WORKSHOP 2: INCLUSIVE DANCE EDUCATION
WEEK 2: THURSDAY 19TH JULY 2012
LECTURER/CHOREOGRAPHIC ARTIST: JACQUI DREESSENS
This workshop was centred on the need for inclusive dance education. In an inclusive environment, the learning community recognises and respects the diversity of all abilities. There is no such thing as a typical student. Classrooms have a wide range of abilities, and each individual needs to experience success in their attempts. Russell (cited in Doel 2010, p. 3) states that 'we are not concerned with training dancers, with producing a skilled technical performance, nor are we concerned with developing a set style. We are concerned with educating through movement, with fostering the child's love of movement and with giving scope for discovery, imagination and intuition'.
Our first discussion was based on how dance can be 'read' as a movement text. Often our focus in primary schools is on literacy and numeracy, but it must be recognised that we have many literacies, more so, encouraged to teach them. Students need to be supported to create and respond to arts literacies. As Susan Doel expresses in her 'Dance and social cohesion' powerpoint, the goal is for 'children to create and describe their own and other's work which gradually increases in complexity' (Doel 2010).
Jacqui discussed the benefits of having a clear intention. This concept was further identified as we discussed how our group created the 'school of fish' improvisation, along with the challenges and positive aspects. Jacqui identified the importance of questioning to help students vocalise their understandings. As Susan Doel expresses in her Dance and social cohesion powerpoint, the goal is for 'children to create and describe their own and other's work which gradually increases in complexity' (Doel 2010, p. 4).
As we watched the 'school of fish' improvisations from the previous week, we discussed and answered the following questions:
- How are they showing that they're underwater?
- What levels did the group use?
- Why do you think the group is moving in different directions?
- When did they speed up?
- When did they slow down?
- Why are they doing that? (This question is prompting the student to consider a rationale)
- Why are their hands vibrating?
- How did the variation of timing help with tell the story?
- What are they doing with their body when they are going slow/fast?
After this discussion, we started with our warm up.
Warm Up: In a large circle with everyone facing the centre, Jacqui introduced new movement vocabulary. The movements that we did were accessible for all. As a group we explored different choreographic devices such as unison, canon and retrograde.
Unison: 'the dance movement takes place at the same time in the group' (Smith-Autard 2010, p. 58)
Canon: 'a choreographic form in which groups perform the same single theme or sequence at different times so that it overlaps' (Deakin 'Dance Glossary')
Retrograde: 'a phrase in reverse order' (Sofras 2006, p. 9). This cause a domino like effect.
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| Walking in unison and clapping our legs |
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| Practicing canon |
After working in a circle, we then moved through the kinesphere freely, and explored changing directions and levels. In the photos below, we are stretching our bodies tall and crouching low.
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| Low spatial level |
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| High spatial level |
Once divided into small groups of 6 or 7, we were given a problem solving task. Our challenge was to connect with one another, but only have 4 legs, 3 bottoms, 2 hands and 1 head touching the floor. It was interesting to see how the different groups interpreted this open ended task. It did highlight the issue of safety when giving primary students a task such as this, because of the danger of students solely resting their body weight on their head, unsupported.
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| Problem solving task |
Our next point of call was to explore Mirror, Mould, Extend. Our step by step process was to first play with each positioning, as you can see in the photos below.
Mirror: Express the same body position, as if you are a mirror.
Mould: wrapping your body around another's position, to create a new outline.
Extend: Connecting at a point, and lengthening the position at any angle or level.
We then learnt to move into the frame and out of the frame using dynamic movement. We were encouraged to let go, free our inhibitions and use the entry and exit points to convey meaning in our choreography.
Our next task involved large coloured scarves as a prop. After an example of what was expected, we began to create a whole group movement piece with mirror, mould, extend. The activity involved students moving into the middle of the space with their scarf and deciding to mirror a person's shape, mould their position or extend the overall group shape. The timing was left to individuals to decide, but it was important that we didn't move all at once. The task relied on a cumulative effect.
After incorporating all students in the mirror, mould, extend shape, we were challenged to move out of the shape (in retrograde) remembering the correct order.
Our next activity also incorporated the use of scarves as a prop. In groups of two, one person blindfolded themselves, and the other person became their guide. This was done by the blindfolded person holding their hand in the air, and the guide placing their hand below, yet still touching. The guide moved the blindfolded person around the space, taking care to lead them safely so as not to crash into another pair. When I was the leader in this activity, I explored different speeds and the reactions to them by the blindfolded. It was clear that most felt uncomfortable being led through the room at a high speed.
A part of the rationale behind this activity was to help put us in a position where one of our senses was disabled. It helps to give you perspective on how some students may feel. It also showed that you can still teach in an inclusive way.
To warm down we collectively took part in stretching and a reflective discussion about the workshop.
Workshop adaptation for the early years
Parts of this workshop would be ideal for early years primary students. Working as a whole group, students could stand in a circle and practice a simple warm up, by using day to day experiences like bruising teeth. This activity would be in unison, however, the language that you use would be different. VELS Level 1 states that the dance-making process can 'extend single movement ideas into phrase and sequences by: joining movements together' and through combining'stillness and movement' (VCAA 2007a). Mirror, mould, extend is an activity example that can adapt with this standard.
Elements of this workshop would be well suited for the middle years.
Workshop adaptations for upper primary
'They develop and apply skills based on safe dance practices to combine movements and create spatial relationships; for example, they might devise ways of dancing alone, with partners or within a group, focusing on ways of leading, mirroring, partnering or using collaborative ensemble formations' (VCAA 2007b). For students working towards this level, the workshop would need to be adapted to a higher level. However, you could still use the concept of mirror, mould, extend. Students could work on choreographing a dance in a group working with a set of criteria that that must include. Jacqui has often used this approach in our workshops.
Reflection: Another fantastic workshop. The idea of always starting with simple and accessible movements eases everyone into their comfort zone, and then working in smaller groups to explore and problem solve new content is an inclusive approach. I felt that I was moving for the majority of the lesson, and this is an important aspect of running dance classes with young students. Teaching throughout the lesson, whilst they are moving keeps them engaged. Mirror, mould, extend is effective in exploring how the body can move and for students to consider themselves as a part of a whole, another inclusive practice. I also found the blindfold activity to be a good reminder of different abilities in the classroom. I will endeavour to be creative with props, as I found them to be a great addition to each of the activities.
Dance glossary, Deakin University, retrieved 28 October 2012, <https://d2l.deakin.edu.au/d2l/lms/content/viewer/main_frame.d2l?ou=108145&tId=1484960>
Doel, S 2010, ECA410 Dance in primary education: dance and social cohesion, Deakin University, retrieved 28 October 2012, <https://d2l.deakin.edu.au/d2l/lms/content/viewer/main_frame.d2l?ou=108145&tId=1485017>
Smith-Autard 2010, Dance composition: a practical guide to creative success in dance making, 6th edn., Methuen Press, London.
Sofras, P 2006, Dance composition basics: capturing the choreographer's craft, Human Kinetics, Champaign, USA.
Victorian Curriculum and Assessment Authority (VCAA) 2007a, 'Approaches to Learning and Teaching - the Arts (Dance) Level 1, State Government Victoria, retrieved 28 october 2012, <http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance01.pdf>
Victorian Curriculum and Assessment Authority (VCAA) 2007b, 'Approaches to Learning and Teaching - the Arts (Dance) Level 4, State Government Victoria, retrieved 28 october 2012, <http://vels.vcaa.vic.edu.au/downloads/supportmaterials/arts/vels_appteach_dance04.pdf>
