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The Art of Teaching
Dance Practice
Course Notes 2012
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The Art of Teaching Dance Practice
Course Notes Summary
Course Information
5
Observation Skills
8
Reflective Learning Journal
12
Assist Teaching Placement
15
Professional Practice
19
Teaching Practice
31
Dance Curricula and Syllabi
35
Planning for Effective Teaching 1 Learning Styles
42
Planning for Effective Teaching 2 Preparation and Planning
55
Planning for Effective Teaching 3 Safe Dance Practice
81
Planning for Effective Teaching 4 Communication
85
Music for Dance Teaching
89
Planning for Effective Teaching 5 Teaching Styles and Strategies
94
Planning for Effective Teaching 6 Teacher Feedback
97
Planning for Effective Teaching 7 Inspiration, Motivation and Behaviour Management
104
Planning for Effective Teaching 8 Student Progress
111
Planning for Effective Teaching 9 Teaching Resources
1112
Planning for Effective Teaching 10 Reflection and Self-evaluation
113
References
115
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The Art of Teaching Dance Practice - Course Notes Content
Course Information
 The Art of Teaching Dance Practice Course Introduction
 Course Description and Timeline
 Course Outline and Assessment Briefs
 Beginning Teacher Profile
 References and Reading
Observation Skills - Class Observation and Evaluation
 Class Observation and Evaluation Introduction
 Dance Class Observation Professional Practice and Etiquette
 Observation arrangements
 General Observation Template and
 Observation Comparison Questions
Reflective Learning Journal
 Reflective Learning Journal Introduction
 Guidance on reflective writing
Assist Teaching Placement
 Assist Teaching Placement Introduction
 Guidelines on Assist Teaching Professional Practice and Etiquette
Professional Practice
 Professional Practice Introduction

Careers in dance

Perceptions of teaching – what is learning and what is teaching?

Facets of teaching – environments in which teaching occurs

The role of the teacher – instructor, guide, facilitator, mentor

Qualities and skills of an effective and inspiring teacher - eg
 Codes of Professional Practice – DANZ, NZ Teachers Council and Ausdance
 Music Licences
Teaching Practice
 Teaching Practice Introduction
 Teaching Practice Activities – see Workbook
 Introduction to Self-evaluation
 Self-evaluation and peer feedback within teaching practice
Dance Curricula and Syllabi
 Ministry of Education Dance Curriculum Overview
 Key Competencies
 4 Strands of Learning
 Elements of Dance, Devices, Planning for Composition
 Integrated Dance - Touch Compass
 Community teaching contexts
 Private Studio & NZAMD Contemporary Dance Syllabus Teaching Overview
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Planning for Effective Teaching
 Planning for Effective Teaching Introduction
Planning for Effective Teaching 1 Learning Styles
 The Learning Pyramid
 Introduction to Learning Styles – VARK and Multiple Intelligences
 Discussion of personal learning styles
 Introduction to Lifespan Development and Learning - Stages of development
 Introduction to performance psychology
 Effect of external influences and experiences on learning
Planning for Effective Teaching 2 Preparation and Planning
 Reasons for and value of planning
 Methods of planning
 Pre-planning

Trainee teacher needs analysis

Student needs analysis
 Short-term planning

Selecting Activity Learning Outcomes

Exercise/activity planning and recording

Planning for continuity, progression and differentiation

Class Learning Outcomes, planning and recording
 Medium term planning and objectives

Planning a Unit of Work and Term Planning

Fostering students’ creativity
 Long-term planning and objectives
Planning for Effective Teaching 3 Safe Dance Practice
 Venue Related Aspects of Safe Dance Practice
 Class Content and Teaching-Related Aspects of Safe Dance Practice
 Student Personal Safety Responsibilities (as age- appropriate)
 Varying physical frameworks
Planning for Effective Teaching 4 Communication
 Verbal and body language
 Effective use of the voice
 Effective questioning to facilitate inquiry and learning
 Positioning and placement in the studio for effective teaching
Music relating to dance teaching
 Music or percussion choices for class
 Effective use of the voice to foster
 Rhythm and physical and musical qualities and dynamics
 Artistic expression
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Planning for Effective Teaching 5 Teaching Styles and Strategies
 Teaching Styles and their use to cater for varying Learning Styles
 Introduction to educational theories
Planning for Effective Teaching 6 Teacher Feedback
 Assessment for Learning – formative and summative
 Methods of feedback facilitation and delivery
 Observation, diagnosis, prioritization, facilitation/delivery
 Language, Imagery and Visualization
 Intrinsic and extrinsic feedback
 Proprioception
 Follow-through of feedback
 Evaluation of effectiveness of feedback
Planning for Effective Teaching 7 Inspiration, Motivation and Behaviour Management
 Inspiration/motivation strategies
 Behaviour management strategies
Planning for Effective Teaching 8 Student Progress
 Goal Setting and Progress Monitoring
Planning for Effective Teaching 9 Use of Teaching Resources
 Use of teaching resources to support feedback
Planning for Effective Teaching 10 Reflection and Self-evaluation
 Post-class self-evaluation considerations
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The Art of Teaching Dance Practice
Introduction
Course Participants
This course is aimed at students who wish to enhance their professional portfolio to include
dance teaching skills, to complement their dance performance and composition abilities.
Course Content
Beginner teachers have a variety of learning needs, so this course aims to offer a range of
practical dance and dance teaching experiences, to enable graduates to confidently and
effectively engage in dance teaching activities. In the first term of the course, the focus is very
much on observing, evaluating, learning and practising the basic skills of dance teaching under
the guidance of highly qualified and experienced teachers. Working alongside such teachers is
well recognised as an invaluable introduction for beginning teachers. As stated by Skirnar and
Moses:
For instance, it has been established that supervision during practice teaching can be
valuable when the supervising teacher has been well-trained in various teaching
methodologies. Training in methods or styles of teaching develops an awareness of the
connection between class purpose and teacher behaviour
Skirnar and Moses, 1988,
p.295
The Course Notes resource has been formulated from the Course Tutors’ long experience of
coaching new teachers, together with additional relevant reference material. This resource will
provide a clear insight into a number of important aspects of dance teaching.
Professional dance practitioners of today benefit from being educated to a high academic level,
as well as trained in practical terms to advanced and professional standards, in order to gain a
wide range of dance and dance-related skills. Practitioners with a broad base of skills, including
performance, choreography and teaching, have a range of employment opportunities open to
them, in various dance environments. A teacher training course to supplement previous
performance and composition-based experience can also enable students to access a broader
range of further educational courses and academic programmes.
With students studying skills for Preparing for Effective Teaching alongside Class Observation,
Teaching Practice and Assist Teaching, they are able to relate theory directly to practice as they
observe, explore and then utilize the teaching skills studied. This ‘learning whilst doing’
approach supports the process of learning which is already established as being helpful for
learners.
As Kimmerle and Côté-Laurence explain:
Dance skills are basically learned the same way other motor skills are learned. It has been
suggested that learning a dance skill begins with the presentation of the skill and ends with
its replication immediately, or several hours, days or months later.
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This learning concept can equally be applied to beginning teachers gaining teaching skills – first
the skill is presented, then the beginning teacher practices or ‘replicates’ the skill with gradually
increasing degrees of achievement over time.
Due to the previous experience of the beginning teacher in Year 3 at Unitec, a fairly high degree
of understanding of classical and contemporary dance techniques can be anticipated, enabling
an early entry into Assist Teaching to be included in the course. From undertaking the Art of
Teaching Dance Practice course, the beginning teacher will be able to embark upon their
professional dance career with confidence and the assurance that they have a sound basis upon
which to build and develop further skills in dance teaching, to complement their professional
portfolio.
References
Kimmerle, M. & Côté-Laurence, P. (2003) Teaching Dance Skills: A Motor Learning and Development
Approach. New Jersey: J. Michael Ryan publishing, Inc.
Mosston, M. & Ashworth, S. (1994) Teaching Physical Education. New York: Macmillan Publishing
Company
Skirnar, M & Moses, N (1988) “Who’s Teaching the Dance Class?”, in Clarkson, P.& Skirnar, M
(eds) Science of Dance Training, Champaign, IL: Human Kinetics Books
Schlaich, J. & DuPont, B. (1993) The art of teaching dance technique. American Alliance for Health,
Physical Educaiton, Recreation and Dance: Virginia
¹
:
This quote is attributed thus in Kimmerle and Côté-Laurence
Puretz S: Bilateral transfer: The effects of practice on the transfer of complex dance movement patterns. Research
Quarterly for Exercise and Sport 54(1): 48-54, 1983
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Beginning Teacher Profile
Name:
Age:
Background
and training:
Teaching
Experience:
Personality:
Strengths:
Challenges:
Personal
Dance –
related
Needs:
Teacher
Training
Needs:
Future
Goals:
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Class Observation and Evaluation Introduction
Aims
1.
2.
To provide trainee teachers with the opportunity to observe, discuss and evaluate the
teaching methods of highly qualified and experienced teachers.
To identify key elements of effective dance teaching at varying age levels and inform and
guide the trainees’ own teaching practice.
Introduction
Class Observation and Evaluation forms provide a detailed framework from which beginning
teachers can consider many important aspects of the teaching they are observing. Sections of
these forms can be utilized individually, initially to enable trainee teachers to concentrate on the
approach taken by the teacher concerning one specific aspect of the class. Later in the course,
these can be used as a self-check resource and assessment tool.
As suggested in the QUT Study Guide for Dance Assessment and Reporting:
Giving beginning teachers the opportunity to sit and observe other teachers’ class can be
most beneficial. On some occasions, it is appropriate and useful for the beginning teacher
to have a focus for their observations.
QUT, 2008, Dance
Assessment and Reporting, p.28
Class Observation will give trainees an opportunity to view and consider the practical
application of the Dance Teaching Skills being studied. The skills observed can be discussed in
post-class discussions. Subsequently as the beginning teacher gains experience, these skills can
be adapted for their assist teaching experience, practised within teaching practice sessions and
ultimately drawn upon and integrated into their independent teaching practice.
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Delivery Modes
Observation and Evaluation of Experienced Teachers
Within Teaching Practice sessions
 Arrangement of Class Observations
 Explanation of use of Class Observation and Evaluation forms within the Learning
Journal
 Post-class discussions with Course Tutors
Within Class Observation Discussions with Class Teacher
 Brief discussions with Class Teacher
During Afternoon and Evening Classes
 Observations to be undertaken within after-school hours classes
 Completion of Observation and Evaluation forms and making of additional notes during
observations
Through Home Study
 Reflection in Learning Journal regarding key elements of effective teaching observed, and
comparison between different teaching and learning environments
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Dance Class Observation Professional Practice and Etiquette
1. Professional presentation
Be appropriately and tidily attired. It is respectful to the teacher you are observing to
present yourself in a professional manner. Also remember you are representing Unitec as
well as yourselves and the impression you make will affect the view that other people
have of Unitec, as well as of you personally. In subsequent years, Unitec students may
wish to observe classes at this establishment and so you need to present yourselves and
behave in such a way as to have Unitec students welcomed back to observe. You may
also end up working professionally with this particular teacher or with other staff from
this school, so it is in your best interests to create a positive and professional impression.
Wear the named Unitec badge you will be issued so that teachers, students and parents
know who you are – this is a safety matter when working with young people.
2. Punctuality
Arrive 15 minutes early for the class to ensure you are present at the start of the class.
Ascertain the studio in which the class is to take place by asking at reception if there is
one. If you arrive late, you should not enter the studio once the class is underway, as this
is both disrespectful to the teacher and distracting for the students.
3. Observation materials and Journal
Ensure you have the relevant observation forms with you, blank paper, your Journal,
pens etc and a clip-board – this will make it much easier to write notes, as you are likely
to be sitting on a chair or on the floor. Make notes carefully, using the observation form
as a guide and add your own notes and thoughts on the teaching and learning you are
observing. In order to spend the maximum time on actually observing, you can make
brief notes during the observation and then add further details immediately after the
class, whilst the information is still fresh in your mind. Reflect in your Journal on the key
points you learnt from the class, the teacher the environment and how you felt about the
observation experience in general. You can use these notes to help formulate your
comparison of two different learning environments for Assignment 1.
4. Water
You may bring a water bottle, but no food or other types of drink should be taken into
the dance studio.
5. Introductions
Ensure your whole teaching group is gathered together, then at the change-over of
classes, introduce yourselves politely and quickly to the class teacher and ask where she
would prefer you to position yourselves for the observation. There is rarely time in a
busy dance studio, school or community environment for the teacher to talk to people
between classes, so keep your introductions short so that the teacher can focus on getting
on with the class.
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6. Observation behaviour
Whilst observing, you should remain silent - there must be ABSOLUTELY NO
TALKING amongst yourselves. The teacher will be expecting full focus and
concentration from the students, so you should also be giving the teacher and the
students your full attention, to avoid distracting the students or the teacher. Of course,
this is also common courtesy and appropriate professional practice. It goes without
saying that your mobile phone should be turned off!
7. Body language and facial expression
Take care with your body language and facial expressions whilst observing. Sit properly
– if on the floor you must sit in such a way as to not interfere with the space available or
be a safety hazard and it goes without saying that you must SIT and under no
circumstances LIE DOWN! Keep your facial expression pleasant and ensure you avoid
any behaviour or facial expression that might put the students off or offend or upset
them. Some students can find it quite stressful having strangers observe them, so be
sensitive to this.
8. Thanking the teacher
At the end of the class, of course thank the teacher very much for having allowed you to
observe. You may have some questions you would like to ask, however, the teacher will
be busy preparing for the next class, so it will be better for you to go away and make a list
of your questions in collaboration with your teaching group. Hand these questions to the
Course Tutors, who can then pass them on to the teacher for discussion at a convenient
time for them.
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Reflective Learning Journal Introduction
Aims
1.
To provide beginning teachers with a forum for discussion, support and guidance with
the Course Tutors and Assist Teaching Supervisor
To monitor the progress and well-being of beginning teachers
To enable evaluations and assessments to be discussed
2.
3.
Introduction
The use of a Learning Journal can cover a range of matters pertaining to the development of
beginning teachers. The Course Tutors and Assist Teaching Supervisor can discuss and review
progress and development with the beginner teacher, with particular reference to the following
aspects:






Class Observation placement, discussions and evaluation
Assist Teaching placement planning, discussions and evaluation of progress
Discussion of feedback and learning noted in Learning Journal, including trainee
teacher’s self-evaluation
Teaching Practice planning and evaluation of progress towards Assessment class
Assessment preparation strategies
Self-study activities
Trainee teachers are encouraged to:
 Consistently engage in self-reflection in their Journals, to review their own notes made on
their teaching and assist teaching performance, as well as notes made on feedback obtained
from class and lecture activities
 Research widely - books, DVDs, CDs, Internet, Magazines, Programmes. Note relevant
articles for future reference. Check copyright regulations and photocopy relevant articles to
keep on file under headings for each subject area of study
 Discuss teaching practice with peers and teachers where possible
 Gather and/or make appropriate teaching resources
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Assignment 3 – Learning Journal
Refer to the following resources recommended by Diana Ayling of Te Puna Ako for guidance on
reflective journal writing:
1. Writing a Reflective document: The DIEP framework. Retrieved from
http://tlcommunityunitec.ning.com/profiles/blogs/writing-a-reflective-document
Feburary 210 2012. From D-I-E-P: A framework for writing a reflective document. (2009).
In Turning ideas into action: A toolkit to help implement and execute your ‘knowledge
gym’ learning. The Knowledge Gym. Retrieved from
http://www.theknowledgegym.com/kgym/index.cfm
Here is a framework to help students and staff write reflectively. This framework leads writers step by step through
the reflective process.
DIEP := Describe -> Interpret -> Evaluate -> Plan
D-Describe

Describe objectively what you learned from the incident

Respond to the question: “What did I observe, hear, and learn from the incident?”
I-Interpret

Explain your personal interpretation of the learning you DESCRIBED

Identify new insights and epiphanies

Identify connections between your new learning with other learning and your emotional responses

Suggest hypotheses, explanations, and conclusions that you infer from your learning incident

Respond to the question: “What implications might this learning have for my professional and/or personal
life?”
E-Evaluate

Could the process of learning (and teaching) have been more effective and/or efficient? How?

Respond to the question: “What is my personal opinion about the value of what I have learned?”
P-Plan

Describe and explain how the learning and insights presented above could be useful to you

Identify specific SMARTER goals for: Your future profession and/or personal life; Your future approach to
learning

