A Four-part Examination into a Special Subgroup
Part One: Technique What is technique and why is it important?
Technique can be described as a foundational frame, which by following its fixed laws can extend the body and its energy outward in a statement of whatever physical or emotional expression one chooses. Clean, correct technique is critical in order to prevent injury, physical distress, and to enjoy the artistic freedom one can experience through the act of moving. This is important for students of all ages, but for late-beginners using accurate and appropriate technique is of the utmost importance, especially considering most of them have stopped growing and the tissues of their bodies have lost flexibility and agility.
What is the teachers Role in Teaching Technique? In order for students to receive the wonderful gifts dancing can bring to their lives, their teachers need to have a professional and complete knowledge of dance technique. Just as important, they need to know how to share their technical knowledge. Every class is different, every student is different, and teachers who fully understand that notion will develop far more accomplished and gratified students. In other words, while the technical information you give to various groups should absolutely be the same, classes should differ in content, approach, and pacing depending on the age of students and their skill level. You simply cannot teach technique to a late-beginner the same way you teach an eight year old. The minds, bodies and emotional experiences of children versus post-pubescents are just too different.
Why do the physical aspects of dancing differ in late-beginners and children? As we get older, through the simple action of living our lives and learning from those around us, we develop and become accustomed to perpetual and idiosyncratic ways of experiencing and holding our bodies. We become prone to injury due to a lifelong accumulation of unnatural physical habits, the natural aging process, overall stiffness. Children, on the other hand, have bodies that are generally more flexible and are not yet locked into unnatural ways of being in their bodies. Since they have had less time to develop any unusual aspects of their physicality, they are easier to mold into the physical blank canvas that is necessary to dance well.
What are some differences in teaching technique to late-beginners and children? Below is a list of many ways that the teaching of late-beginners differs than the teaching of children. It is by no means complete. I hope it will help you become more consciously aware of the unique aspects of teaching late-beginners.
A very obvious difference is in regard to the manner that an adult speaks. For instance, when a correction is given to a child, the teacher may choose a different vocabulary and speaking manner than when correcting an adult. Often when teaching children, depending on their age, certain elements of technique are disregarded until they reach a particular stage of training. For example, the entirety of the principles of alignment and the idea of using ones center should not be given to child younger than eight. Before age eight, most childrens bodies are aligned according to our intended human alignment, therefore, a teacher should allow their natural and inherently intelligent way of being in their body lead their movement. When teaching late-beginners, however, all technique including alignment must be taught in fine detail from the beginning because their bodies have most likely fallen away from natural alignment, They need to be encouraged to follow technical principles as closely as possible so that injury doesnt result.
Late-beginners may need a longer time to warm-up than children. Slower exercises at the beginning of class can help late-beginners tremendously, not only so their bodies get properly warm before more difficult movements but also to give time for them to focus on clean alignment.
Late-beginners may need extra encouragement and time when learning to turn. For many late-beginners turning has changed from a natural childhood movement that produces fun to one that for many produces fear (and sometimes nausea!).
Late-beginners may not be able to jump as much as younger students or have as much endurance. This needs to be kept in mind when planning your classes.
The potential amount of turn-out and flexibility is limited for late-beginners in comparison with children who have bodies that are malleable and moldable. Fifth position of the feet can be replaced with Third position, unless the dancer has very flexible hips and a large degree of turn out. Fourth position of the legs should be open, opposite Third or First Position instead of Fifth. There is no technical reason to push students into a Fourth position that is opposite from Fifth.
Port de bras work should be discussed technically and completely from the beginning. For late-beginners, port de bras is an area of dance where they can immediately feel like they are expressing themselves through movement. This experience can therefore bring about an understanding in how technique is related to artistry.
In general, children have a very short attention span compared to adults. This creates differences in the pacing and structure of class. For instance, adults can be spoken to at length regarding technique and appreciate the information, whereas most children cant focus long enough to absorb information given in this way. On the other hand, an adult needs to have a warm body to successfully perform the physically demanding work throughout class. If you speak too long about technique, their bodies will get cold and they are at risk for injury.
Part Two of this article series will discuss differences in teaching late-beginners and children in regards to mental abilities.