessons pertaining to choreography that engage students’ cultural background; how they can create dance work activities that illustrate creation stories of students’ heritage or stories telling of their community. As the artist details her artistic expression for her dolls, “[they were made] within a spiritual space [that] explore creation stories, but some of her dolls [also] explore everyday functions or political events[important to the artist]” (p.220).