Respond to the question: “In what ways might this learning incident serve me in the future?”
Source:
Virtually verbatim from:
D-I-E-P: A framework for writing a reflective document. (2009). In Turning ideas into action: A toolkit to help
implement and execute your ‘knowledge gym’ learning. The Knowledge Gym. Retrieved from
http://www.theknowledgegym.com/kgym/index.cfm
See also
Larkin, I., & Beatson, A. (2010). Developing reflective practitioners online: the business of blogs in work integrated
learning. Presented at the International conference on work-integrated learning, Hong Kong: The Hong Kong
Polytechnic
University.
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2. Writing Through Life – Amber Lea Starfire
Posted by Diana Ayling:
Here is a great resource to help students with reflective writing. Amber Lea Starfire, has a host of
resources and support for journaling. She points out that "The benefits of journaling are well-known and
many, including lowered stress levels, enhanced sense of well-being, emotional and psychological healing,
increased ability to focus, strengthened sense of self, and finding your own, unique, writer's voice."
Amber is a fan of Pliny the Elder who said: "Nulla dies sine linea" Or "No day without a line".
Amber encourages us to journal every day, to open up our creative talents, to develop our writing skills
and to exercise our minds. Check it out
http://www.writingthroughlife.com/
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Assist Teaching Introduction
Aims
1.
2.
3.
4.
To enable trainee teachers to begin interacting with students of varying ages, within a fully
supervised and supported environment.
To allow trainee teachers to continue to observe and learn from the teaching methods of
experienced teachers, whilst gaining in confidence
To involve the beginning teacher with the planning process for the classes
To gradually ease trainee teachers into taking increased responsibility within the class,
leading ultimately to taking full sections and finally whole classes under supervision
Introduction
It is very important for beginning teachers to have regular personal contact with students of
varying ages, so that they can begin to feel at ease and develop a rapport with students. With
proper guidance and a progressive programme of observation followed by gradually increasing
involvement with classes, assist teaching can support and enhance the learning the beginner
teacher is gaining from academic studies and observations, by giving this learning a means of
practical expression.
This process is supported by the QUT Study Guide for Dance Assessment and Reporting,
explaining:
Beginning teachers assisting in classes is a valuable and supportive introduction to
teaching. Initial assisting could involve the beginning teacher giving feedback to
individual students, while the more experienced teacher conducted the class. As the
beginning teacher becomes more confident, they can be encouraged to plan with the
experienced teacher increasing proportions of the class.
QUT Study Guide, Dance
Assessment and Reporting, 2008, p.31
There is also considerable value for the experienced teacher in having a trainee teacher assistant,
so this system is of benefit to both parties. Lockhart & Pease suggest a number of ways an
assistant teacher can be involved within a class, including:
3. Help individual students who are having difficulties
1. Supervise the work of half the class while the teacher is attending to the other half
2. Take over some routine duties such as roll call, check on absences and excuses, and
neatness of appearance
9. During the problem solving phase of the lesson, assist with small groups
Lockhart & Pease, 1982, p.15
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Delivery Modes
Within Art of Teaching Dance Practice sessions:
 Arrangement of Assist Teaching Placement
 Explanation of Guidelines for Assist Teaching
 Group Discussions on strategies for effective assist teaching
 Partner and group practical activities to prepare for Assist Teaching, including feedback
practice
 Vocal Exercises – appropriate vocabulary, tone, manner when inter-acting with pupils as
an Assistant Teacher
 Viewing of videos of student whilst assist teaching within classes and discussion of
teaching strategies shown
 Evaluation and Informal Assessment of Assist Teaching – by self, peers and tutor
During Assist Teaching Placement:
 Involvement in Class Planning for Assist Teaching Placement
 Strategies for effective assist teaching followed through in Assist Teaching Placement
classes
 Maintain Learning Journal – see previous notes re supporting information
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Guidelines on Assist Teaching Professional Practice and Etiquette
1. Dress appropriately for the age group and type of class
2. Be punctual and well presented – set an example and inspire the students. No jewellery for
safety reasons
3. Attend Pre-placement Discussion and all other relevant sessions
4. Make notes of the Assist Teaching Placement Supervisor’s requirements of you before the
class. Clarify with the Supervisor how they would like your Teaching Team to organize
yourselves within the class environment – a suggested format is two trainee teachers on the
floor and two observing and making notes, either for half a class each, or for alternate classes.
This avoids there being too many distractions for the participating students. However, be
guided by your Supervisor as to how they would like you to operate as Assist Teachers
5. When assisting, keep your voice at a low level - sufficient for the student you are helping to
hear you, but not so loud that interferes with teacher conducting the class
6. Learn and memorize all the student’s names and use their names when speaking to them.
With the Assist Teaching Placement Supervisor’s permission, you could prepare name tags for
the first few classes to assist with this
7. Cultivate a warm, friendly and yet teacher-style rapport with the students
8. Show careful consideration before offering feedback to individuals. Do so quietly, using
positive and encouraging language and always praise effort and recognize even small
improvements
9. Discuss use of touch with Assist Teaching Placement Supervisor and check their views and
methods regarding this and decide upon consistent protocols
10. If touch is to be used, ensure student is advised in advance politely before using touch to
place limbs. Show awareness of how to place your hands appropriately to be comfortable for
the student
11. Be aware of any cultural beliefs or protocols that may need to be considered.
12. Be positioned generally in such a way as to be able to help students near the rear of the
room to assist the teacher with giving each student equal assistance
13. Work with small groups as requested by the teacher, again ensuring that your voice is at a
suitable workable, but unobtrusive level
14. Assist with class administration, such as roll calling, confidently and in a welcoming manner
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15. Take note of specific teaching styles and methods that the Assist Teaching Placement
Supervisor makes use of and record these in the Assist Teaching section of your Journal after
classes. Reflect upon these for discussion at the next meeting or Art of Teaching session
16. Reflect on how you felt you performed in your role as Assistant Teacher. Note what you felt
went well and what you feel you can continue to improve
17. In discussion with the Course Tutors, Assist Teaching Placement Supervisor and your peers,
add further guidelines/criteria to this basic list below
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Professional Practice Introduction
Aims
1.
To provide trainee teachers with a range of information related to teaching as part of a
professional dance practitioner portfolio
2.
To prepare trainee teachers for practical assist teaching situations through awareness of
industry standards in professional practice
Introduction
The Professional Practice section of the course will include the study of the following:
1. Group Discussion Activities
2. Codes of Professional Practice
3. Introduction to Performance Psychology
4. Music Licences
5. Other Resources
1.
Group Discussion Activities:
 Careers in dance – range of options for professional portfolio
 Perceptions of teaching – what is learning and what is teaching?
 Facets of teaching – environments involving teaching
 The role of the teacher – guide, facilitator, mentor, teacher
 Qualities and skills of an effective and inspiring teacher
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The Art of Being an Inspiring and Effective Teacher








Knowledge and experience of subject
Effective planning for level and type of class
Communication and teaching manner
Interest in students and their learning
Ability to facilitate student inquiry and responsibility for own learning
Ability to explain material and answer questions
Demonstration and appearance
Musicality and artistry
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
Enthusiasm!
Caring very much about the progress of each individual
Sensitivity to diversity – cultural, physical, personality
Being respectful of students’ individuality and mindful of their needs
Knowing how to foster student inquiry and discovery of information
A wanting to give of one’s knowledge and an eagerness to continually learn more
Being well organized and fully prepared for the class
Being able to say the right thing at the right moment for the message to get through
To create an atmosphere of activity and to be able to lift a class when down
To feel rhythm and show variances of musical and physical expression
A sound knowledge and being able to communicate it
A tidy appearance and dressed suitably for whatever you are doing
Effective use of the voice is vitally important, for clarity and expression. The voice needs to
be heard clearly and have modulation to reflect movement and musical qualities and
dynamics
Patience, perseverance and personality!
A sense of balance in a class. Use of humour and turning on pressure, etc. Timing of
remarks is very important
Self-discipline and class discipline
Dignity and good behaviour – no moodiness
Attitude towards students - give attention to each individual equally
Help students through difficulties, not just dismiss them
Be sensitive to individual needs
Concentration
Understanding and awareness of challenges students are experiencing
Confidence - if you aren’t confident, your students won’t be
A keen eye for detail, without over-correcting so much as to create another challenge!
Sense of humour
Two ways - give and take on both sides. Supporting students’ efforts in meeting or
exceeding that of the teacher in terms of taking responsibility for their own improvement
Inspire in students a desire to learn - sometimes it seems like they don’t want to, but this
desire can be created by you
Be aware of the pianist/percussionist - help them along if it’s a bad day for them. Smile or
joke to lift them up
Occasionally standing back from the class and looking at students as an outsider - if all the
students have the same challenge with something, it must have originated from you
Continually checking own demonstration to ensure clarity and detail are shown
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
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Teaching is:
 Sharing your knowledge generously
 Extending your prior knowledge – continually learning oneself
 Preparing appropriate activities to suit the environment and age group of students
 Fostering students’ self-discovery in dance
 Conveying information clearly in an interesting manner
 Discipline – showing self-discipline and effective class behaviour management
 Enjoyment – enjoyment of teaching and fostering students’ enjoyment of class
 Increasing confidence of students in their ability to achieve
 Being aware of and supporting the expression of feelings
 Noting and fostering potential
 Acting as a guide, mentor and facilitator as well as teacher
 Advancing students’ technical expertise
 Setting goals and clear objectives for the class, individual students and yourself as a teacher
 Fostering commitment and students’ awareness of their personal and class responsibilities
 Promoting the benefits of life-long involvement in dance
 Punctuality – showing this in your own behaviour and fostering it in students
 Personal presentation and appearance – showing this in your own behaviour and fostering
it in students
 Helping students learn how to deal with structured dance situations and appropriate
professional practice protocols
 Fulfilment of rising to a challenge – for teacher and student
 Taking responsibility for your own achievement or mistakes and fostering this approach in
students
 Building character and developing talent – your own and that of students
 Understanding different ways of teaching and learning and continuing professional
development to keep up to date with latest developments in dance and dance teaching
Source:
Adams, V. (1974). The Art of Being a Good Teacher. Royal Ballet School TTC
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2.
Codes of Professional Practice
DANZ. (2001). Code of Professional Practice for Teachers of Dance. Retrieved 20 February 2012
from http://www.danz.org.nz/danz_code.php
DANZ CODE OF PROFESSIONAL PRACTICE FOR TEACHERS OF DANCE
Te Whakapa o DANZ Tohunga Kaiako Kanikano
AIM - NGA AHUA
To enhance a positive teaching and learning environment for every student.
FUNDAMENTAL PRINCIPLES - NGA TOHU RANGATIRATANGA
A teacher will aim to:






Behave with integrity in all professional and business relationships.
Strive for objectivity in all professional and business judgements.
Ensure that they have relevant qualifications and experience before accepting a teaching position
or undertaking work.
Carry out their professional work with due skill, care, diligence and with proper regard for the
technical and professional standards expected of them as a teacher.
Behave with courtesy and consideration towards everyone they come in contact with while
working professionally.
Maintain expertise and acknowledge developments in the profession.
INTEGRITY - NGA MANA
A teacher, in all professional and business relationships will aim to:




Uphold and enhance the good standard and reputation of the profession.
Work in a collaborative and cooperative manner with other dance professionals and
organisations.
Communicate a love of dance in all its forms
Ensure that classes are of a size appropriate to the level and technique being taught, with
compatible age and/or standard.
DUE SKILL AND DILIGENCE - NGA TOHUTOHU TUTONU MAHIIKA WHAKA
A teacher will aim to:





Demonstrate professional attitudes, including punctuality, reliability and responsible care of
students.
Ensure that no action or omission on their part, or within their sphere of responsibility, is
detrimental to the interests or safety of students or other professionals.
Comply with all statutory requirements affecting health and safety at work (OSH) and ensure the
provision of adequate insurance cover,
Comply with all the statutory requirements affecting the running of the business, including
registration of names, income tax, copyright, privacy and any other matter required by the law.
Ensure that facilities provided are adequately maintained and provide suitable flooring appropriate
to the technique being taught and a suitable, secure and safe area for changing.
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OBJECTIVITY - NGA TAKE TUTURU
A teacher in all professional and business relationships will aim to:



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


Recognise the role of dance in developing the whole person.
Work in an open, encouraging and cooperative manner with students, nurturing their development
and respecting their independence.
Maintain open and regular communication with families and caregivers.
Recognise and respect the uniqueness, dignity and potential of each student.
Respect and acknowledge cultural diversity, ethnic origin, religious beliefs, personal attributes and
wishes.
Encourage healthy lifestyles for their students.
Open pathways and access information for the development of the student.
COMPETENCY - NGA TIKA WHAKA MANA
A teacher will aim to:



Acknowledge any limitations in their own knowledge and competency and take steps to access
the skills needed.
Undertake ongoing professional development to maintain, inform and upskill their own knowledge.
Keep up to date with new practices and acknowledge development in the profession.
COURTESY AND CONSIDERATION
WHAKAPONO PAI WHAKARO
A teacher will aim to:


Always act in such a manner as to safeguard the interests and wellbeing of all students.
Ensure student trust and confidence.
Collated by DANZ 2001
Acknowledgements:
Deirdre Tarrant, Keri Kaa, Peta Spooner, Jan Shand, Ralph Buck
Sol Whaanga, Kaumatua Maori Mental Health, Nelson
Sourced from:
Code of Professional Conduct for Teachers of Dance endorsed by British Ballet Association, Checchetti Society,
Imperial Society of Teachers of Dancing, British Theatre Dance Association, Royal Academy of Dance.
DTA Association Rules and Code of Conduct
AUSDANCE Australian Guidelines for Dance Teachers.
See also:
DANZ. (2006). Code of Professional Practice for New Zealand Choreographers. Retrieved 20
February 2012 from http://www.danz.org.nz/Downloads/CodeChoreog.pdf
DANZ. (2008). Code of Professional Practice for New Zealand Dancers. Retrieved 20 February
2012 from http://www.danz.org.nz/dancers_code.php
DANZ. (2008). Dance Best Practice and Business Ethics. Retrieved 20 February 2012 from
http://www.danz.org.nz/resources_bestpractice.php
DANZ. (2011). Being a professional and surviving in the dance industry
http://www.danz.org.nz/Downloads/thriving_professionals.pdf
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
NZ Teachers Council
New Zealand Teachers Council (2009).Registered Teacher Criteria. Retrieved 20 February 2012
from
http://www.teacherscouncil.govt.nz/rtc/rtc.stm
New Zealand Teachers Council Registered Teacher Criteria
Introduction
The Registered Teacher Criteria describe the criteria for quality teaching that are to be met by all fully
registered teachers in Aotearoa New Zealand. The Registered Teacher Criteria recognise that teaching is
a highly complex activity, drawing on repertoires of knowledge, practices, professional attributes and
values to facilitate academic, social and cultural learning for diverse education settings. The criteria and
indicators should be viewed as interdependent and overlapping.
Overarching statements
1. Teachers play a critical role in enabling the educational achievement of all ākonga/ learners 1 .
2. The Treaty of Waitangi extends equal status and rights to Māori and Pākehā. This places a
particular responsibility on all teachers in Aotearoa New Zealand to promote equitable learning
outcomes.
3. In an increasingly multi-cultural Aotearoa New Zealand, teachers need to be aware of and respect
the languages, heritages and cultures of all ākonga.
4. In Aotearoa New Zealand, the Code of Ethics / Ngā Tikanga Matatika commits registered teachers
to the highest standards of professional service in promoting the learning of those they teach.
Criteria and key indicators
Professional relationships and professional values
Fully registered teachers engage in appropriate professional relationships and demonstrate commitment to
professional values.
Fully registered teachers:
Criteria
Key Indicators
1. establish and maintain effective
professional relationships focused
on the learning and well-being of
ākonga
i. engage in ethical, respectful, positive and collaborative
professional relationships with:




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ākonga
teaching colleagues, support staff and other
professionals
whānau and other carers of ākonga
agencies, groups and individuals in the community
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2. demonstrate commitment to
i. take all reasonable steps to provide and maintain a teaching
promoting the well-being of all ākonga and learning environment that is physically, socially, culturally
and emotionally safe
ii. acknowledge and respect the languages, heritages and cultures
of all ākonga
iii. comply with relevant regulatory and statutory requirements
3. demonstrate commitment to
i. demonstrate respect for the heritages, languages and cultures of
bicultural partnership in Aotearoa New
both partners to the Treaty of Waitangi
Zealand
4. demonstrate commitment to ongoing i. identify professional learning goals in consultation with
professional learning and development colleagues
of personal professional practice
ii. participate responsively in professional learning opportunities
within the learning community
iii. initiate learning opportunities to advance personal
professional knowledge and skills
5. show leadership that contributes to
effective teaching and learning
i. actively contribute to the professional learning community
ii. undertake areas of responsibility effectively
Professional knowledge in practice
Fully registered teachers make use of their professional knowledge and understanding to build a
stimulating, challenging and supportive learning environment that promotes learning and success for all
ākonga.
Fully registered teachers:
Criteria
Key Indicators
6. conceptualise, plan and
i. articulate clearly the aims of their teaching, give sound
implement an appropriate learning professional reasons for adopting these aims, and
programme
implement them in their practice
ii. through their planning and teaching, demonstrate their
knowledge and understanding of relevant content, disciplines and
curriculum documents
7. promote a collaborative, inclusive i. demonstrate effective management of the learning setting
and supportive learning
which incorporates successful strategies to engage and
environment
motivate ākonga
ii. foster trust, respect and cooperation with and among ākonga
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8. demonstrate in practice their
knowledge and understanding of
how ākonga learn
i. enable ākonga to make connections between their prior
experiences and learning and their current learning
activities
ii. provide opportunities and support for ākonga to engage with,
practise and apply new learning to different contexts
iii. encourage ākonga to take responsibility for their own
learning and behaviour
iv. assist ākonga to think critically about information and ideas
and to reflect on their learning
9. respond effectively to the diverse
language and cultural experiences,
and the varied strengths, interests
and needs of individuals and
groups of ākonga
i. demonstrate knowledge and understanding of social and
cultural influences on learning, by working effectively in
the bicultural and multicultural contexts of learning in
Aotearoa New Zealand
ii. select teaching approaches, resources, technologies and
learning and assessment activities that are inclusive and effective
for diverse ākonga
iii. modify teaching approaches to address the needs of
individuals and groups of
ākonga
10. work effectively within the
i. practise and develop the relevant use of te reo Māori me
bicultural context of Aotearoa New ngā tikanga-a-iwi in context
Zealand
ii. specifically and effectively address the educational aspirations
of ākonga Māori, displaying high expectations for their learning
11. analyse and appropriately use
assessment information, which has
been gathered formally and
informally
i. analyse assessment information to identify progress and
ongoing learning needs of ākonga
ii. use assessment information to give regular and ongoing
feedback to guide and support further learning
iii. analyse assessment information to reflect on and evaluate the
effectiveness of the teaching
iv. communicate assessment and achievement information to
relevant members of the learning community
v. foster involvement of whānau in the collection and use of
information about the learning of ākonga
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12. use critical inquiry and problem- i. systematically and critically engage with evidence and
solving effectively in their
professional literature to reflect on and refine practice
professional practice
ii. respond professionally to feedback from members of their
learning community
iii. critically examine their own beliefs, including cultural
beliefs, and how they impact on their professional practice and
the achievement of ākonga
1 In this document, the term akonga has been chosen to be inclusive of all learners in the full range of
settings, from early childhood to secondary and beyond, where the Registered Teacher Criteria apply.

