Teaching What You Want to Learn: A Guidebook for Dance and Movement Teachers

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
List of contributors
Foreword
INTRODUCTION
	1 The Backstory
	2 Why This Title?
	3 Citing My Sources
Chapter I. Notes to Self
	1 Remind Yourself That You Love to Teach
	2 Embrace Evolving Values
	3 Teaching’s Not Easy, But If It’s Your Calling, Nothing Else Will Be As Satisfying
	4 You Always Have Something to Offer
	5 It’s OK to Be Unpopular
	6 It’s OK to Say You’re Sorry
	7 Follow Your Personal Aliveness
Chapter II. Underpinnings
	8 Planting Seeds
	9 Crystallizing or Paralyzing Activities or Experiences
	10 All Students Are Smart
	11 Preparing Students for Their Future, Not Our Past
	12 Honoring Personal Uniqueness
	13 Knowing Themselves to Adapt to Different Styles
	14 Students Don’t Need to Be Fixed
	15 We Are All in This Together, But Each of Us Is Having a Different Class
	16 Learning Is Active
	17 Thought Creates Action
	18 Inefficient Movement Patterns Are Not Moral Weaknesses
	19 Replace. You Can’t Just Erase
Chapter III. Cornerstones
	20 Positive Self-Talk
	21 Compete or Excel?
	22 High Challenge But Low Threat
	23 The Value of Refined Repetition
	24 There Is No Meaning Without Context
	25 Learning Can Be Serious Fun
	26 Uncover to Discover
	27 Never Work Harder Than Your Students
	28 Teaching The People in The Room
	29 Learning From The Living Body
	30 The Mind-Body Organizing Power of Intent
	31 Movement Occurs in Phrases
	32 Neutral Alignment/A Change in The Part Creates a Change in The Whole
	33 Brace, Collapse or Give and Take/ Yield and Push to Reach and Pull
Chapter IV. Language
	34 Words Matter
	35 Invite
	36 Allow
	37 Reach and Other Integrative Verbs
	38 We Are Not Objects
Chapter V. Guidelines and Strategies
	39 Noticing Each Student in The Learning Circle
	40 There Is No Front in Our Classroom
	41 Wrapping Words Around Perceptions/Pair and Share
	42 Teaching Through Touch
	43 Balancing Portions of The Class
	44 Investigations Not Exercises
	45 Planning Backward
	46 Managing Time
	47 Previewing The Whole, Differentiating The Parts and Integrating the Entire Investigation
	48 Addressing The Cause, Not The Result
	49 Opening Rituals
	50 Closing Rituals
Chapter VI. Body Specificity
	51 Lung Respiration
	52 Cellular Respiration/We Are Mostly Water
	53 Breathdancing
	54 Dynamic Alignment/The Pathways Through
	55 Body-Part Phrasing
	56 Asymmetrical Body Sides
	57 Plié Is So Much More Than Bending The Knees
	58 Turn-Out Is Not All About The Feet
	59 Turn-In/Balancing Muscular Exertions
Chapter VII. Anatomical Imagery
	60 Allowing The Pelvic Outlet to Open
	61 The Pelvis Is Not Square
	62 Open-Chain Pelvic-Femoral Rhythm/Thigh Lifts and Leg Swings
	63 Pelvic Shift Happens
	64 Let’s Liberate Our Elbows and Knees
	65 Walking Feet/Foundations and Levers
	66 The Feet Reorganize Continuously in Each Plié
	67 Tripods in The Feet and Near the Hip
	68 Honoring Spinal Curves
	69 Celebrating Spinal Possibilities
	70 Successive Spinal Sequencing With, A Partner
	71 Arm Circles/Scapulohumeral Rhythm
	72 More Arm Circles/Gradated Humeral Rotation
	73 Arm Circles With Shape Qualities
	74 A Few Samples of Inner Speech
	75 Axes of Rotation/Spreading The Workload
Chapter VIII. Converting Theory into Action
	76 Riding The Dynamic Pelvis Through Space
	77 Undercurves
	78 Upper-Body Strengthening
	79 Undercurve-Inversion Dance
	80 Overcurves
	81 Playing with Possibilities/Improvising to Learn Technique
	82 Exploring Polar Opposites
	83 Playing with Weight Centers
	84 Shrinking Is As Important As Growing
	85 The Interdependence of Mobility and Stability
	86 Quantitative or Qualitative Strength and Flexibility
	87 Recuperating Without Stopping
	88 Spatial Imagery—Tensions, Pulls and Intents
	89 Changing It Up Spatially
Chapter IX. Assessment and Variety
	90 Formative and Summative Feedback
	91 Assessment Dialogues
	92 Study-Buddy Choreography
	93 Assessment Improvisations Across The Floor
	94 The Spice of Life
Chapter X. Teaching Dance through The Multiple Intelligences, by guest author Don Halquist
	1 Bodily-Kinesthetic Intelligence
	2 Visual-Spatial Intelligence
	3 Musical-Rhythmic Intelligence
	4 Interpersonal Intelligence
	5 Intrapersonal Intelligence
	6 Verbal-Linguistic Intelligence
	7 Logical-Mathematical Intelligence
	8 Naturalist Intelligence
Appendix A Resource Texts
Appendix B Embracing Non-Eurocentric and
Multicultural Perspectives
Appendix C Applying Concepts from The Laban/Bartenieff Movement System and The Franklin Method of Dynamic Alignment through Imagery
Appendix D My Take on Bartenieff Fundamentals
Appendix E How The Body Changes Its Form
Appendix F Movement Qualities
Appendix G The Geometry of Movement
Index