Ausdance
Ausdance Website Homepage
http://www.ausdance.org.au/
Ausdance Code of Ethics
http://www.ausdance.org.au/professional_practice/dance-industry-code-of-ethics.html
Ausdance Australian Guidelines for Dance Teachers
http://www.ausdance.org.au/professional_practice/guidelines/index.html
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4. Music Licences
 Australasian Performing Rights Association (APRA) Outline Information
2010
The following information is taken from lecture by APRA at a DANZ Seminar in 2009
APRA represents music composers and music publishers and collects royalties on their behalf.
Even bands that are performing their own compositions have to pay an APRA licence. If you
are using music with costume, props, scenery, a story-line and/or theme, lighting and
presentation, this is considered ‘Interpretation of a theme or dramatic context’ and is liable for
an APRA licence. For example, contemporary dance is generally presented in ‘dramatic
context’.
Each tertiary institution should have a licence with APRA, once they use music outside the
course venue.
Dance Studio Licence
Dance schools need to apply to APRA for a dance classes licence (which is calculated per day of
the week the school operates) to cover the use of music in their dance classes. There is no need
then to send a playlist to APRA, unless the music is to be used in performance outside the dance
studio venue.
Performance Licence
If music is to be used by a dance school for a performance outside the dance studio venue, then
the school must apply to APRA for a Performance Licence, which must be applied for and
obtained well in advance of the performance date. A playlist of all recordings to be utilized
must be included with the application.
The key determining issue is:
Is the performance just a ‘concert’ or is it a ‘dramatic context production’
APRA www.apra.co.nz
 Phonographic Performance New Zealand (PPNZ) Licence
In addition to the APRA licence requirements, dance schools and practitioners should also be
aware of the need to apply for licensing from PPNZ. PPNZ represent the performers of
recorded music and the CD production companies, collecting royalties on behalf of these
groups.
ABOUT PPNZ:
PPNZ was established in 1957 to centrally administer copyright licensing on behalf of the
owners of sound recordings (e.g. artists and labels). It is a non-profit agency that collects and
redistributes licence fees back to the copyright owners.
Further information regarding labels represented, legalities and distribution policies can be
located on the PPNZ website www.ppnz.co.nz
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Example letter to a dance school from PPNZ:
9 March 2016
Dear Sir / Madam
This form has been designed to assist dance schools and instructors with music copyright issues.
Please answer the following questions so that we are able to determine whether or not music
licensing will be required for your activity:
1: IS YOUR DANCE SCHOOL THE OWNER/PROPRIETOR OF THE PREMISES?
No 
Yes 
If you answered YES please go to question 2.
_________________________________________________________________________
2: DO YOU USE ANY OF THE FOLLOWING IN YOUR DANCE SCHOOL?
Music CDs, tapes or MP3 players
No  Yes 
Syllabus CDs or tapes
No  Yes 
WHAT TO DO NEXT:
Fax this form to (09) 360 5086
Visit our website and fill out an online application form www.ppnz.co.nz
Phone us toll free on 0800 88 77 69
Email vanja@ppnz.co.nz
Yours faithfully
Vanja Canzek
Licensing Representative
Phonographic Performances NZ Ltd
Email: vanja@ppnz.co.nz
Freephone: 0800 88 77 69
Level 1, 2 Hakanoa Street, Grey Lynn, Auckland 1021
www.ppnz.co.nz
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5. Other Resources
Arts Online - Te Hāpori o Ngā Toi. (2007)
http://artsonline2.tki.org.nz/ecurriculum/dance/ao.php March 1 2012
Te Kete Ipurangi – the online knowledge basket - NZ Ministry of Education
http://www.tki.org.nz/
IADMS – International Association of Dance Medicine and Science
Resources for Teachers http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=242
Dance UK
http://www.danceuk.org/
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Teaching Practice Introduction
Aims
1.
2.
3.
To equip trainee teachers with practical teaching skills developed from observations of
experienced teachers and concepts and principles of teaching covered within The Art of
Teaching Dance Practice course
To prepare trainee teachers for practical assist teaching situations.
To prepare trainee teachers for supervised teaching practice, gradually increasing from
teaching single exercises or activities to sections and finally full classes
Introduction
This component will enable trainee teachers to practice the teaching concepts they are learning
in Art of Teaching Dance Practice sessions and through Class Observation and Evaluation, in a
supportive and encouraging environment. Using material being studied in regular classes,
students will teach each other, practising all aspects of teaching and of fostering a positive class
environment. Students will also practice strategies for effective and supportive Assist Teaching
for use in their Assist Teaching placement.
Many crucial components of successful teaching practice are given particular attention, to
support learning. These include aspect such as:
 effective planning, including selection and achievement of learning outcomes
 the appropriate structuring of exercises or activities
 clear demonstration and verbal communication of exercises or activities
 the observation, identification, prioritization and delivery or facilitation of feedback
 the creation of a positive learning environment
 the giving and receiving of supportive and effective peer feedback
Kimmerle and Côté-Laurence offer excellent descriptions of extrinsic and intrinsic feedback:
Extrinsic feedback, often called augmented feedback, is information provided to the
learner by an external source such as the instructor, while intrinsic feedback comes
mainly from the learner’s sensory receptors (e.g., what he sees, hears or feels). The type
of correction typically used early in the learning process is extrinsic feedback. There are
three forms of extrinsic feedback: feedback from the instructor, the mirror and the
videotape. For the most part, the instructor provides either verbal or tactile corrections
during a technique class.
Kimmerle and Côté-Laurence, 2003, p. 191
These authors go on to describe intrinsic feedback as:
Intrinsic feedback is described as the sensory information one receives when producing
a movement.
Kimmerle and Côté-Laurence, 2003, p. 199
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They emphasize the importance of intrinsic feedback thus:
In dance, there is no doubt that the most important sources of intrinsic feedback comes
from the dancer’s kiesthetic sense.
Kimmerle and Côté-Laurence, 2003, p. 199
Therefore, whilst it is important for the teacher to offer feedback and facilitate peer feedback, it
is even more important to foster the ability of the student to become aware of the feedback they
can gain from tuning in to their own body and sensations.
Finally, Kimmerle and Côté-Laurence also provide a helpful description of a successful teacher:
A successful teacher, therefore, makes good choices about the learning material and
environment for each group of students. An environment conducive to optimal learning
is one in which students are challenged, motivated, and successful. A positive learning
climate is created when the teacher selects appropriate material to teach in the lesson and
uses appropriate teaching methods during the lesson.
Kimmerle and Côté-Laurence, 2003, p.3
Delivery Modes
Teaching Practice
 Preparatory partner and group activities
 Activities to develop theoretical material into practical applications of concepts
 Use of teaching skills learnt to:
 plan appropriate learning outcomes and class content
 create suitable exercises and activities
 utilize a range of teaching styles to meet students’ learning needs
 mark and teach activities clearly to peers
 observe students effectively and diagnose and prioritize feedback
 give and facilitate effective feedback
 foster students’ ability to recognise intrinsic feedback
 establish a positive class environment
 Self-reflect upon and discuss effectiveness of teaching with peers and Course Tutors,
using sections of Class Observation and Evaluation form to focus on particular aspects of
teaching practice
 Observe and discuss key points learned from experienced teachers
 Observe video footage of own teaching taken during teaching practice
 Identify strengths and challenges and set goals for further development
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Tips for Giving and Receiving Peer Feedback on Teaching Practice
It has been proven by many researchers that learning through interaction with peers is a very
effective way to learn. As an ancient Chinese proverb states: “Tell me and I will forget, show me
and I will remember, involve me and I will understand” (Confucius 500 B.C, but also attributed
to the Greek philosopher, Aristotle, by some sources). The Learning Pyramid (see Learning
Styles) also indicates the value of teaching a peer for retention of information.
To maximize learning, there will often be teaching practice activities undertaken in partners or
small groups to practice certain teaching strategies, observe each other and offer suitable
feedback. This process fosters a co-operative and supportive team atmosphere within the class
group. In order for you to gain the most from this process, it is helpful to bear in mind a few
pointers regarding giving and receiving feedback with classmates.
When giving peer feedback:
1. Remember you are there to help each other
2. When observing a peer, look for the aspects of their teaching that they are doing well
first, then look for aspects that they can continue to work on
3. When giving feedback to a peer, point out the aspects that they were doing well first,
then explain how you think they could improve aspects they seem to be finding
challenging
4. Use positive language that focuses on what the person DOES need to do, rather that
negative language focussing on what may not be quite correct in your view
5. Make very positive comments as they improve their teaching following your feedback
6. Remember it is your turn to have feedback from this person next, so ‘do as you would be
done by’!
When receiving peer feedback:
1. Remember that you are there to help each other!
2. Consider “What did we do well?” then “What can we do better?”
3. Take the feedback in the spirit in which it is offered – to try to help you improve
4. Ask questions if you do not quite understand what is being suggested
5. Thank the person offering feedback for their contribution, even if you are not quite in
agreement with the comments made
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Tips for Self-reflection and Evaluation of Teaching Practice
1. Be aware of your positive areas of strength, as well as areas for improvement
2. Remember to be your own most supportive friend rather than your worst critic!
3. Develop effective observation and analysis skills – use extrinsic feedback (eg use of tutor
or peer feedback or video to check how you are teaching) as well as intrinsic feedback (eg
how you felt when teaching)
4. Develop your skills in identifying what aspects of you teaching could be improved
5. Develop the ability to prioritize self-feedback – what are the most important aspects of
your teaching to improve
6. Always use positive language in your ‘self-talk’
7. Develop your vocabulary and imagery ideas to help you explain to yourself how to
improve
8. Work on applying the feedback points you have become aware of to your teaching at
every opportunity
9. Reflect on your teaching after each class and note in your Learning Journal a few
questions or special points to consider for the next teaching opportunity, for example, as
suggested by Moyle (2008, QUT Lecture Notes):
 What worked well today?
 What can I choose to do differently to improve my teaching next class?
 What was one great thing that I did when teaching today that I can continue to do?
10. Re-evaluate yourself regularly. Take pride and pleasure in your progress!
11. Remember that you have the choice as to how you are ‘talking’ to yourself and as to
whether you take responsibility for your own learning and improvement in teaching
skills
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Dance Curricula and Syllabi
1.
New Zealand Ministry of Education Dance Curriculum Overview
 Key Competencies – capabilities for living and lifelong learning
 Thinking
 Using language, symbols and text
 Managing self
 Relating to others
 Participating and contributing
 4 Strands of Learning in the Arts (Dance, Drama, Music - Sound Arts, Visual Arts)
 Understanding the Arts in Context
 Developing Practical Knowledge
 Developing Ideas
 Communicating and Interpreting
 Elements of Dance, Devices, Planning for Composition
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2.
Private Studio Teaching and NZAMD Contemporary Syllabus
Contemporary Dance has been commonly taught in private dance studios in New Zealand for
several years, partially due to the establishment of the New Zealand Association of Modern
Dance Contemporary Dance Syllabus created in 2002 by well-respected New Zealand dancer,
teacher and choreographer, Ann Dewey.
Open Contemporary classes have long been a feature of private studio holiday programmes and
increasingly appear within studios’ standard weekly timetables. Private studios are also
increasingly presenting Contemporary works choreographed by professional Contemporary
Dance practitioners in their annual productions and in community and Arts events such as
Tempo.
The NZAMD Contemporary Syllabus provides a clearly structured progressive pathway from
beginner level for young students through to pre-professional level:









Introductory – recommended for age 9-10 years
Preparatory
Level 1
Level 2
Level 3
Level 4 – students must pass this examination before being able to take subsequent level
exams
Level 5
Level 6
Solo Performance Diploma
Teachers need to become members of NZAMD in order to access learning the syllabus. Courses
for teachers are held regularly and there are comprehensive syllabus notes with accompanying
DVD and music CD for each level.
Further information regarding the NZAMD Contemporary Dance Syllabus can be found at
www.nzamd.co.nz
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3.
Integrated Dance
DANZ. (2012). Dance and People with Disabilities – DANZ statement of position. Retrieved
from http://www.danz.org.nz/dance_disability.php February 20 2012
Dance and People with Disabilities – DANZ statement of position
Dance belongs to and is an expression for everybody. It knows no boundaries. A person dances
in their mind, in their little finger, or in the whole of their body. They dance their joy, their
frustration, their individual or social message. Dance is a universal movement form, across all
cultures on this planet. Dance is ancient - humans began to dance before or at the same time as
they began to speak. Dance is a powerful medium for expression.
But dance differs in how it manifests itself in each culture today. Unfortunately in modern
western culture much recreation activity reflects the organisation of our society. It is fragmented
and can be quite graded and hierarchical rather than holistic and inclusive. For example, we
work in one place with one set of people and we spend our leisure or recreation time in other
places with other groups of people. This pattern of life and recreation makes it difficult for those
who are marginalised - access to transport, flexibility with time and basic self confidence are
often needed to take part in recreation. Despite these challenges, expression through dance is
powerful and effective. It works at all levels - spiritual, physical, social, emotional, creative. Such
is the capacity of the human being when dancing.
In New Zealand people have worked in dance and creative movement with disabled people for
many years. Most of this work has been quiet and voluntary community work, which belies the
challenge, skill and satisfaction of working in this sector of dance. However, such projects have
had considerable developmental and liberating effects on the participants, such as building
confidence, skill, strength and new ways of expression (individual or collective), particularly
through creative dance.
The role of dance has specific and powerful relation to the everyday lives of people with
disabilities. It works on many levels and provides creative expression, fun, motivation, learning,
community, challenge, wellbeing, involvement, achievement, a sense of pride and beauty. But
there are challenges to meet before opportunities can develop.
Access for this sector is a complicated issue. It is not simply that classes need to be organised.
Issues to explore are:






Appropriate venues - size, surface, venue accessibility, music and other resources, location
and availability
That this choice of creative expression is recognised and supported by the varied bodies that
support the disability sector
Training and support for dance practitioners working in the field and the establishment of a
network
Recognised rates of pay for community dance facilitators
A sustainable career in this sector of dance work
Participant access to venue, transport, cost, choice, flexibility in support services - so they
can attend and there is project sustainability.
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As we look to future development we need to ensure that dance facilitators/tutors will be
emerging from the disability sector as well as the able-bodied dance sector.
New Zealand dance companies and projects that currently work in this field of expression, such
as Touch Compass and Jolt, are precious and need to be adequately supported as role models
and repositories of skill and example. We need to see them perform and provide workshops
across New Zealand. It will require quite complex partnership work and education to solve
these problems.
DANZ welcomes initiatives and partnerships within dance and the wider community that
support the development of physical and creative expression for disabled people.
See also: New Zealand Disability and Dance Strategy "Would You Like This Dance?"
http://www.danz.org.nz/Downloads/NZDDS_Colour_version.pdf
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Touch Compass Dance Trust
Information retrieved from http://www.touchcompass.org.nz/Home.aspx 20 February 2012
Mission
Touch Compass is a charitable trust producing professional and community integrated dance
performances and programmes for people of all ages and abilities.
Objectives:






Raise society's awareness and understanding of integrated dance
Present cutting-edge performances that are enjoyable, challenging and memorable
Provide educational and training integrated dance programmes, workshops and classes
Enable dancers to discover their own creativity and expression
Offer professional development training for teachers in integrated dance
Advocate for new integrated dance opportunities
Governance
Touch Compass is managed by a Board of Trustees. The Trustees have a wide range of skills
and experience, from dance and performing arts, to business, marketing and communications.
The Board meet regularly to ensure the Trust strives to achieve it's mission and goals in the best
way possible. The Board is assisted by business and legal advisors, and employs an General
Manager and Artistic Director.
Background
Catherine Chappell, founder of Touch Compass, was invited to choreograph for the Healing Through Arts
Trust run by Drama Therapist Maxine Axford in 1995 this was her first experience of working with people
with disabilities. It was at this encounter that she met founding member and dancer extraordinaire Jesse
Johnstone-Steele. In 1995 Catherine Chappell returned from studying Contact Improvisation in America
and took a DanceAbility introductory class by Alito Alessi. Excited by these possibilities she then went on
to do an ‘All Wheels’ workshop in New York, where all participants were either in a wheelchair or on
rollerblades. As Catherine hadn't rollerbladed before she felt rather awkward but totally engaged in the
process.
She returned to NZ all fired up, bought a pair of rollerblades and began teaching mixed ability classes.
Initially it was difficult to engage people in the idea, and Catherine offered lecture demonstrations to
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disability organisations to inform them about the work. From these sessions she gathered enough people
to start regular classes.
These classes grew, and after a year Catherine went back to America to do the first International
DanceAbility Teachers Training for three weeks in Eugene, Oregon run by Alito Alessi. With more
grounding in the work, she was able to develop her own methods and formed a group to present the first
Touch Compass season in 1997. Touch Compass was set up as a Charitable Trust in 1999 with a Board
of Trustees providing a structure for the organisation. The Company presents one major season or tour a
year depending on funding, and ongoing classes and workshops whenever possible.
From the first performance in 1997 Touch Compass has continued to develop the ‘aerial work’ which
sees wheelchairs and dancers suspended and swinging above the stage. The work that has resulted has
earned Touch Compass the reputation of a pioneering and ingenious contemporary dance company.
The Trust celebrated its 10th anniversary in 2007 with a
four centre North Island tour and published an historical book outlining the Company’s achievements
over the past decade. Touch Compass has performed eight choreographic seasons touring nationally
and featured in numerous television documentaries.
More information about the history of the Company can be found in the 10th anniversary book Touch
Compass – Celebrating Integrated Dance. Available from: http://www.touchcompass.org.nz/Book.aspx
Teacher Manuals are available for purchase from:
http://www.touchcompass.org.nz/Manuals.aspx
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Touch Compass - ENCOMPASS integrated dance programme runs youth projects,
community classes, workshops and training events for all abilities.
Encompass Objectives
Provide educational dance programmes, workshops and classes, building the skills necessary for
sustainable employment
Advocate for new integrated dance opportunities
Offer professional development training for teachers of integrated and mainstream dance, leading to
sustainable employment
Raise society's awareness and understanding of integrated dance
Present stage performances that are enjoyable, challenging and memorable
Enable performers to discover their own creativity and expression, self-confidence and to develop social
and professional networks
Community Workshops usually run from 1.5 to 2hrs and are run by trained Touch Compass tutors.
People attending our community workshops range in age from 4yrs old to seniors! Usually around half of
the participants have a disability.
School Workshops are available by arrangement. Workshops are best suited to schools with a Special
Education Unit, or Special Education schools. Touch Compass workshops provide a fantastic opportunity
for students from mainstream classes to interact with students from special education classes. School
workshops series may finish in a public performance within the school.
Teachers' Packs - Schools attending matinee performances are provided with a comprehensive
teachers' pack that is sent out to schools prior to the performance.
Teacher Training can be arranged upon request and tailored to suit your needs. Whether you are a
private dance teacher, school dance teacher, or just want to learn some contact improvisation or
integrated dance teaching techniques, Touch Compass can provide the training you require.
Company class is by invitation only. To participate or watch please make enquiries to
info@touchcompass.org.nz
Encompass Youth – In October 2010 a youth performance was premiered as part of Tempo's Teen
Show. The performance Embedded won best teen performance.
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Planning for Effective Teaching Introduction
Aims
1.
2.
To prepare beginning teachers for practical teaching situations
To enable trainee teachers to demonstrate sound knowledge and thorough understanding
of key elements of effective class planning, management and delivery
Introduction
This component relates closely to previous sections on Observation Skills and Professional
Practice protocols. Learning Styles and the vital processes of short, medium and long term
planning (Activity, Class, Term and Year planning) are studied..
Schlaich and DuPont highlight certain key elements of dance class planning as follows:
The technique class should be structured so it moves from warm-ups to increasingly
more difficult and strenuous kinds of exercises, never pushing the student to do
something until the body is ready. There needs to be a reasonable balance between
warm-ups, exercises to develop strength, flexibility, and endurance, and the movement
phrases that deal with articulation and intention of movement.
Schlaich & DuPont, 1993, p.12
These authors go on to explain that:
A dance class should be organized and have some specific focus. It should be clear from
the beginning of the class to the end why certain things are done and where the class is
headed. There should be some physical reason for whatever occurs whether it concerns
dynamics or space or time. There should be a reason for doine any particular movement.
Schlaich & DuPont, 1993, p.16
In addition to guiding trainee teachers through the major principles of planning, this component
covers Safe Dance Practice, Communication and practical class management strategies, to
develop a basic format for conducting a class. This provides a basis from which trainee teachers
can develop their individual teaching methods.
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Delivery Modes
A combination of:
 Lectures
 Group discussions
 Partner and group practical activities
 Student research of further teaching-related material and sharing of information obtained
 Student research of musical resources
 Planning Sessions – discuss and prepare relevant Class Plans, relating to Assist Teaching
placement
 Preparation of suitable teaching resources
 Vocal Exercises
 Viewing of relevant videos and DVDs and discussion of teaching shown
 Planning methods discussed and followed through in Class Observation Discussions,
Teaching Practice and Assist Teaching
 Discussion of Basic Format for Conducting a Dance Class
 Informal Assessment – self-evaluation, peer and tutor feedback
 Formal Assessment – end of Course
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Planning for Effective Teaching 1. Learning Styles
The Learning Pyramid
As stated in the Learning Pyramid from the National Training Laboratories (2008), located in
Bethel, Maine in the USA, (see diagram below) students retain information at a much higher
rate (90%) by teaching each other to immediately use learning, than by any other learning
method alone. Even students “practising by doing” rates at only 75% retention and students
retain information least from a lecture only (5%). (National Training Laboratories Website,
Learning Pyramid, slide 23, 2008). This is why successful teaching often involves a significant
amount of partner and small group work activities, in order to maximize students’
opportunities for learning.
National Training
Laboratories Website,
Learning
http://lowery.tamu.edu/TEaming/Morgan1/sld023.htm
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Pyramid,
slide
23,
2008
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1.2 Learning Styles
1)
Children and adults learn in different ways. Some learn from watching, others from
listening, others from feeling a movement or being placed in the right position, some
from seeing pictures or diagrams and many use a combination of methods to assimilate
new movement patterns. To cater for all these you need to be aware of using all methods
within your teaching style. A whiteboard can be a useful tool for discussing the ‘shape’,
rhythmic accent or dynamics of a movement as well as the usual tools like mirrors etc.
2)
Examples of learning styles –




Visual – learns by looking/observing/visual demonstration
Auditory – learns by hearing/verbal explanations
Reading – learns by reading words
Kinesthetic/Tactile – learns by feeling or touch/needs to feel body position
These styles are explained by Bonwell and Fleming in their work entitled “VARK a guide
to learning styles” (Bonwell & Fleming, 2001-2007). Explanatory material is available on
their very interesting website www.vark-learn.com and there is a questionnaire on the
website which students can complete with parental supervision to identify which style or
combination of styles is their most comfortable learning style.
There is also the theory developed by Howard Gardner of there being a number of ways
in which people can be considered intelligent, published in his book Frames of Mind: The
Theory of Multiple Intelligences (Gardner, 1983).. This is explained in terms of “Multiple
Intelligences”
by
Gardner
&
Hatch
(1989:5)
on
the
website
http://www.infed.org/thinkers/gardner.htm.
These include Linguistic, Logicalmathematical, Musical, Spatial, Bodily-Kinaesthetic, Interpersonal and Intrapersonal
‘intelligences’.
3)
Proprioception
As students become more experienced they become more proprioceptive and use intrinsic
feedback – developing an internal awareness of body positions and sensations. Younger
and less experienced students tend to rely more upon extrinsic feedback – ie teacher
support.
4) Designing Preparatory Exercises/Activities
 Whenever teaching a new movement or step, find which parts of the movement
or step that the student already knows. Work separately on the section which is
new, then incorporate or develop the parts already known.

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Work on one aspect of a movement and get this right before moving on to the
next aspect. Gradually build up to a movement, adding its various components
over time. This method of progression is known as ‘layering’ or ‘scaffolding’.
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1.3 Multiple Intelligences
LdPride.net (2008), Learning Styles take your test. Rretrieved from:
http://www.ldpride.net/learningstyles.MI.htm February 6 2012
What is Multiple Intelligence?
Conceived by Howard Gardner, Multiple Intelligences are seven different ways to demonstrate
intellectual ability.
What are the types of Multiple Intelligence?
Visual/Spatial Intelligence
ability to perceive the visual. These learners tend to think in pictures and need to create vivid
mental images to retain information. They enjoy looking at maps, charts, pictures, videos, and
movies.
Their skills include:
puzzle building, reading, writing, understanding charts and graphs, a good sense of direction,
sketching, painting, creating visual metaphors and analogies (perhaps through the visual arts),
manipulating images, constructing, fixing, designing practical objects, interpreting visual images.
Possible career interests: navigators, sculptors, visual artists, inventors, architects, interior
designers, mechanics, engineers
Verbal/Linguistic Intelligence
ability to use words and language. These learners have highly developed auditory skills and are
generally elegant speakers. They think in words rather than pictures.
Their skills include:
listening, speaking, writing, story telling, explaining, teaching, using humor, understanding the
syntax and meaning of words, remembering information, convincing someone of their point of
view, analyzing language usage.
Possible career interests: Poet, journalist, writer, teacher, lawyer, politician, translator
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Logical/Mathematical Intelligence
ability to use reason, logic and numbers. These learners think conceptually in logical and
numerical patterns making connections between pieces of information. Always curious about the
world around them, these learner ask lots of questions and like to do experiments.
Their skills include:
problem solving, classifying and categorizing information, working with abstract concepts to
figure out the relationship of each to the other, handling long chains of reason to make local
progressions, doing controlled experiments, questioning and wondering about natural events,
performing complex mathematical calculations, working with geometric shapes
Possible career paths: Scientists, engineers, computer programmers, researchers, accountants,
mathematicians
Bodily/Kinesthetic Intelligence
ability to control body movements and handle objects skillfully.These learners express
themselves through movement. They have a good sense of balance and eye-hand coordination. (e.g. ball play, balancing beams). Through interacting with the space around them,
they are able to remember and process information.
Their skills include:
dancing, physical co-ordination, sports, hands on experimentation, using body language, crafts,
acting, miming, using their hands to create or build, expressing emotions through the body
Possible career paths: Athletes, physical education teachers, dancers, actors, firefighters,
artisans
Musical/Rhythmic Intelligence
ability to produce and appreciate music. These musically inclined learners think in sounds,
rhythms and patterns. They immediately respond to music either appreciating or criticizing what
they hear. Many of these learners are extremely sensitive to environmental sounds (e.g.
crickets, bells, dripping taps).
Their skills include:
singing, whistling, playing musical instruments, recognizing tonal patterns, composing music,
remembering melodies, understanding the structure and rhythm of music
Possible career paths: musician, disc jockey, singer, composer
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Interpersonal Intelligence
ability to relate and understand others. These learners try to see things from other people's point
of view in order to understand how they think and feel. They often have an uncanny ability to
sense feelings, intentions and motivations. They are great organizers, although they sometimes
resort to manipulation. Generally they try to maintain peace in group settings and encourage cooperation.They use both verbal (e.g. speaking) and non-verbal language (e.g. eye contact, body
language) to open communication channels with others.
Their skills include:
seeing things from other perspectives (dual-perspective), listening, using empathy,
understanding other people's moods and feelings, counseling, co-operating with groups, noticing
people's moods, motivations and intentions, communicating both verbally and non-verbally,
building trust, peaceful conflict resolution, establishing positive relations with other people.
Possible Career Paths: Counselor, salesperson, politician, business person
Intrapersonal Intelligence
ability to self-reflect and be aware of one's inner state of being. These learners try to understand
their inner feelings, dreams, relationships with others, and strengths and weaknesses.
Their Skills include:
Recognizing their own strengths and weaknesses, reflecting and analyzing themselves,
awareness of their inner feelings, desires and dreams, evaluating their thinking patterns,
reasoning with themselves, understanding their role in relationship to others
Possible Career Paths: Researchers, theorists, philosophers
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1.4 Introduction to Performance Psychology
Moyle, G. (2008). Psychology for Performance and Training. Queensland University of
Technology Dance Studies 2 Intensive Summer Programme Lectures
Our thoughts control our feelings which in turn control our behaviour. To be able to perform
at our best in a challenging situation, such as an examination, assessment or performance, we
need to ensure our thoughts are helpful to us, rather than hindering us in achieving to our best
level.
1. Framing
As explained by Moyle (2008, Lecture 2, p.1), a ‘frame’ is:
 What you think about or what impression you have gained from an experience
 How you feel about this
 What this feeling makes you do
When we have a new experience, our thoughts, feelings and the behaviour these prompt create
a ‘frame’ in our mind of that particular experience and we store this information in our brain
like storing a CD in a CD stacker. Whenever we encounter a similar experience in the future,
we refer back to that experience, as our brain retrieves the ‘CD’ that suggests to us that we
should react to the experience in the same way as we did in the past. This is why habits are so
hard to break and why first impressions are so important! So, there are ‘helpful frames’ and
‘hindering frames’ and it is your choice as to which you continue to hold on to! (Moyle, 2008 –
Lecture Notes)
Pre-framing
We may have a ‘pre-frame’ or a ‘pre-conceived idea’ of someone or of an experience, based on
what other people may have told us about that person or about that experience. For example
‘she’s a really tough teacher’ immediately sets up an image or ’pre-frame’ in our brain and this
can significantly influence how we respond to meeting this teacher.
Re-framing
You can, however, choose to take a positive or negative approach to perceiving and responding
to situations. Whichever you choose will have a marked effect on your mental state and ability
to learn. You can choose to respond to a familiar negative situation in a positive way, so that
you can change or ‘re-frame’ that experience in your ‘CD stacker’ – rather like re-writing a CD!
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2. GIGO– Good In, Garbage Out concept - the power of ‘self-talk’ (internal feedback) and
external feedback (Moyle, 2008 – Lecture Notes)
Positive and helpful self-talk and encouraging language is very important to boost your
confidence - apply these positives to yourself, just as you would to a friend you were offering
feedback to.
Linking in with the ‘framing’ explained above, if you constantly tell yourself something
negative, your brain will create a ‘frame’ for this and so you will always tell yourself this
negative thought. For example: “I can’t do pirouettes” – well, guess what, your brain will form
a ‘frame’ so that whenever pirouettes come up it immediately brings up this old ‘CD’ from your
‘CD stacker’ that tells you exactly that! With that ‘frame of mind’ it is not going to be easy to be
successful at pirouettes!
3. The 4 Stages of Learning (Moyle, 2008 – Lecture Notes)
There are four Stages of Learning that we go through when learning a new skill. For example,
with a dance skill:
1. I am not aware that I need to improve this movement (unconsciously incompetent)
2. I know I need to improve this movement and am working on it (consciously
incompetent)
3. I am aware that I can do this movement correctly if I really think about it (consciously
competent)
4. I am able to do the movement well without having to think every part of it
(unconsciously competent)
It takes effort to move from one stage to the next, particularly from stages 2 to 3 and 3 to 4 – you
have to be prepared to put in the practice that will enable you to move from knowing what to
do needing lots of practice to improve it, to being able to do the movement correctly as long as
you think really hard whilst doing it and finally to be able to do the movement correctly with
minimal ‘mental instruction’ to your body. This is what we term practising something so much
that it ‘becomes automatic’. The more practice you can do to help your body and brain
‘automatically’ do movements correctly and follow positive thought patterns, the more easily
you will handle the challenge of the performance, examination or assessment.
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4. Stress Management - strategies for managing performance stress
Performance Enhancement - Focus on the Process (Moyle, 2008 – Lecture Notes)
Keep thinking about what you are actually doing rather than worrying yourself about
what might or has gone wrong.
You can't panic and think clearly at the same time and good dancing requires clear
thinking!
Moyle (2008 - Lecture Notes) also suggests the idea of using a cue word or image to help
calm yourself down if you feel yourself getting stressed – eg ‘joy’ or ‘sunlight on the sea’.
Maybe have a sticky label on your drink bottle saying ‘fun’ or ‘enjoyment’. The idea is that
this acts as a reminder of a bigger concept of feeling. For example, the word ‘Fosse’ might
mean to you ‘feel as positive as I felt dancing in the Fosse number in our show’. (Moyle,
2008 – Lecture Notes)

Internal and External Locus of Control (Rotter, 1966) – ‘control the controlables’
(Moyle, 2008 Lecture 2 & Lecture Notes)
These terms apply to where you choose to ‘locate’ control of yourself and which you choose
to allow influences all your ‘frames’, as explained above, and affects your level of selfesteem. If you have an ‘External Locus of Control’, this means that you allow external
factors to ‘control’ how you perceive, respond and react to circumstances or you choose to
allow external factors to affect you. If you have an ‘Internal Locus of Control’, this means
that you yourself control how you perceive, respond and react to circumstance and you
choose if and how you allow external factors to affect you. As explained on the PubMed
website:
Rotter (1966) proposes that the degree to which people believe their lives are
under their own control is an important variable of personality which varies
from person to person. People with an internal orientation believe they have
control over what happens to them, whereas people with an external
orientation attribute what happens to them to fate, luck, chance or powerful
others.
PubMed – indexed for Medline, 1999
Based on concepts explained by Moyle (2008, Lecture 2, p. 4 & 2007, p. 56), for example, if it
starts raining and you get soaked on the walk to the studio:
The person with externally locussed self-esteem says “It’s all the weather’s fault that I got
wet”. The person with internally locussed self-esteem says “I should remember to keep my
jacket and umbrella in my bag in future”
Or if you receive extensive feedback concerning areas to be improved from a performance
rehearsal or mock examination:
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The person with externally locussed self-esteem says “There is so much wrong with my
dancing”. The person with internally locussed self-esteem says “That’s great the teacher has
been so helpful, now I can really target these aspects when I am practising”.
The circumstances in each instance are identical, but one type of person chooses to blame
external factors or take a negative viewpoint (‘the glass is half empty’) and the other takes a
positive approach, takes responsibility for what happened and actually learns from the
experience for the future. As Moyle (2007, p.56) explains, we can be influenced by certain
external factors, however, we have the choice as to whether we let these influences affect us
and if so, how we allow them to affect us.
There are only four things that you can control: (Moyle, 2008 – Lecture Notes)
 Your thoughts
 Your feelings
 Your words
 Your actions
You can also influence a number of things, such as other people, but you can only control the
list above. Similarly, other people and circumstances can possibly influence you if you
choose to allow them to do so, but they can’t control you.
Contingency Plans – Error Recovery
If in the performance, examination or assessment, despite your best efforts, you know a
dance or sequence has not gone well, don't dwell on it. You are only human and therefore
not perfect!
There is no-one on the planet who has done a totally perfect
performance/exam/assessment!! There are bound to be times when things don't quite
come off as you had hoped (e.g. pirouettes!). Don't come down hard on yourself as this
will stop you concentrating on the next sequence and you might drop your standard there
too. Try to accept the problem "OK, that wasn't too good, but what's next, I'll think that
much harder about this one". Put your energy into performing whatever comes next to
your best level rather than still being annoyed with yourself about a previous
unsatisfactory sequence. You can't allow one problem to upset you for the rest of the
performance or exam!
Moyle (Moyle, 2008 – Lecture Notes), suggests the ideas of mentally ‘parking the car in the
garage and closing the door’ or ‘flushing the mistake down the toilet’! These are just a
couple of images to help you take a fresh approach to the next exercise and avoid taking
the mistakes from a previous exercise forward with you into the next exercise.
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
Breathing strategy (Moyle, 2008 – Lecture Notes)
Breathing management can really help at this point. Moyle (2008 - Lecture Notes) suggests an
effective breathing process to calm the mind. This strategy is useful for students to use before
and during performances or examinations and assessments to help maintain a calm mental state
by distracting the student from whatever is causing them stress, as well as being of value to reestablish a steady breathing pace:
 Breathe in for 5 counts through the nose
 Hold the breath for 5 counts
 Breathe out for 5 counts through the nose (not fully forced, pause the
out breath before fully exhaled)
 Hold the out-breath for 5 counts
Repeat 3 times in order to avoid relaxing too much when in a
performance situation where a certain level of ‘arousal’ is necessary for
peak performance. (Moyle, 2008, QUT Psychology of Performance
Lecture Notes)

Awareness of personal emotional triggers (Moyle, 2008 – Lecture Notes)
Stress is a necessary survival instinct for us – we react to the stress of danger in order to
protect ourselves. We have three stress responses:
1. Fight
2. Flight
3. Freeze
Each of these was designed to keep us alive in cave man days – either fight the sabretoothed tiger, run away from it, or freeze in a hidden place so it won’t see you! Nowadays
we don’t often fight sabre-toothed tigers, but our stress response options remain the same
three as above!
You can consider ‘stress’ rather like a thermometer. Gauge how you feel as though via a
series of markers on the thermometer – how ‘heated’ or ‘cool’ are you at any given time and
if you feel yourself ‘getting hotter’, what strategies could you employ to help you calm
yourself back to ‘cool’ again? Perhaps:
 the breathing strategy outlined above
 using key words as suggested above
 focussing on the process of what you are doing
 focussing on all the good things that have been happening
 use of imagery, visualization and sensory awareness – to be covered in Week 9
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
State of Flow – ‘Zone of Optimum Functioning’ (Moyle, 2008, Lecture 1, p.1)
As Hamilton (1998, p.142) explains, all dancers need a certain level of ‘physiological arousal’
to be able to perform at their peak. This means being sufficiently ‘up’ and excited, read to
perform. However, balancing this ‘arousal’ is important to avoid becoming over-excited or
anxious about the performance. A number of factors influence your ability to create this
balance:
 Whether you are naturally a ‘low anxiety trait’ or ‘high anxiety trait’ personality
 How you respond to testing situations, such as performances or examinations - whether
you have ‘high’ or ‘low’ levels of ‘state anxiety’
 Your state of health
 The level of conditioning of your body
 Whether you have any injuries
 Your balance of nutrition
 Your rest and recovery time allocation
 Whether you are feeling happy or sad generally
Relaxation and breathing techniques can help you to remain calm and a really simple thing to
do to help you relax is to think of a
lovely thought and smile! Hamilton (1989) states:
It is hard to hold onto negative thoughts and feelings when your body is
expressing positive ones. Hold the smile for sixty seconds and feel your
tension dissipate.
Hamilton, 1989, p. 145
Of course you will want the smile to be a natural reaction to your happy thought, not just a grin
painted on your face!
Sometimes you may experience the feeling of everything ‘coming together’ and of performing
really well, calmly and at ease, yet with energy. This special feeling is known as a ‘state of flow’.
Keep practising the elements of performance enhancement covered in these notes and you are
likely to experience this feeling much more often!
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Planning for Effective Teaching 2. Preparation and Planning
2.1 Reasons for, Value of and Methods of Planning
See Planning Activities in Workbook
a. Why plan?
 Identify and meet student needs
 Set and work to achieve learning outcomes for each class and each exercise/phrase
of class content
 Ensure logical progressions and continuity of material between classes and
towards longer term goals
 Ensure material coverage and meeting of deadlines/preparation for events
 Raises awareness of teaching methods and teaching manner
 Enhances clarity of delivery of material and feedback
 Maintains interest and variety to keep students attentive
 Ensures relevant teaching resources are available
 Reduces stress during the term
 Enhances teacher confidence and professionalism, to foster respect from students
 Saves time during class if teacher is well prepared
b. What can be planned?
 Structure and effective order of exercises/activities/phrases within the class
 Specific objectives, class intention and learning outcomes
 Continuity, Progression and Differentiation
 Appropriate warm-up and cool-down elements
 Teaching resources can be considered and obtained to support student learning
 Music or percussion accompaniment
 Ethos and atmosphere wish to create within school
 Programme to reflect this vision and interest and challenge students
 Dance material for achievement of Short, Medium and Long Term goals
 Annual and regular events as highlights and goals
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c.
How can we plan?

Formal (written) or informal (mental)?

Student Needs Analysis

Teacher Professional Development

Goals and Objectives

Teaching Resources

Systems to facilitate and implement effective planning

Systems for self-evaluation

Systems for student and parent feedback

Identification of appropriate learning outcomes for age and environment of
class

Retrospective planning – setting milestones and timelines to reach goals and
objectives

Relating all class plans to each other effectively

Keep systematic records, so the teacher can re-use class plans again as a base for
future classes

Pace classes by planning structured allocation of time to each section of the class

Monitor student progress

Post-class teacher self-evaluation of effectiveness of teaching and progress of
students

Overview the previous year’s teaching in order to inform the plan for the next
year
d. When could we plan?
 Self-evaluation after each class to inform the next – take some time at the end of
each teaching period or set aside specific time early the next day. Use specific
template to foster consideration of student response and progress and overall
class as well as individual components
 When things are fresh in your mind and when you feel you can be fully focused
 Well in advance – ie in plenty of time, rather than at the last minute!
 Plan well before the start of each term
 Review the end of each term to inform the next term
 Long term planning - review the year’s work at the end of previous year to
inform the following year’s planning
 Plan well before the start of the new year
e.
Where could we plan?
 At studio before/after classes
 At home before/after classes
 Staff meetings
 Where you have no distractions
f.
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With whom could we plan?
 Colleagues in liaison with supervising teacher
 Staff evaluation discussions
 Mentor discussions – ask your own teaching mentors for advice and guidance
 Establish protocols for obtaining student and parent feedback
 Student feedback can help inform planning
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2.2. Pre-Planning
See Planning Activities in Workbook
a. Student Needs Analysis - Group and Individual

General Developmental Needs and Considerations
 Physical – age and stage, physical structure, strength, flexibility, co-ordination,
health etc
 Intellectual/cognitive – understanding and assimilation, skills in organization,
analysis, observation, listening, evaluation, retention of information.
 Emotional – age and stage, self-esteem, self-image, self-confidence, emotional
well-being
 Social – relating to peers and teachers, team involvement, forming friendships,
teacher as mentor and guide
 Cultural information – cultural factors, education (for younger students, socioeconomic factors, family structure and environment, family support of student
and their interest in dance are also factors to consider)
 Consider the language you will use when teaching – plan language students
will understand
 Plan for relating theory to practical activities to enhance student understanding
and retention of information

Dance-specific Developmental Needs and Considerations
 Technical – laying the foundations
 Key movement concepts
 Musical
 Artistic
 Social – related specifically to dance class environment
 Learning Outcomes affecting student group and individuals
b. Teacher Needs Analysis

Teacher Professional Development

Discussion of options for continuing professional development with Director

Personal research

Mentoring

Further training/study

Teaching and Learning Journal for teacher for recording of self, peer, student,
Mentor and external guest tutor evaluations

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Aims and Objectives
 Professional and personal goals, considering work/life balance
 Key objectives for achievement over the year
 Major events dates
 Goal Setting and Progress Monitoring system
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
Teaching Resources

Pianist/percussionist – suitability of teacher’s music choices and
pianist/percussionist performance

CD player/iPod dock – standard of equipment and necessary connection
cables

CDs/iPod - range and suitability of music choices

Pictures used to illustrate teaching points, eg: Dancers, Costumes, Set

Books/programmes/posters used to inspire and interest students

DVDs/ Videos to view for execution of certain elements and/or general
interest/education

Props – variety of age-appropriate props and teaching aids

Percussion instruments

Student input – bring own relevant items

Supplementary information for students to support learning – eg hand-outs

Information posters on key elements of dance – eg Safe stretching, Warm-up
and Cool-down routines

Video Analysis - teacher films students, then shows video and facilitates
discussion and constructive evaluation of performance or classwork

Dance File/Journal – a feedback recording system for students

Systems to facilitate and implement effective planning

Learning outcomes required established for each class

Skills required to achieve learning outcomes identified

Planning templates for activity/exercise/phrase to work towards
achievement of learning outcomes

Class plan template – continuity, progression, inclusion and differentiation

Post-class self-reflection process

Lesson record monitoring system – ie what is covered each class

Reporting protocols

Communication with teaching colleagues

Time management considerations

Medium and long term planning systems
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3. Exercise/Activity/Phrase Planning
For ease of writing, these are referred to below as ‘Activities’
3.1 Purpose and value of activity to Learning Outcomes
1) Having definite Learning Outcomes designed to achieve the objectives of an exercise or
activity enables you to structure your material to offer maximum benefit to students.
Clear and consistent Learning Outcomes also allows the whole class to flow well, with a
useful progression from exercises through to movement phrases
2) Have a clear purpose in your mind for each activity and what it is you wish to achieve
from the activity. When noting your planned teaching points and class organization
notes for each class, consider the following:
 What is your purpose/focus/goal in doing this activity in this particular setting? Is this
activity setting a logical method by which to achieve that goal?
 What is it you wish the students to achieve from this activity? Ie what are the Learning
Outcomes for this activity?
 What skills will the students need to develop to achieve the Learning Outcomes for this
activity?
 How does this activity contribute to the achievement of your Planned Class Learning
outcomes? How does this activity build towards movements/activities to be covered
later in the class?
 What are the main points you wish to make/see regarding:
safe dance practice
key movement concepts to be emphasized, relating to Learning Outcomes
technical aspects particularly related to that movement or sequence of movements
musical and movement dynamic aspects integrated with artistic quality
how these teaching points relate to your Planned Class Learning Outcomes
any particular teaching styles which would enhance student learning for that
exercise
note any particular teaching resources you intend to utilize
note the amount of time you intend to spend on each activity and each section of
the class
3.2 Content and structure suitable for level of class
1) Ensure the content of the activity is suitable for the level of the class. The activity should
be simple enough to be easily learned and remembered so you can spend time on giving
or facilitating feedback and follow-through comments rather than going over and over a
complicated sequence. However, it should also have enough technical content to give
some degree of challenge and enough choreographic interest to hold the students’
attention.
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3.3 Adding Interest
1) Examples of simple ways of adding interest include:
 unexpected changes of weight
 unexpected changes of direction
 use of varied integrated arm movements
 particular emphasis on the dynamics of the movement and its relationship to the music
 alternative choice of music and consideration of the effect this has on the movement
 music with unusual rhythmic structure
 add your own ideas…………………………!
2) Remember your aim is to help the students learn from and enjoy your class - not to just
showcase your choreographic talent!
3) Avoid getting into habits with sequences of activities. Vary alignments, directions, levels,
planes and ways of combining movements.
4) At times, include simple movements to give students a sense of freedom of movement
and enjoyment, rather than always striving for more difficult movements.
3.4 Combination of movements
1) Ensure the combination of movements in your activity is appropriate – what goes with
what?
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3.5 Balance of Movement Content
1)
The activity needs to be ‘balanced’ in all respects:
 Weight placement must be considered, not spending too long on one leg with no
change of weight
 The activity should not be overly repetitive of any one movement, but on the other
hand, not so full of different movements that no improvement can be achieved
 The activity needs to be balanced within the class structure itself ie the
exercise/activity should be of a type to a give a good balance with the previous and
following activities
2)
Balance of movements within an activity

Moments of relaxation, change of weight, variances of dynamic qualities should all
be considered within an activity to avoid over-loading muscle groups or overtaxing energy levels and to provide light and shade and awareness of phrasing
3)
Flow of movement
 Ensure all elements in an activity flow comfortably from one movement to the next
and feel natural and co-ordinated
4)
Variety of movements within activity. Ensure activity is interesting, yet not overly
complicated

Sufficient challenge and variety for interest, but the activity should not be so
complicated or difficult that so much time is taken on setting the sequence and the
students remembering it and attempting to achieve it, that there is no time left to
actually work on the technical, musical and artistic aspects or tie the activity in
with the overall Class Learning Outcomes
5)
Relaxation elements
 Consider when and why these need to be included in an activity
6)
Patterning of movement sequence to facilitate easy picking up of activity
 Be aware of the ease of assimilation of rhythmic and movement patterns when
creating material for different age groups and environments
7)
Co-ordination and integration of whole body within activity
 Students will find activities s easier to ‘pick up’ and gain greater benefit when the
whole body can move in co-ordination in an integrated manner
8)
Element of student contribution
 Consider the value of student contribution to activity construction (eg students
decide use of arms, or create section of movement themselves)
 Fosters feeling of ‘ownership’ and increases interest in the activity
 Can be built upon in many ways towards dance composition
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9)
Consider whether structure of each activity is effective and why
 Include review of activity construction in your post- class self-evaluations
10)
Consider whether your activity and class content allow you the flexibility to change
planned activity as needed
3.6 Planning for Continuity and Progression
1)
Relating of activity to previous learning and rest of class content
 Begin teaching new movements by identifying elements which the students already
know. Revise and build on these to ‘scaffold’ or ‘layer’ learning the full movement
element by element, creating a balanced and logical progressive process
 Consider the relevance of each activity to the build-up process and its relationship to
other activities within the class content
3.7 Planning for Differentiation and Inclusion
1)
Differentiation options
 Ensure activities have easily implemented simplifications and/or extensions
available to enable you to adapt easily to suit the level, ability and prevailing mood
of the class when necessary
3.8 Physical, musical and artistic dynamics
1)
Rhythm

Consider whether the rhythm and musical style chosen is a suitable choice for each
activity. The activity should have appropriate artistic and musical quality
integrated within the movement. This should be both inherent in the structure and
content of the activity, in the music you have chosen and in the way you
demonstrate for the class.
 Consider whether your musical choices are of benefit to the effectiveness of the
activity and if so, why
2)
Dynamics

Ensure the musical and physical dynamics are compatible and are evident in the
construction and demonstration of each activity. Aim to instil an awareness,
appreciation and enjoyment of the quality, dynamics and phrasing of the music and
how this assists and emphasises the movements in the activity.
3)
Musical phrasing and artistic qualities
 Ensure these are an integral part of every activity constructed and that these aspects
are emphasized in your own exercise demonstration. Be specific in your Class Plan
notes and in delivery of the class as to exactly what type of integrated artistic and
musical expression you are looking for in the various styles of movement. Use
descriptive language and imagery to capture students’ imagination and foster
creative expression.
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3.9 Appropriate Music Choices
1)
The musical rhythm and style you choose must suit and be helpful to the exercise/phrase
ie the musical phrasing and dynamics of the music and the activity should ‘marry’.
2)
Research and select a range of musical genres and styles, in a range of moods and
qualities to enhance the learning opportunities for students
3)
Make use of purchased or home-made percussion and other instruments to add variety
and additional emphasis to class music
4)
Live accompaniment, where possible, in the form of a pianist or percussionist, can
provide additional stimulus and inspiration for students
5)
Ensure you are confident in marking and counting/verbalizing any rhythm.
6)
Take care with your written recording of exercises in your Class Plan, so that all musical
details are clear and descriptive of the rhythm and quality of music you require. Include
the highlights you wish to emphasize and relate the dynamics of the movement and
music to these. Ensure that counts and movements are clearly noted in a co-ordinated
manner so that anyone reading your notes could easily understand your intentions.
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3.10 Review of process for constructing an activity
Points to consider include:
1.
What is the purpose of this activity? What are you trying to achieve?
2.
What therefore are the Learning Outcomes for this activity and how do they relate to the
overall Class Learning Outcomes?
3.
What movement/movements are the main focal points?
4.
What levels are involved in this movement sequence and what are the movement
dynamics?
5.
Does this activity develop/lead on from the theme/focus of your class or from movements
or particular points you have worked on earlier in the class?
6.
What quality or qualities of movement does this activity need to be well performed?
7.
What musical rhythm, style and mood would most readily provide this quality? Consider
the rhythm pattern of the movements. Consider the dymanics and expression of the
movement and music together.
8.
What other ‘cluster’ of movements would flow well leading into and out of the main
movement? What preparatory movement would assist and what movement feels natural
to move into afterwards? Consider the rhythm pattern of these preparatory and following
movements.
9.
Consider the level of your class when combining movements. Include a smaller number of
movements in one activity at lower class levels.
10.
Consider preparing a basic activity which can be added to or developed, ie with directions,
levels etc.
11.
Consider how each movement flows from one to the other, including how the limbs flow
in integration with the torso and how the changes of weight work.
12.
Consider directions and use of body momentum and how these flow.
13.
Consider how the end of one side of the exercise/phrase joins up to the other side, if it is
the type of exercise/phrase that goes two sides continuously.
14.
Ensure the musical phrasing of the activity makes sense.
15.
Consider which sort of movements and rhythms work well together and note ideas for
easy reference.
16.
Add interest with varying use of directions, musical rhythms and dynamic emphasis.
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17.
Be careful to ensure that the rhythm you choose reflects the dynamics and highlights.
18.
Consider the appropriate breathing pattern for the activity. Consider whether a ‘rest’
moment is needed and provide this within the structure.
19.
Always dance your activity ‘full-out’ in the studio yourself to see how it feels. Movements
which seem flowing in your head or seem to fit well when danced in your living room,
often feel very different when danced fully in the studio!!
20.
Be creative and enjoy using your choreographic skill!!
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3.11 Strategies for guiding students in ‘picking-up’ movement sequences
1.
Be aware of the rhythm of the music and the rhythm of the movements themselves.
2.
Consider which foot your weight needs to be on to facilitate/lead into the next movement.
3.
Consider where your body momentum needs to go to lead into the next movement and to
anticipate changes of direction.
4.
Be aware of the floor pattern and the directions of movement in the sequence
5.
Look for the ‘tricky bits’ that don’t quite flow easily and work out how to move through
these sections. These ‘tricky’ sections are sometimes set on purpose by the teacher to
challenge the class in a particular way, or sometimes, perhaps the teacher’s choreography
doesn’t quite ‘gel’ in that particular instance!!
6.
Say the movements rhythmically in your head and/or clap the rhythm of the movements
to yourself. Use accents appropriately to show the rhythm and quality of the movements.
7.
‘Think ahead’ of what movement is coming next – ie provide ‘cues’ for yourself.
8.
Look for any technical pitfalls which need attention
9.
Work out the appropriate breathing pattern to suit the dynamics of the movements and be
conscious of breathing correctly throughout the sequence
10.
Mark the sequence with the whole body fully, being particularly conscious of the coordination and flow and how this assists the movements and helps lead from one
movement to another
11.
Look for the highlights and the overall quality and dynamics of the sequence and the
music and ensure you reflect these in your performance. Relate the highlighted
movements to the phrasing of the music and/or the counts
12.
Work out the ‘levels’ of the movements ie which are the big, elevated ones and which are
the smaller preparatory ones
13.
Show the appropriate height of elevation and quality of movement
14.
Dance the sequence with your fullest degree of artistic expression to illustrate the quality
of the movements and the mood and dynamics of the music
15.
Remember that classroom sequences can develop into new works by today’s
choreographers. An ability to ‘pick-up’ new work quickly and confidently is a huge asset
to the professional dancer and many dancers have been chosen for leading rôles because of
their ability to assimilate quickly, accurately and expressively the choreographer’s ideas.
Developing this speed of intellect and full co-ordination of mind and body is a vital aspect
of the professional dance student’s training
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21.
Once students have considered all of the above, encourage them to relax and to really
perform it!!!
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4. Class Planning
Until you have several years’ experience, always plan your classes thoroughly. Good planning
ensures you appear confident, that every moment of the class is spent productively, that your
class is well-balanced and that activities have sensible ‘follow through’.
4.1 Aims and Objectives - Planning Learning Outcomes for Classes
1) It is important to have definite Aims for classes, which can involve themes and/or focus
points, with specific Planned Learning Outcomes clearly identified for the class. Ensure
these are developed and followed through during each component of the class and the
Unit of Work, building up over specific periods to meet achievement or performance
goals
2) Select a balanced range of learning outcomes to include key movement concepts and
aspects of technique, musicality and artistry in relation to the movements to be focused
on within the class material. Simple examples could be: articulate use of feet, integration
and co-ordination of limbs and torso and reflection of rhythmic dynamics
3) Planning in this manner supports the logical development of the class and assists the
improvement of key movements and movement concepts by concentrated build up
4) It is also helpful to work retrospectively for classes as well as for longer term plans – ie
decide on what is to be achieved or worked on in the latter part of the class and work
‘backwards’ to include movements and movement concepts which will build effectively
towards this over the course of the class
5) Within each class it is helpful limit the number of Learning Outcomes per class and per
activity to avoid overloading students with too much information. However, you can
have more than one focus or theme being developed if this is appropriate for the age
group and environment of the class
6) There are all sorts of movement concept, technical, artistic and musical themes you can
develop in relatively simple ways throughout a class. Which you choose obviously
depends on the level of your class and their age and ability. It is important for students
to understand the development of exercises into dance movements – ie that preparatory
movements do have a most valuable purpose and will help students develop the physical
skills required for more complex movements
7) State your Planned Learning Outcomes at the beginning of the class clearly and concisely
(as appropriate for age of students), identifying what movement concepts and aspects of
dance you specifically want to work on in this particular class
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8) These aspects then become the focus in the Learning Outcomes for the class activities.
They may not be relevant in all your activities, but you can focus certain activities on
certain Learning Outcomes. The Learning Outcomes should be directly and specifically
movement or concept related, rather than too broad to be meaningful or effective. For
example ‘show good technique’ needs to be more specific to be of real benefit to students’
learning
9) Focus on a few key movement concepts or aspects of technique, musicality and artistry
and make some headway with improving those over the course of the class, rather than
be trying to cover a broad range of points under an ‘umbrella’ term
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4.2 Progression and Continuity within Class
1) Consider how your activities relate to each other.
2) Consider whether your class content builds effectively through sections and aspects of
the class and place emphasis on activities that include movements and concepts
preparing for movements and steps later in the class.
3) Consider whether your class content builds effectively towards the next class within the
Unit of Work
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4.3 Content Suitability for level of students
1) Carefully consider the level and abilities of the students in the class and ensure content is
suitable for the level of the class. It is productive for students to progress by building
from one achievement to the next, with realistic goals set, in a series of progressive stages.
Completing a Student Needs Analysis for each class group you teach can be very helpful
in this regard
2) With the particular student group in mind, it can be helpful to plan your class as a fairly
basic one and have ‘extensions’ prepared to your planned exercises/phrases, or more
challenging options, so that you can add extra difficulty or interest if it seems appropriate
– this approach is termed ‘scaffolding’ or ‘layering’
3) It can be helpful to start the with a class basic activity suitable for the level concerned.
This helps to ‘settle’ everyone as well as being physically valuable
4) Be prepared to alter the content during your class if necessary. You need to be flexible! It
is pointless continuing with an activity which is obviously not working. You need to be
able to adapt it quickly so that it does work!
4.4 Planning for Differentiation and Inclusion through Adaptation
1) To ensure you ‘pitch’ the class at the level of the students you are teaching, consider
whether your activities lend themselves easily to adaptation for different student learning
needs and abilities.
Plan in advance relevant modifications to your original planned
activities, to cater for different student learning needs and abilities, without disrupting
the flow of the class, or making any student(s) feel excluded or isolated. These may be
simplifications or extensions or other types of adaptations to suit certain physical or
cognitive needs. Catering for varying student needs in this manner shows you are aware
of strategies for ‘differentiation and inclusion’
2) Ensure that all modifications or adaptations fit comfortably within the parameters of the
original activity so that all students can work effectively on basically the same activity
and movement. Try to make students aware of their own bodies and explain how to deal
with particular areas of challenge, in a positive manner. No-one is perfect and everyone
has their strengths and challenges – it is the learning about how to work with one’s own
particular physique which is important. Of course, as the teacher, you won’t make an
issue of one person’s physique. Speak generally or at least make sure you explain things
in such a way that no one feels uncomfortable
3) Ensure you are prepared to change planned class structure, learning outcomes, content
and pace as needed to keep the momentum, interest and flow of the class going, if you
can see that what you had originally planned is obviously not going to work effectively
for the class as a whole or for certain students. Be able to adapt activities quickly and
appropriately if necessary. This is where advance planning can be of great assistance to
you as a new teacher. As you gain experience, you will develop the skills to be able to
make these sorts of adaptations ‘on the spot’ as necessary
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4) Show genuine interest in each and every student and their capabilities and support them
in managing and overcoming their challenges
5) Having students working at different levels within the one class should be presented as a
normal progressive process, of benefit to all students, as each can work at their own pace
and achieve to their own best standard at any given time. There may be variance of
students working at one level on certain activities and at another level on other activities
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4.5 Structure and Balance of Elements for effectiveness, interest and safety
1) Clarify the Aims and Learning Outcomes for content of the class
2) Ensure the Planned Learning Outcomes and class content are relevant to the Unit of
Work
3) Ensure Planned Learning Outcomes are identified and clearly explained to students
4) Ensure the class includes the major elements of effective class structure and that there is a
good balance of movements between sections of the class and between types of activities
within the class
5) Ensure content shows an integrated balance of technical, musical and artistic emphasis
6) Consider the suitability of the content of material for the level of students. Relate class
content to students’ previous learning to ensure there is a balance between familiar and
unfamiliar work
7) Include a variety of movements, with elements of challenge balanced with simplicity
8) Show a logical follow-through of Planned Learning Outcomes and focus/theme
throughout the class – including follow-through of technical points and movement
concepts from activity to activity
9) Provide interest - the class should be enjoyable! Activities should be interesting, yet not
so complicated that you will spend too much time teaching the actual sequence and not
enough time with the students performing the activities, with you providing feedback on
them
10) Add interest to your class in simple ways rather than by making exercises too
complicated or long
11) For younger classes especially, include some fun/relaxation elements – aiming for
fun/relaxation to be integrated and balanced with learning. Consider when, where and
why these elements are included and the value of these moments within the class
12) Consider the contribution of students vs teacher – consider the value of student
involvement in class structure and content
13) Ensure the Warm up and Cool down sequences are suitable for style, level and content of
the class
14) Evaluate the structure of the planned class – will it be effective and why?
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4.6 Class Pace and Balance
1) Be aware of and note on your Class Plan the timing of your class - how long to allow for
each section of the class. Although preparatory work is important, be very careful not to
spend more than the planned amount of time on static training activities if possible. You
don’t want to have to rush through one of the latter sections of the class because you
spent too long on the preparatory elements. It can be very easy to spend too long on
preparatory work and end up with too little time for jumps and travelling phrases. So,
plan your timing carefully and check your allocation of time for each exercise and section
of the class to balance time allowances per section
2) Ensure there is a balance of types of exercises and movements so your class is ‘balanced’
from a content perspective and is also balanced as regards technical work, artistic quality
and musical awareness. It is an easy trap to fall into of making the class too ‘technical’ or,
at the other extreme, too much ‘fun’ without any specific learning achieved
3) When preparing a class for a teaching assessment, find the balance between trying out
your planned exercises with your class students and having them so familiar with your
class plan that they look bored! It can be a good idea to try your class out on a group
other than your assessment group, or only teach some of your activites - maybe the
slightly more difficult ones - to your assessment class group beforehand. A sense of
spontaneity will be maintained some, if not all of the class is a ‘surprise’ for the students
4) Avoid getting ‘bogged down’ on any one activity as this disrupts the flow and
development of the class and the students lose concentration. However, if there are some
areas which require additional time and further individual feedback, aim to make some
worthwhile progress on certain aspects before moving on
5) Consider how essential good pace is and why? Ensure key elements of good pace are
evident so that the pace of the class is appropriate for students to cope with, whilst
maintaining interest and enjoyment
6) Consider behaviour management strategies which might be appropriate to help maintain
pace and student involvement
7) Consider class management strategies – use of lines/groups/facings rotation – as
suitable for the class content, to maintain flow
8) Consider the allocation of feedback time – consider now long you are going to spend
giving or facilitating feedback for each activity
9) Ensure you use a selection of teaching styles to allow for maintenance of pace and
student involvement
10) Consider the means by which you will inspire the students to retain their interest and
motivation
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11) Consider the balance between verbal feedback and physical action. Avoid too much
standing around and talking and get the students moving or involved
12) Plan your music/CDs/iPod thoroughly in order to save time and enable transitions to be
handled competently. Ideally make up specific CDs/iPod playlists for specific classes
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4.8 Class Plan Templates
1) Consider Class Plan templates - see examples in Workbook or create an alternative to suit
your needs as a teacher for the environment in which you are teaching
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5.
Planning a Unit of Work
A Unit of Work can cover a whole Term or a certain number of weeks. Each Unit allows the
teacher to focus on a particular topic or series of related topics for a specific period of time.
Designing a Unit of Work
5.1 Complete a Students’ Needs Analysis
Consider the following questions:
 Who are the students?
 Do they have particular needs?
 What is the socio-cultural context – ie language, culture, socio-economic factors?
 What is the ethos of the community? Is the broader community (eg parents of
students) supportive of dance and what are their expectations of your dance classes?
 What resources are available at the venue where the classes will be held? You need to
adjust Class Plans to suit the venue facilities
 What is the school or dance studio curriculum? Do you need to adhere to these?
What are the limitations of the curriculum in terms of movement content and concepts
that you can include within your class?
 Is there to be an assessment? Are these just at the end of the year or spread through
the year? Are these external or will you have to devise assessments?
 How will you monitor student progress?
 What school or dance studio policies are relevant to your teaching?
 What is the number, gender and age of the students in the class? How will these
factors affect your teaching?
 What is the developmental stage of the students – physical, social, intellectual – and
how will this affect your teaching approach and the students’ learning?
 What prior dance experience do the students have?
 How could you integrate a new student joining a group of students who have been in
the class for a number of years?
 How can you teach students with no dance experience alongside those with dance
experience?
5.2
Meet Identified Students’ Needs
 Write down the student needs identified. Making notes on specific, targeted needs,
giving consideration to individual differences enables you to meet students’ needs
more effectively, as you have a clearer understanding of what those needs are.
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5.3 Focus the Learning
Consider:
 What do students need to learn? What is essential?
 Are objectives clear for the Unit Plan and the Class Plan? Have you made these clear
for both yourself and the students? Avoid teaching dance in a ’meandering’ manner.
 Is the class material scaffolded/layered from simple to complex? This is important for
every class, every Unit of Work, every year.
 Is the material both challenging and rewarding? How can scaffolding support this?
 Which teaching strategies/styles are best suited to this type of learning? What range
of teaching styles will be most effective?
5.4 Essential Components of Class Planning

Safe Dance Practice

Physical

Intellectual

Emotional

Scaffolded learning

Sequenced teaching and learning
 Building movement throughout class to final phrases
 Class shows sequenced learning and follow-through of movement concepts
as well as content
 Scaffolded Learning
 From simple to complex
 From warm-up to cool-down
 Throughout structure of class
 Build up through progressions of exercises and movements

Finding the familiar
 Finding elements in every class that are familiar/already known by students
 Starting with what students already know, then introducing new material
gradually, so there is a balance between the amount of familiar and
unfamiliar content

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Structuring the Class Plan - planning what and HOW the students will learn
 Class Aims and Objectives
 Class themes and foci
 Class Learning Outcomes
 Focus on what and how you want students to learn
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
Class Introduction
You need to:
 Engage students
 Establish prior knowledge or prerequisite knowledge
 find out what they already know so that you can plan for what they need to
build on
 decide what they need to know before they can tackle the movement or
movement phrase you are building up to

The Teaching Segment
 Employ your chosen teaching strategy
 Inspiration leads to Motivation!
 Gain feedback from students and help students to monitor their own learning –
ie how do they know they are getting better?

The Class Closure
 Assist students in synthesizing the aims of the class – eg Cunningham would
build material to a moving, travelling, flowing phrase, all the while gearing the
class content towards achieving the aims of the class
 Foster students gaining and ‘ah-ha’ moment, where the students understand
how concepts and movements have built up through the class to final
movements and/or phrases
Greenfield, L. Retrieved from http://www.loisgreenfield.com/dance/1671/dance-brazil_1.html
April 14 2011
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
Assessment
List Assessment methods and timings:
 What will be assessed?
 How will these aspects be assessed?
 Why assess these aspects?
 When will the Assessment be?
 How will evidence of achievement be gathered and standards decided upon?
 How will assessment achievement be recorded?
 What specific proforma will be utilized?
 How does assessment affect the planning of Units of Work and Classes?
 How will reporting be managed and to whom will reporting be targeted –
student, parents, teachers?
Greenfield, L. Retrieved from http://www.loisgreenfield.com/dance/1560/complexionscontemporary-ballet_1.html April 14 2011
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5.5 General Comments on Planning a Unit of Work
In every class we teach, we as teachers learn something about the content of the class, the
sequencing of the activities and the response to these from the students in the class. We should
be constantly evaluating our teaching and making changes as necessary for the next class to be
taken.
Be flexible with your Unit of Work Plan and Class Plans – no Plan is ever set in stone. It should
be a living/breathing document which can be adapted as required to maximize student
learning. For this reason it is helpful to write formal Unit of Work and Class Plans, so that the
material and teaching strategies therein can then be reviewed after the Unit and after each class,
evaluated and any revisions necessary made to plans for the next Unit or class. Look objectively
at the Class Plan and Unit Plan at the end of the class and subsequently Unit:
 Clarify your thoughts about how the class and Unit went
 Refine your ideas for future improvements
 Review subsequent Class Plans you have made within the Unit Plan
 Edit these Class Plans and the Unit Plan as appropriate based on information from
previous classes
Aim to keep your knowledge fresh by researching books and the internet and by attending
courses and seminars to remain current in your thinking about teaching-related issues and
dance in the broader sense.
Greenfield, L. Retrieved from http://www.loisgreenfield.com/dance/729/david-parsonsdance-co_5.html April 14 2011
Source for Planning a Unit of Work:
Stevens, K. 2008. Dance Teaching Studies 1 Lecture Notes. Queensland University of Technology,
Department of Creative Industries (Dance)
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6. Medium and Long Term (Term, Year) and Programme Planning
1)
To determine Term and Year Plans, identify key events which need to be built towards
and create realistic timeline for achievement of standard required and coverage of
material in preparation for these events – eg Units of Work to be completed, assessments,
performances. Working retrospectively is helpful – ie knowing what is to be achieved
and by when, then working ‘backwards’ to plan progressions to reach the required goals
within the timeframe available
2)
Plan stages/milestones by which certain elements of the required material will be
achieved, in order for students to be fully prepared by the appropriate time for the
assessment or performance
3)
Utilize Term and Year Planning systems to formulate programmes of study for each class
level. Decide on a clear approach to covering the required material. Options include:
 Building towards each element of the required vocabulary through preparatory
activities, with the vocabulary divided into a series of class plans which include a
balance of movement content in each
 Covering particular sections of the vocabulary in a certain order. If using this
method, give consideration to the ‘balance’ of movement content included in each
class in terms of physical safety for students and in terms of retaining student
interest.
 Varying planning methods depending on the time of year or other factors – eg
students rarely want to spend ages on either static activities or on big jumps in the
height of summer, so this is perhaps a good time for focussing on preparing aspects
of vocabulary which students can cope with and enjoy at this time of the year
Progression and Continuity between Terms and Year
1) Develop Planned Learning Outcomes over Class, Term and Year Plans to ensure there is
a balance of emphasis on the various aspects of the vocabulary and learning areas to
ensure completion of requirements to a high standard. Ensure individual Class Content
is relevant to Term Plan and effectively achieves each of the stages/milestones set
2) Consider whether Plans build effectively from class to class and term to term, towards
the completion of specific longer units of work and yearly events, showing effective
Progression and Continuity
3) Ensure that each movement, movement sequence or larger body of work to be studied
has an appropriate training process, gradually piecing elements of the full movement,
sequence or work together over a specific, systematic timeline. Discuss timelines and
Class Plans with colleagues for professional development and cohesion of methods used
by teaching team.
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Planning for Effective Teaching 3. Safe Dance Practice
1. Venue Related Aspects of Safe Dance Practice
1) Fire Safety
 Fire policy and exit strategies clearly displayed
 Fire extinguishers readily available
2) First Aid Kit – ensure this is replenished regularly
3) Cold packs in freezer or the portable ‘snap to activate’ variety
4) Staff members First Aid certification maintained
5) Emergency phone numbers displayed including nearest accident and emergency clinic
6) Protocols in place for care of student in case of accident or injury, including supervision
and safety of other students in the class
7) Safe drinking water available for students
8) Venue safety – ensure access is safe and appropriately lit
9) Adequate heating, lighting, air flow/ventilation
10) Type and condition of floor and any associated risks identified and remedied (eg repairs,
maintenance)
11) Water/rosin if wooden floor. Check for any cracks, splinters in wooden floor. Ensure
floor is clean – dust is slippery.
12) Floor space – size of space, chairs stacked safely and any clutter or spills removed.
Check for water/perspiration on specialized dance floor. Watch also use of massage
creams – ensure footwear is worn or creams washed off if bare feet.
13) Safety of fixed equipment – ensure mirrors and barres are well secured and students are
instructed and monitored in relation to these
14) Safety of portable equipment and props. Check for tears in therabands
15) Toilet facilities hygiene
16) For junior classes:
 Venue safety considerations – check venue access situation so children can’t leave
without adult

Entry and exit strategies for junior classes followed in disciplined manner

Younger family members controlled if parents observing in studio or community
venues

Toilet facilities – location in relation to dance space for child access
 Toilet break protocols in place for safety of children – ie adult accompaniment if in
public building
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2.
1)
2)
3)
4)
5)
6)
7)
8)
9)
10)
11)
12)
13)
14)
15)
16)
17)
18)
19)
20)
Class Content and Teaching-Related Aspects of Safe Dance Practice
Age-related issues
Equal Opportunities and Diversity
Students’ health issues requiring special awareness
Disability issues in mainstream schools – hearing, sight, limbs, health
Emotional safety and well-being – supporting students to be ready to learn
Safe class content - suitable class activities and movements for age and level of students
Suitable pace of class for age and level of students and stage of the year’s dance
programme
Students attire appropriate for genre and safe
Removal of jewellery and any loose items of clothing which may pose a hazard
Teacher to check students are wearing appropriate footwear and are aware of foot care
strategies
Warm-up, Cool Down and Safe Stretching strategies explained to students, monitored by
teacher and reference notes provided.
Warm-up and Cool-down elements included in students’ preparation for class and postclass and students educated regarding importance and suitability of warm-up and cooldown content
For younger students, consider wall posters of safe warm-up, cool-down and safe
stretching sequences on studio walls, pictures of movements etc. For older students,
consider appropriate printed material for easy reference
Posture and placement emphasis for most effective and safe body alignment for
individual students’ physical framework
Realistic technical expectations for level of class participants
Appropriate cover-up/warmth maintenance clothing for between classes on long dance
days/during performance rehearsals etc
Students educated on:
 Healthy nutrition
 Hydration
 Injury Prevention and Management
 Body Conditioning and Safe Stretching
 Rest and relaxation
 Complementary training
Teacher well educated on all elements as for student above plus:
 Anatomy and physiology
 Managing varying physical frameworks for safe dance practice
 Correct technique for safe dance practice in all genres to be taught
 Teaching concepts, methods and strategies
 Class and behaviour management strategies
 Teaching and performance-related psychology, relevant to level of students and
intensity of training
Teacher manner and feedback – relevance and importance of psychological well-being in
tandem with physical health
Performance psychology relevant to level of students and intensity of training
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3.
1)
2)
3)
4)
5)
6)
7)
8)
9)
10)
11)
12)
13)
Student Personal Safety Responsibilities (as age- appropriate)
Appropriate clothing and footwear for dance genre, ensure these are well maintained
Jewellery removed
Ensure open wounds are covered with plasters
Keep fingernails suitably trimmed – no long nails
Awareness of foot care strategies
Drink bottle and towel brought to every class
No chewing gum!
Take responsibility for well-being through allowing time for adequate warm-up and cooldown
Awareness of personal physical framework and safe alignment
Conscientious application of class feedback
Self-monitoring of progressas age-appropriate
Awareness of injury prevention strategies
Sensible management and rehabilitation of injuries
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4.
Managing Varying Physical Frameworks
Selected common physical challenges in dance students, their identification and management
1.
Scoliosis
2.
Restriction of mobility in thoracic spine
3.
Restriction of mobility in lumbar spine
4.
Hyper-mobility of joints
5.
Hyper-extended Legs
6.
Tight Calves/Achilles Tendon Complex
7.
Tight Hamstrings
8.
Tight Abductors and/or IT Band
9.
Weak Adductors
10.
Restricted external hip rotation (turn-out)
11.
Restricted internal hip rotation
12.
Restricted mobility in Ankles and Feet
13.
Hypermobile Ankles and Feet
14.
Bow Legs
15.
Knock Knees
16.
Tight hip flexors
17.
Winging Scapulae
Consider the following questions in relation to students you may be teaching:

What is general structure of each student’s physical framework?

How can the teacher identify physical challenges which need to be addressed for
safety?

What adjustments need to be made to technique to manage and improve these
challenges? Is referral to a health professional required?

What specific exercises or activities can be of assistance in improving these challenges?

Which reference resources can offer further information?
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Planning for Effective Teaching 4. Communication
4.1 Appearance
Personal presentation must be appropriate for whatever genre of dance you are teaching. You
must set a suitable example for the students in order to foster appropriate attire from them.
Remember, as a teacher, you are also going to be giving a ‘performance’! Pay attention to:
1)
2)
3)
4)
Attire – clothes suitable for level of class, appropriate for the genre and comfortable for
the teacher
Shoes – clean, tidy and suitable for genre
Hair – appropriate for the genre and an example to the class
Jewellery - none for safety reasons, including watches. Take your watch off and put by
stereo
4.2 Manner with Class and Communication
1)
Enthusiastic
2)
Confident and competent
3)
Assured and at ease
4)
Inspiring and enthusiastic
5)
Encouraging
6)
Stimulating and interesting
7)
Knowledgeable and thorough
8)
Calm under pressure
9)
Warm and caring manner
10)
Disciplined
11)
Organised
12)
Constructive
13)
Positive manner, verbal language and body language
14)
Exciting
15)
Eye contact made with students when communicating
16)
Enjoyable atmosphere created
17)
Imagery used effectively to explain movement qualities, dynamics and expression
18)
Desire to impart knowledge and help students evident
19)
Caring very much about the progress of each student
20)
Lead by example! Show an ability to inspire your class and enthuse the students by
your manner, voice, expression and enthusiasm as well as the content of your class.
21)
A bright and helpful approach with the students.
22)
Always punctual and expects the class to be too. If only one or two students are in the
studio at the commencement of the class, start the class anyway, the others will soon
come in when they hear the music!
23)
An overall impression of calm confidence
24)
Teacher’s love and enthusiasm for dance, music and teaching students shines
throughout the class and is imparted to the students in an inspiring manner
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4.3 Effective Use of the Voice
1)
Use breathing appropriately to support vocal tone and volume – learn how to project
your voice without shouting!
2)
Use vocal expression in a manner appropriate to the quality and style of the activity
3)
Be aware of your voice modulation and projection, emphasizing artistic, physical and
musical qualities and highlights. where appropriate
4)
Ensure you sound expressive, positive and enthusiastic. Be careful not to raise your voice
unnecessarily - constant shouting is a pain! However, you must speak loudly and clearly
enough for the class to hear
5)
Have good clear diction, with precise pronunciations
6)
Ensure verbal instructions and explanations are clear, articulate and succinct
7)
Monitor the volume level to be suitable for the situation, audible by pianist, class and
observers
8)
Take care with the tone of voice, avoiding tone getting higher through nervousness
9)
Use age-appropriate, descriptive and varied choice of vocabulary and descriptive use of
the voice
10)
Use non-repetitive language – eg avoid constant “OK” or similar
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4.4 Use of Visualization and Imagery
1)
Undertake research on Visualization techniques and on Imagery to support dance and
consider the following questions:
What is Visualization?

What is the value and use of Visualization?

Name some visualization techniques

What is Imagery?

What is the value and use of Imagery?

Name some types of Imagery
2)
Consider strategies for the use of Visualization techniques within your classes to support
students’ learning
3)
Develop ideas for appropriate imagery to explain movement qualities, dynamics and
expression and elicit imagery ideas from students to foster their creative thinking and help
them personalize imagery options
See Recommended Reading:
Franklin, E. 1996. Dance Imagery for Technique and Performance. Champaign, IL: Human Kinetics
Franklin, E. 1996. Dynamic Alignment Through Imagery. Champaign, IL: Human Kinetics
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4.5 Demonstration and Marking
1) Be ever vigilant of your own demonstration. Your students learn a lot by copying and so
your own demonstration needs to be very precise. If you see your whole class has a
common challenge in terms of a technical aspect or musical awareness, it must have
originated from you!
2) Ensure your demonstration is:
 appropriate for the level of the class
 technically and musically sound
 artistically expressive
 avoids mannerisms or incorrect habits
3) Clearly show in own demonstration the qualities and technical points teacher is asking
for from students ie lead by example, showing equally high standard of demonstration of
all elements:
 Technical – Secure and clear technique at level appropriate for the class
 Musical – Musicality and rhythmicality, showing rhythmic awareness, dynamics,
phrasing and mood, differences in qualities and styles and emphasizing highlights
 Artistic – Expressive and movement-integrated artistry evident, inspiring and
fostering artistic response from students
Retrieved from http://www.danceanddance.com/world_dance_updates/wpcontent/uploads/2010/09/contemporary-dance.jpg April 14 2011
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Music for Dance Teaching
Music Choices for Variety and Effectiveness
1) Use a variety of genres and styles of music and a range of time signatures, related to
movement dynamics, suited to the rhythmic dynamics and quality of movement of each
activity. Whilst it is valuable to explore diversity of music style, still have some familiarity
so that students are not so far out of comfort zone that they ‘freeze off, ‘switch off’.
2) Be particularly aware of selecting music at the appropriate speed for the activity. Be aware
that the speed that you yourself are able to dance something at may not be the same speed
that your students can cope with. Have some spare music options on your Class Playlist at
varying speeds, so that you have some alternative options if the music you have planned for
a specific activity proves to be inappropriate for the level of the students
3) At times, consider the use unusual rhythms to add interest and encourage careful listening
and awareness of movement rhythm.
4) When planning activities, consider how your choice of music or percussion accompaniment
can support and encourage the selected Learning Outcomes for the activity and the class
5) Consider the age of students in the class, the tempo, mood, theme, which instruments will
be played, whether there are lyrics or not.
6) Show musicality in everything you demonstrate and in every activity you mark
7) Use of a variety of musical styles and rhythms, appropriate for the age of students to draw
out dynamics of movement qualities
.
8) Show appropriate and consistently reliable rhythm, speed, quality and artistic style
9) Show confidence in marking rhythmically and in your own demonstration
10) Encourage the students to really listen to and appreciate the music, being aware of rhythmic
dynamics, musical qualities and highlights
Using CDs/ipods for Classes
1) Provide a variety of musical styles and rhythms and ensure speeds are appropriate for
exercises/phrases
2) Ensure CDs or iPod is organized efficiently onto appropriate playlists, so that there is
minimal time spent finding tracks
3) Keep students involved with self, partner or group practice whilst CD/iPod track is located
4) Constantly be on the look-out for alternative musical options to offer students exposure to a
broad range of musical styles
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Rapport and Communication with Accompanist
1) Establish and maintain a good rapport with the accompanist and give clear and rhythmic
instructions
2) Always greet the accompanist politely and in a friendly manner - remember you are a team.
Involve the accompanist during the class and show your appreciation by drawing the
students’ attention to the music/percussion accompaniment frequently
3) At the end of the class, do remember to thank your accompanist personally yourself and
ensure the students do so sincerely. Ensure the students look at the accompanist with
genuine appreciation! Remember that each of you is an equally important member of the
class teaching ‘team’
4) Also remember your accompanist is not a machine and may sometimes have ‘off’ days
when they are not feeling their best and perhaps don’t play up to their usual standard. It is
up to you to assist them at these times and show patience and extra appreciation of their
efforts
5) Do remember to allow your accompanist to have a break to have a cup of tea or coffee and a
snack and use the bathroom on long teaching sessions. A 10 minute break will make a big
difference to your accompanist’s ability to play for several hours on end and will be greatly
appreciated
6) Be clear on the amount of introduction required or whether you want to go ‘straight in’.
7) Feel comfortable in slowing the accompanist down or speeding them up by clapping or
singing while the activity is in progress if the speed he/she is playing is not quite what you
envisaged, or if you realize that you marked the activity at the incorrect speed.
Alternatively, stop and recommence having explained the speed more fully. If you have
marked correctly, or clearly indicated the speed you require through clapping or singing,
there is less likely to be a problem with the speed of the music/percussion.
8) Accompanists prefer teachers to clap or sing at a suitable distance rather than click fingers in
their ear!
9) Use ‘and continue’ or a similar phrase where appropriate if you want the music to continue
and the accompanist seems unsure of how much music you want. Also ‘ready to finish’ or
similar expression can be helpful for the accompanist when nearing the end of a long or
continuous exercise or phrase.
10) Remind the students to really ‘listen to the music’ and provide opportunities for this in each
activity by avoiding talking over the music throughout each activity. A few well-timed
words for imagery or key points can be helpful, but constant counting or talking interferes
with the students’ ability to hear and respond to the music and is disrespectful to the
accompanist!
11) Foster awareness of musical qualities in students. Encourage students to describe rhythm,
mood, dynamics and highlights of the various pieces of music used in class.
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To summarize communication with accompanist:
1) Greeting at start and thank you at end
2) Friendly manner, taking an interest in accompanist’s comfort and well-being
3) Sufficient advance notice of requirements
4) Ask the accompanist for an introduction if required and how many counts introduction
you want
5) Descriptive language used to describe rhythm required
6) Suitability and variety of musical choices
7) Careful marking of activities in the rhythm asked for and at the speed wish the
accompanist to play, with the style and quality evident in voice and demonstration
8) ‘Pleases’ and ‘thank yous’ where appropriate
9) ‘Team’ approach, showing mutual respect
10) Consideration and appreciation of music in relation to music and accompanist’s
contribution and ability by self and by students
Greenfield, L. Retrieved from http://www.loisgreenfield.com/dance/1709/complexionscontemporary-ballet_1.html April 14 2011
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4.9 Class Management Strategies
1)
Plan class management ie ensure lines or direction faced change regularly ie use different
walls as the ‘front’. Make varied use of floor patterns - lines, circles, diagonals etc and
plan how and when you intend to change lines.
2)
Have organized strategies for moving younger students from place to place – young
children need clear direction on how to move from one class placement pattern to
another – make this a fun activity in its own right!
3)
Make sure you give equal attention to everyone in the class to maintain student interest
and enthusiasm, offering or facilitating both general and individual feedback - you must
not have favourites. With a wide variety of abilities and physiques in one class, be aware
of extending each person to their fullest, catering for the full range of abilities within the
group
4)
Students should be expected to work ‘full-out’ to the best of their ability (unless asked to
mark to conserve energy or managing an injury), which is often greater than they think!
Students should always watch carefully the activities the teacher demonstrates in order to
then perform them correctly
5)
Position yourself where both class and accompanist can see you at all times and you can
see all students
6)
Show personal correct posture to lead by example – avoid slouching!
7)
Create a professional, productive and inspiring class atmosphere
8)
Use the ‘mirroring’ teaching method correctly where appropriate, or ‘back the class’ if
required. When doing this, keep an eye on the behaviour of younger students if you
don’t have mirrors to see them in!
9)
Keep an appropriate distance from the class in order to gain a clear ‘overview’ of the
whole group at work during the first viewing of an activity
10)
Then balance standing in one place for overviewing with moving among the students to
offer feedback and view students from different angles
11)
Remain fully in control of the class, but maintain a productive and enjoyable atmosphere
12)
Be totally sure of the class activities, with little or no need to refer to notes, so that your
attention remains fully on the students
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Planning for Effective Teaching 5. Teaching Styles and Strategies
Teaching Styles
The teaching styles below are based on the tutors’ personal teaching experience and have also
been related to some of the teaching styles identified by Mosston & Ashworth in their work
Teaching Physical Education (1994), which are noted in brackets.
5.1 Instruction (Command Style)
Teacher imparts information verbally and/or demonstrates with students following directions
and/or applying feedback
5.2 Questioning
a) Teacher Questioning (Guided Discovery Style)
Teacher asks students questions to foster recall of information based on their prior knowledge
and experience of similar movements or movement concepts and to assist students in working
out how to achieve a new movement.
The teacher need not always tell students when giving feedback. When doing set work or work
already known, students can be encouraged to explain to the teacher and rest of the class the
important points to consider when doing an exercise/activity. When learning new material,
students can be encouraged to use their analytical skills to figure out how best to approach the
performance of the new movement.
b) Student Questioning
Teacher encourages questions from students on aspects they may require clarification on and/or
fosters discussion with students on material or concepts being studied
5.3 Partner Feedback (Reciprocal Style)
Students are advised on how to give constructive peer feedback, then work in partners ‘teacher’
and ‘student’ to observe each other and offer relevant feedback. Teacher may direct class to look
for certain specifics or leave students to identify positive aspects and aspects for improvement.
Students then share certain feedback points with rest of class.
5.4 Group Feedback
Students are advised on how to give constructive peer feedback. Students then work in groups,
one group observing the other performing and then offering constructive feedback. Teacher
may allocate certain students to observe certain students one to one, or have whole observation
group observe whole performance group. Teacher may direct class to look for certain specifics
or leave students to identify positive aspects and aspects for improvement. Teacher gives
guidelines – eg ‘Look for one aspect the student performs well and one aspect they can keep
working on’ to ensure positive interactions take place.
5.5 Team Feedback
Students are advised on how to give constructive peer feedback. Students then perform work
one by one or in pairs and rest of class observe and then offer constructive feedback. Teacher
may direct class to look for certain specifics or leave students to identify positive aspects and
aspects for improvement
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5.6 Individual Practice (Divergent Style)
Students practise movement or sequence of movements on their own to feel proprioceptively
correct execution. Students if need be make use of the mirror to check their placement and
execution of movement or movement sequence.
5.7 Self Check (Self Check Style)
Students evaluate their own performance based on criteria given by the teacher.
5.8 Demonstrator
Teacher asks a student to act as a demonstrator upon whom to illustrate feedback, whilst other
students gather round to observe and be involved in discussion. Student asked to be a
demonstrator is varied each time. After demonstration, all students then practice key points
discussed.
5.9 Working at Different Levels (Inclusion Style)
Students are offered a range of levels at which to work on a particular movement by the teacher.
Each student decides what level they need to work at to gain maximum improvement to their
work. Student and teacher may discuss the most appropriate level of work for the student at
that particular time.
5.10 Individual Feedback
a) Class Feedback then Individual Student Focus (Practice Style)
Teacher gives whole class as aspect to work on individually while she/he gives individual
feedback to one or more students
b) Class Feedback with Particular Student Focus
Teacher gives feedback to class in general, but specifies that this is of particular relevance to
certain students
c) Individual Student Feedback with Class Awareness
Teacher gives feedback to individual student whilst explaining that all students also need to be
aware of this point/points
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Teaching Strategy Considerations
1) Use a variety of methods to spark students’ imagination – eg descriptive words and imagery
to reflect types of music and movement qualities
2) Show awareness that movements have physical dynamics in their own right. These can be
varied for the same movement, depending on context. Musical and artistic dynamics
enhance and add to the impact of movements or can be expressed independently to dance
movement.
3) Make verbal instructions clear, articulate and expressive
4) Ensure an effective observation technique is utilised - knowledge of how and what to
observe to formulate the teaching strategy
5) Show awareness and range of suitable relevant strategies
6) Show effective building of exercises through stages, relating work to previous learning
7) Ensure a range of teaching methods are utilised eg - whole- part-whole learning or other
methods are employed
8) Ensure activities are repeated during and after feedback on consolidate learning outcomes
throughout class
9) Show ability to teach in order to accommodate/include varying learning styles to maximize
learning opportunities for all students
10) Foster a team work atmosphere – how can you create this?
11) Show comfortable interaction between teacher and pupil
12) Show use of Differentiation - ability to challenge and encourage at different levels through
content, delivery and feedback in relevant language, tone, manner
13) Show effective and creative use of imagery and mental rehearsal strategies such as
visualisation
14) Ensure vocabulary is articulate, varied, expressive, positive
15) Make effective use of questions – asking students questions to prompt self-discovery of
information and encouraging questions from students to deepen learning
16) Consider whether the teaching methods you have selected are successful and consider why
you teach in a particular way at various stages of the class
17) Note any difficulties which may occur and plan strategies to address these
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18) Ensure creativity is evident and fostered in students
19) Consider the overall impression that will be given of your teaching approach
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Planning for Effective Teaching 6. Feedback Delivery and Facilitation
6.1 Internal/Intrinsic and External/Extrinsic Feedback
As explained by Kimmerle and Côté-Laurence (2003), whilst it is important for the teacher to
offer feedback, it is even more important to facilitate the student becoming aware of the
feedback they can gain from tuning in to their own body and sensations:
Extrinsic feedback, often called augmented feedback, is information provided to the
learner by an external source such as the instructor, while intrinsic feedback comes
mainly from the learner’s sensory receptors (e.g., what he sees, hears or feels). The type
of correction typically used early in the learning process is extrinsic feedback. There are
three forms of extrinsic feedback: feedback from the instructor, the mirror and the
videotape. For the most part, the instructor provides either verbal or tactile corrections
during a technique class.
Kimmerle and Côté-Laurence, 2003, p. 191
These authors go on to describe intrinsic feedback as:
Intrinsic feedback is described as the sensory information one receives when producing
a movement.
Kimmerle and Côté-Laurence, 2003, p. 199
They conclude:
In dance, there is no doubt that the most important sources of intrinsic feedback comes
from the dancer’s kinesthetic sense.
Kimmerle and Côté-Laurence, 2003, p. 199
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6.2 Effective Observation and Diagnosis/Identification of Feedback Required – developing ‘ a
good eye’
 It is very important to identify and diagnose accurately what feedback needs to be given
or facilitated for each exercise
 Develop the ability to diagnose feedback accurately – to ‘see’ aspects which require
improvement, seek the root of the challenge(s)and correct these in a positive, constructive
and effective manner
 Work to develop this ability from observing teachers in action and implement in every
class you teach.
 Whilst the class plan may have a number of specific learning outcomes which are
planned to be worked on, it is important to also keep an open mind and observe
effectively to ascertain exactly what aspects require improvement
 Search for the root cause of the challenge students may be having, as this may not be
readily apparent at the site of the incorrect movement pattern
 Once identified, ensure feedback is delivered or facilitated with a focus on positive
methods of improving the movement pattern towards the correct form, rather than on a
negative description of what is currently incorrect. Whilst a comparison of correct and
incorrect movement patterns can be of use at times, the brain needs to focus on what to
do, rather than on what not to do in order for improvement t occur
6.3 Prioritization and Amount of Feedback
 Develop effective methods of prioritizing feedback, pin-pointing key aspects to be
worked on in this particular class and aspects to be held over for attention in subsequent
classes
 Focus on the main points you want to correct - the priorities of the exercise. Avoid
getting ‘bogged down’ in more minor details and end up with no time to make those
important points
 Take care to limit amount of feedback given at any one time to avoid ‘overloading’ the
students with too much feedback!
 Remember time is short and you will not have time to effectively ‘follow through’ a large
number of feedback points. Better to make a few, valuable and succinct feedback points
and ensure improvement is seen on these main points than to bombard the class with
information which they cannot absorb in the time available
6.4 Delivery methods – Explanation/Student Input
 Take care in delivery of feedback. Ensure these are presented in a positive manner and in
a logical order starting at the beginning of the exercise, with a ‘rule of thumb’ of one
feedback point per movement (do not however be rigid about this, it’s only a guide). Also
ensure that feedback points are followed through into actual improvement
 Aim to always begin with an honest positive comment before moving into corrective
feedback. Involve students in contributing their thoughts on appropriate feedback or
important points to remember for exercises
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6.5 Delivery timing
 Timing of feedback is very important
 Avoid giving all the feedback before you have even seen the exercise! Give a few
reminders or questions regarding important points, if need be (or ask the students for key
points to remember), but then SEE the exercise, OBSERVE and IDENTIFY feedback
required based mainly on what you have actually seen, not entirely on what you
imagined you might see
 Give most feedback between first and second viewings of the exercise/phrase to allow
time for students to process and practice, to absorb the information given. Avoid
additional/new feedback after the second viewing unless absolutely necessary
 Focus on the positives achieved on points already given, rather than introducing new
points
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6.6 Student feedback/questions
 Frequently ask students questions to assess student understanding and retention of
information from previous learning
 Encourage questions from students to foster communication skills and development of an
enquiring mind
 Develop teaching methods to ensure feedback is understood, absorbed and applied by
the students
6.7 Language
 Use positive language – focus on what to do rather than what not to do, unless using
contrast as a teaching tool.
 Make effective use of varying types of imagery and use descriptive and expressive
vocabulary.
6.8 Tone
 A great deal of the impact of what you say comes from the tone of voice, not just from the
words you use.
 Modulate the voice well and be descriptive in your tone and manner
 Consider whether you generally show positive or negative or neutral language and
manner?
 Ideally, have a positive, encouraging and inspiring manner when giving feedback
 Consider whether your voice is well modulated and expressive
6.9 Demonstration
 Demonstrate fully at the appropriate level for the students
 Be accurate, technically correct and show musical and artistic awareness integrated into
everything you do
6.10 Participation
 Ensure students mark feedback points with you and practice on their own and/or with a
partner to really feel in practical terms the verbal information you are giving. This helps
develop ‘muscle memory’
 Offer group feedback first, followed by individual feedback whilst the rest of class
continue to practice certain elements as you direct
6.11 Touch
 Placing a limb in position can be helpful, particularly for kinesthetic learners
 Always ask before touching students and take great care with the manner in which you
place your hands to avoid offence
 Be aware of any cultural beliefs that may make touching uncomfortable for certain
students and find alternative methods of explanation where necessary
6.12 Encouragement
 Remember to foster a positive learning environment by giving consistent, accurate
positively worded feedback and praise where warrnanted
 Offer significant encouragement to all students in the class
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6.13 Reminding Prior to Repetition
 A brief re-cap of one or two major points identified during feedback can be helpful before
repeating
 Keep these points short and pertinent and easy to understand and remember
6.14 Repetition
 Very important to develop ‘muscle memory’ and mental ‘pathways’
 Balance repetition in voice with variety for interest
6.15 Specific Praise
 Be specific with praise so students know exactly what was better, how it was better and
why it was better
 General praise has a place, but specific praise is more readily remembered. Ensure
improvement is noticed and commented upon in an encouraging and positive manner
6.16 Evaluation of effectiveness of feedback
 Review and reflect on feedback given and gauge student response and the effectiveness
of the feedback given
6.17 Follow-through and development of feedback during class
 Ensure feedback is followed through major areas of the class content to maximize
retention of specific feedback points
6.18 Relating feedback to lesson learning outcomes and focus/theme
 Relate feedback to planned class learning outcomes to check feedback relates to chosen
themes/objectives /planned learning outcomes
 Follow-through of feedback throughout the class towards the achievement of the planned
learning outcomes and development of focus/theme for the class
6.19 Body language when delivering feedback suits points being made
 Be aware of body language and eye contact when giving feedback to ensure all
communication is in tune and positive
 Eye contact with students is particularly important when commenting on
improvement/giving praise
6.20 Awareness of styles of feedback relating to student learning needs and styles
 Visual – learn from watching demonstration
 Aural – learn from hearing explanation
 Reading – learning from printed material
 Kinesthetic/Tactile – learning from feeling placement of body and sense of touch Proprioception – feeling placement of body internally
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6.21 Equal attention to all students, using names as much as possible
 Ensure each student by the end of the class has had a number of personal feedback and
praise comments as well as class feedback and praise
 Make each student feel as though you have a genuine interest in their progress and well
being
6.22 Follow-through of feedback between lessons to maximize retention of previous learning
 Ensure feedback given or facilitated in one class is followed through in repeat or
development form in following classes to maximize retention and understanding of
information
6.23 Feedback Recording System
 It can be very helpful for students to set up a file or journal into which they can file
handouts and note feedback from teachers, peers and self-discovery. The file’s contents
can be categorized as relevant for the dance genre and entries can be dated to chart
progress towards mastery of movements and concepts
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6.24 Video Analysis
 Filming of students dancing is a valuable teaching and learning tool and promotes
helpful student self-evaluation - eg teacher films students, then shows video and
facilitates discussion and constructive evaluation of performance or classwork.
 Viewing of inspiring DVDs and discussion of performance qualities is helpful in
enhancing the impact of feedback given
6.25 Teacher self-evaluation of effectiveness of feedback given
 Take the time to self-reflect on feedback given or facilitated during the class, the students’
response and the effectiveness of the feedback
 Use video analysis when possible to review your teaching performance and discuss with
peers and Course Tutor
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Planning for Effective Teaching 7. Inspiration, Motivation and
Behaviour Management
Behaviour Management in the Dance Class
Stevens, K. 2008. Dance Teaching Studies 1 Lecture Notes. Queensland University of Technology,
Department of Creative Industries (Dance)
Making Teaching Effective
1. Establish class rules and protocols
 Apply rules consistently. Be consistent with how they are applied and the teacher’s
response to these rules and protocols
 Ensure rules are relevant to the students and address important issues, especially those of
health and safety
 Limit the number of rules – avoid having too many
 State the rules in positive terms wherever possible
 Develop consequences and be consistent in applying these
o
Note that the teacher should never send a student out of class due to safety factors
o
If a student cannot behave safely, they must sit out of the class
 Rules are to be concise and clear
 Rules should be flexible enough to cater for an unusual situation which may arise
 Rules may be different for varying age groups and learning environments
 State the rules at the start of the teaching period (term or year) or re-state if a new student
joins the class
 Rules need to be implemented through discussion with the Principal of the school and
other teaching staff
Suggested rules for a state school dance class:
 Be good to yourself
 Respect others
 Be on time
 Work at learning
Example explanation:
The rule:
You cannot take class if you are late
The reason:
The beginning exercise focuses the mind and prepares the body for physical
rigour and without proper beginnings, there is a risk of injury ie being on
time is a big safety issue.
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2. Consider the classroom or studio environment
 Do you have structures and routines in place?
 Is the environment positive?
 Have you anticipated any potential difficulties?
 Have you been made aware of any external issues which may affect students’
performance in class?
3. Have realistic expectations
 Start as you mean to go on and expect the rules to be followed
 Allow time for your rules to be implemented and keep going over the rules until they are
in place
 Explain changes in routine – children like habit. Some students find change unsettling
 Use peer role models – ie praise the behaviour of ‘good’ students, focusing on the positive
aspects of their behaviour, rather than putting the focus on students behaving
inappropriately and focusing on negative behaviour
 Plan ahead
 Plan strategies for dealing with problems
 Check you have class management strategies in place
 If a student is told to sit out, have a written activity prepared for such occasions
 The short-term goal should be for inappropriate behaviour to stop, to avoid injuries,
and to see positive behaviour patterns established
 Long term goals are for the student to avoid inappropriate behaviour at all classes and
rehearsals
 Sitting out activities could involve completing a written activity eg:
o Have a ‘fun’ pile of written material templates for students who are genuinely
injured
o Have a ‘grizzly’ pile of much harder work for students who have just been
‘slacking off’!
4. Use positive teaching strategies
 Positives are far more effective in facilitating changes of movement pattern than negative
terms are.
 Giving attention is the strongest means of ensuring that behaviour is repeated
 Therefore giving attention to positive behaviour fosters that behaviour being consistently
evident
 Vary your teaching approach: quiet and personal/exaggerated/having a ‘special helper’
 Students possibly need varying types of responses from you
 Be aware that you are dealing with different learning styles and need therefore to provide
variety in your behaviour management and inspiration methods
 Have an ‘attitude of gratitude’, to lift your energy levels when you feel down and
maintain your enthusiasm for teaching the class
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5. Praise
For praise to be effective, it needs to be:
 Totally positive – ie after the second viewing of an exercise or sequence, keep your
comments positive
 Sound and sincere – accurate and true statements, sincerely expressed
 Directive – ie specific, exactly what it is that you are praising
 Reinforces a point – allows the rest of the class to be aware of what was done well so that
they can also do this
 Praise makes the giver and the receiver feel good!
 Aim to have five positives for every negative type of comment
 Watch for the child who is not up to the level of the others in the class – it can be
demoralizing to be constantly corrected, so watch your teaching approach to ensure you
are giving this student regular encouragement, rather than just correcting them
constantly
 Use teacher and peer applause as a positive feedback method – ie groups of students
should applaud each other
 Build a trusting relationship between yourself and your students – students should know
that what you say is true and that you are not going to say something is good if it is not
 Be clear about what it is exactly that you wish to see, so that students know exactly what
your expectations are
6. Be selective in discipline procedures
 Distinguish between what annoys and what is just not acceptable
o
Have awareness of whether differing learning styles are affecting student behaviour
o
Is it low level or high level disruptive behaviour?
o
Ensure you respond at an appropriate level
 Draw the attention of the class with claps in a rhythm, then use body percussion in a
certain pattern and rhythm and have students copy this
 For younger students you can have a ‘call and response’ with claps or a singing phrase
 Alternatively, use words that students know is your ‘bringing the class to attention’
behaviour prompt ‘ eg “ Listen up”
 Use a variety of behaviour management strategies
 Maintain a sense of priorities
 Avert confrontations with your students – eg “let’s discuss this after class”
 Use your voice and have ‘consequences to fit the crime’. Avoid taking your frustrations
from one class out on the next class
 See Dance Education Tips from the Trenches for suggestions re dealing with low level
disruptive behaviour
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7. Give clear instructions
 Gain the students’ attention
 Give short, clear direct instructions
 Check for understanding – don’t assume anything
8. Leadership
 Remember the word ‘discipline’ comes from the word ‘disciple’, which means ‘to follow’
– ie lead by example!
 Have a love of what you do and show it
 Transparency – be honest through your words
 Share insights into your challenges and triumphs
 Be proactive rather than reactive – ie take positive action rather than waiting until after
the fact
 Build with your students a relationship of mutual trust and respect – deposit into the
positive account rather than into the negative account
“Authority is granted to people who are perceived as authoring their own words,
their own actions, their own lives, rather than playing a scripted role at great remove
from their own hearts. When teachers depend on the coercive powers of law or
technique, they have no authority at all”.
Parker Palmer, 1998
Recommended related reading:
Kimmerle, M. & Côté-Laurence, P. 2003 Teaching Dance Skills: A Motor Learning and Development
Approach. New Jersey: J. Michael Ryan publishing, Inc.
Schlaich, J. & DuPont, B. 1993. The art of teaching dance technique. American Alliance for Health,
Physical Educaiton, Recreation and Dance: Virginia
Taylor, J. & Taylor, C. 1995. Psychology of Dance. Champaign, IL: Human Kinetics
Willis, Cheryl M. 2005. Dance Education Tips from the Trenches, Champaign IL: Human Kinetics
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Ideas for inspiring younger students
1. Inspiration Creation
 It can sometimes seem like a student or class don’t want to learn, but this desire can be
created by you and your approach to the class and to dance
 Comparison of Extrinsic/Intrinsic Motivation – consider how you can increase students’
intrinsic motivation through the manner in which you offer extrinsic motivation
 Use of varied props to foster interaction and cater for a range of learning styles.
Examples for younger students:
 Have a range of dance picture books or magazines for students to search in small
groups for particular shapes, poses, styles, costumes, moods, emotions, colours
relating to work you are covering. Have students share their findings with the rest
of the class and keep these images in their minds whilst dancing
 Have a box of coloured scarves, students choose scarf in colour to suit the mood of
the music and wear it however they wish to suit the style of the exercise as they
dance
 Have students bring two pieces of contrasting coloured paper, a pair of safety
scissors and two safety pins. Students cut out an appropriate shape in a suitable
colour of paper to suit the mood of the exercise and music – eg bright red star shape
for lively exercise or pale blue crescent moon shape for curved movement shapes.
Students then pin their cut-out in a suitable place on their leotard when they dance
2. Incentives
 Effort awards and incentives – group and/or individual
 Observation and discussion of older students dancing
 Viewing of inspiring DVDs and discussion of performance qualities
 Performance attendance and discussion
 Imagery and Mental Rehearsal
3. Goal Setting
 Individual and group options
 Methods of goal setting are outlined in Student Progress section.
4. Value of Encouragement and Positive Reinforcement
 Friendly kind approach fosters enjoyment and self-confidence
 Team approach creates positive, productive atmosphere
 Value of positive re-inforcement vs negative comments
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5.
Behaviour Management Considerations
 Differentiation skills are required, including awareness of varying personalities, learning
needs and external factors which may affect students’ behaviour (the weather, time and
day of the lesson, family environment, time of year, illness)
 Equal attention to all students – use of names and attention by name frequently and
evenly to all members of the class
 Drawing out reserved student – plan strategies to do so subtly without singling the
student out
 Managing extrovert child – plan strategies to re-direct their energies into productive
learning
 Handling boys in a girl’s class – educate yourself on methods of dealing with boys and
encouraging and inspiring them
 Handling children with difficulties – plan strategies to support students in need of
additional guidance in such a way as to retain their full integration and involvement in
the activities of the whole class. Planning exercises/activities which can be undertaken at
a number of levels within the same basic format can be helpful in including all students
as well as catering for individual requirements
 Adaptability - have a keen sensitivity to the mood of the class and/or individuals and
develop the ability to adapt the lesson plan accordingly
 Ensure appropriate time is given to each element of the lesson to avoid boredom,
exhaustion, overwork on one movement or set of muscles
 Utilize strategies to encourage achievement through effort – basic methods such as ‘star
charts’ in groups or ‘Worker of the Week’ awards (a simple certificate made up on your
computer with a pretty font and border, printed on coloured paper is quite sufficient!)
can work well for younger students. For small children, stamps, stickers etc can all have
a place. Having a set of ‘bling’ items on hand can also be helpful– the hardest worker
each class gets to choose an item to wear for the next lesson. Or have a really cute ‘dance
teddy’ or doll that sits at the front of the studio and the hardest worker gets to take the
toy home until the next lesson. Or maybe there is a special book they could take home
for trying the hardest. This can be extended for older children into interesting books with
lots of inspiring dance pictures in them – you obviously need to liaise with the parent to
ensure the book/teddy returns at the next lesson! There can also be pictures to colour in
if the whole class tries hard.
 For older students, perhaps allow the student who works the best in the class that day to
bring their own choice of CD music for the warm-up for the next lesson, or have a small
group of good workers given the privilege of both choosing the music and creating a
basic warm-up or a simple short routine or movement phrase to teach the rest of the class
at a subsequent lesson. The best of these might be subsequently shown at end of term
parents’ day or even incorporated into the show dance!
 You can also make use of simple checklists for the students to monitor their progress –
these can range in style from very basic ‘I can do it’ type of formats for young children, to
more complex goal setting and progress monitoring systems for older students.
 Keep your eyes and ears open for new ideas to inspire and encourage the various age
groups you teach – new ideas will keep their interest and enthusiasm levels high.
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6.
Pace, Timing and Balance
 Students should be stimulated by class content, delivery and pace
 Students’ should have a positive response to the teacher, music and class content.
 Students should be keen for another class with this teacher
 Students should remain involved and interested throughout the class
7.
Supplementary Information
 Young students enjoy decorating a file and having interesting dance-related pictures,
diagrams and simple information to include in their file. You can provide them with
some basic theory notes to help retention of learning and foster practice through basic
homework being set after each class. You can also encourage the students to research
and include resources they have found in their file to share with the rest of the class.
 Information File for Older Students
Information Files can provide supplementary information on dance-related issues to
enhance students’ learning including:
 Worksheets for class and Home Study activities
 Feedback recording system or journal
 Technique-related notes
 Warm-up and Cool-down strategies and value
 Nutrition and Hydration
 Injury Prevention and Management
 Managing Varying Physical Frameworks
 Body Conditioning and Safe Stretching
 Preparing for Exams, Assessments and Performances
 Performance Psychology
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Planning for Effective Teaching 8. Student Progress
8.1Class Goal Setting and Monitoring of Progress
 Discussion with students to involve them in identifying class goals and set strategies for
achievement
 Prepare Class Profiles
 Effective strategies used to assist students to improve throughout class, term, year
 Preparation of progress monitoring system to maximize chances of progression
 Assessment methods and timeframes of class achievement
 Acknowledging and recording class achievement
8.2 Student Goal Setting and Monitoring of Progress
 Discussion with older students to involve them in identifying individual student goals
and needs
 Prepare Student Profiles and Progress Charts
 Preparation of progress monitoring system to maximize chances of progression
 Assessment methods and timeframes of student achievement
 Acknowledging and recording student achievement
8.3 Teacher and Student Self-Evaluation
 Teacher and Student Self-evaluation process and material in use
 Subsequent adjustments to student and teaching goals
 Discussion at end of class to ascertain what students learnt from class. Review of these
points at start of next class
 Level of student enjoyment as well as learning from class
 Student behaviour and reflection of mental state at end of class – leaving class happy and
feeling they have achieved positive outcomes
8.4 Teacher Peer/Observer Evaluation
 Teacher videos own teaching for later reflection and evaluation
 Teacher’s work observed by colleague
 Evaluation and discussion based on Class Observation and Evaluation form, either
specific focus or later on whole form
 Post-class review and discussion and identification of strengths and areas for continued
improvement
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Planning for Effective Teaching 9. Teaching Resources
1)
2)
3)
4)
5)
6)
7)
8)
9)
10)
11)
12)
13)
Pianist/percussionist – consider suitability of teacher’s music choices and
pianist/percussionist performance
CD player and CDs/Ipod and cable or Ipod dock and relevant connection cables–
standard of equipment and suitability of music choices. Always have a back-up option in
case of equipment failure
Equipment for conditioning – eg therabands, tennis balls/spiky balls
Pictures used to illustrate teaching points, eg:
 Dancers
 Diagrams
 Costumes, Sets
Books/programmes/posters used to inspire and interest students
DVDs/ Videos to view for execution of certain elements and/or general
interest/education
For younger students:
 Props/costume items – variety of eg: Skirts/scarves/ribbons/gloves/headgear
 Craft equipment for making of various relevant craft items – coloured paper,
scissors, safety pins etc
 Student input – bring own relevant items
Percussion instruments
Supplementary information and resources for students, to support learning and foster
enquiry
Information posters or notes - eg:
 Warm-up and Cool-down routine, Safe stretching etc
Video Analysis - teacher films students, then shows video and facilitates discussion and
constructive evaluation of performance or classwork.
Feedback Recording System for Students
Teacher facilitates for students to set up a file into which they can note file handouts and
record feedback from teachers, peers and self-discovery. Entries are dated to chart
progress towards mastery of movements and concepts
Teacher reflection and self-evaluation:
 Learning Journal for recording of self, peer, student, Mentor and external guest tutor
evaluations
 Video analysis of teacher taking class
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Planning for Effective Teaching 10.
Teacher Post-class Self-Evaluation Considerations
Example Questions to consider:
1. Mood of class and response of students? Enjoyment
level?
2. Personal teaching manner/energy level/rapport with
students?
3. Planned class content covered? If so, how was this
achieved? If not, why not and what needs to be
transposed to next lesson plan? How can content or
delivery of lesson be adapted in future to allow full
coverage?
4. Planned class learning outcomes achieved? If so,
what in particular was improved? If not, why not
and which aspects need to be continued next lesson?
How can planned learning outcomes or delivery of
lesson be adapted in future to allow full coverage?
5. Continuity and progression? Did the class show these
aspects effectively? How?
6. Pace of class? Allocation of time to each section?
Evaluate and plan improvement if required.
7. Music choices suitable? If so, what worked well and
why? If not, what could be improved next time?
Relationship with pianist/accompanist?
8. Balance of technical, musical and artistic
development? If so, how achieved? If not, how can
be achieved in future?
9. Preparatory exercises – which worked well and
should be retained for future use? Which could be
enhanced for future use?
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10. Range of Teaching Styles utilized? What worked
well, what could be approached differently in future
classes?
11. Safe Dance Practice elements – warm-up, cool down,
adaptations to suit varying physical structures –
evaluate and plan improvement if required.
12. Were differentiation strategies employed? Were
students’ varying learning needs catered for?
Evaluate and plan improvement if required.
13. Use of language, vocal tone and modulation, imagery
– was this effective and if so how? If not, how could
these aspects be improved?
14. Feedback strategy – was feedback identified,
diagnosed, prioritized and delivered or facilitated
effectively? If so, how? If not, what could be
improved upon?
15. Class organization and behaviour management
strategies employed? Were these successful? If so,
why? If not, how could they be improved?
16. Were students inspired and engaged? Suggested
improvements?
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The Art of Teaching Dance Practice
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Pennington, NJ: Princeton Book Company, Publishers. A Dance Horizons Book
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Horizons
Recommended Research
Arts Online Te Hāpori o Ngā Toi.
http://artsonline.tki.org.nz/Dance
Dance Aotearoa New Zealand (DANZ)
www.danz.org.nz
DANZ Resources for Dance http://www.danz.org.nz/resources.php
A Career in Dance at http://www.danz.org.nz/resources_dancecareer.php
Dance Best Practice and Business Ethics at
http://www.danz.org.nz/resources_bestpractice.php
DANZ Code of Professional Practice for New Zealand Dancers
http://www.danz.org.nz/dancers_code.php
DANZ Code of Professional Practice for New Zealand Choreographers
http://www.danz.org.nz/Downloads/CodeChoreog.pdf
DANZ Code of Professional Practice for Teachers of Dance http://www.danz.org.nz/danz_code.php
NZ Teachers Council
http://www.teacherscouncil.govt.nz/
Ausdance
http://www.ausdance.org.au/
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Te Kete Ipurangi – the online knowledge basket - NZ Ministry of Education
http://www.tki.org.nz/
Te Kete Ipurangi – is New Zealand’s bilingual education portal. An initiative of the Ministry of
Education, it provides New Zealand schools and students with a wealth of information,
resources, and curriculum materials to enhance teaching and learning, raise student
achievement, and advance professional development for teaching staff and school managers.
International Association of Dance Medicine and Science
www.IADMS.com
IADMS Resource Papers for Teachers
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=186
Bone Health and Female Dancers
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=212
The Challenge of the Adolescent Dancer
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=1
First Aid for Dancers
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=290
Motor Learning and Teaching Dance
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=250
Fuelling the Dancer – Nutrition Fact Sheet
http://www.iadms.org/associations/2991/files/info/dance_nutrition.pdf
Proprioception
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=210
Screening in a Dance Wellness Program
http://www.iadms.org/associations/2991/files/info/dance_screening.pdf
Somatic Studies and Dance
http://www.iadms.org/associations/2991/files/info/somatic_studies.pdf
Turn-out for Dancers – Anatomy and Factors Affecting Turn-out
http://www.iadms.org/associations/2991/files/info/turnout_for_dancers_anatomy.pdf
IADMS Bulletins for Teachers 2009 to 2011
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=243
Teaching to the Whole Dancer
http://www.iadms.org/associations/2991/files/info/Bulletin_for_Teachers_1-1_pp810_Daniels.pdf
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Teaching the Hypermobile Dancer
http://www.iadms.org/associations/2991/files/info/Bulletin_for_Teachers_2-1_pp58_McCormack.pdf
Stretching for Dance
http://www.iadms.org/associations/2991/files/info/Bulletin_for_Teachers_2-1_pp912_Wyon.pdf
Recommendations for Stretching
http://www.iadms.org/associations/2991/files/info/Bulletin_for_Teachers_21_pp13_Handout.pdf
IADMS Studio Teachers Network
http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=268
Dance UK
http://www.danceuk.org/
Dance UK Healthier Dancer Programme
http://www.danceuk.org/healthier-dancer-programme/
Dance UK Healthier Dancer Programme Industry Standards
http://www.danceuk.org/healthier-dancer-programme/industry-standards/
Dance UK Resources
http://www.danceuk.org/resources/ and http://www.danceuk.org/shop/
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