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Findyourownpace
andmovetogether.
TheApplicationofUniversalDesignofInstructioninDanceDegreesinHigherEducation.1
"Ilovedthediversity,allofthelanguages,thesimultaneoustranslations,thephysicaltranslatingofwhatcanmybodydo?Theanswersbyamultitudeofabilitiesandages.ItseemedrepresentativeofthekindofworldIliketolivein.”
Studentresponsetointegrateddanceclass
Overview
Overthepastthirtyyearsdancecompaniesworkingwithdisabledandnon‐disabled
performershavedevelopedsuccessfulmethodologieseffectiveinworkshopsand
companytraining.Integrateddance2hasspreadbeyondpostmodernWestern
TheaterDancewithprominentproponentssuchasDanceAbility,AXISDance
CompanyorDancingWheelsintheU.S.orAmiciDanceTheaterandCandocoDance
CompanyintheUKtoplacesasdiverseasIndia,Ethiopia,Uzbekistan,Brazil,etc.
spanningamultitudeofdanceformsandgenres.Whiletheprincipleofinclusionin
thecreativeprocessandperformanceseemstospreadrelativelyeasily,itproves
bothdifficultandproblematictotransferintegrateddanceintomainstream
teachingandtoprovidecomprehensivetrainingandeducationforperformerswith
disabilities.Thelastdecadesawconcertedefforts,particularlyintheUK,toincrease
accesstodancedegreeprogramsforstudentswithdisabilities3.Theresearchand
theresultingpublicationsareusuallyabletoaddressphysicalaccesstofacilities,
information,inclusivelanguageandoverarchingartisticandeducationalprinciples.
Thereishoweveragreaterchallengetodisseminatebestpracticeinaccessible,
instructionalprocesses.Whileindividualsolutionsexist,theseapproachesareby
andlargenon‐verbal,applied,visual‐kineticandembodied.
Mypersonalhistoryasadancersomewhatmirrorsthedevelopmentof
integrateddanceandthechallengetotransferthepracticeintohighereducation.I
completedanMAinContemporaryDanceattheLondonContemporaryDance
Schoolin1997,trainingconventionallyasacontemporarydanceperformer.In2000
IgainedapositionwithCandocoDanceCompany4,aprofessionaltouringcompany
withdisabledandnon‐disabledperformers.Experiencingintegrateddance
fundamentallyshiftedandcontinuestoinfluencemyartisticandpedagogic
approach.Movingbackintohighereducation,joiningthefacultyintheDance
ProgramattheUniversityofWashingtonin2004,itwasimportanttomenotonlyto
teachaboutintegrateddance,butalsototeachstudioclassesinanaccessibleway.
Writingaboutanembodiedpracticeisalwaysanactoftranslation.The
process,however,ofwritingthischapterservesseveralimportantpurposesand
contributestothediscussionofUniversalDesignofInstructionfromadance
practitioner’sperspective.Thearticledocumentsimportantchangesmyapproach
tointegrateddanceunderwent,whenImovedfromaspecificcompanypracticeinto
highereducation.ConsideringUDofInstructionrequiredmetorethinkteaching
processandmaterial,andtogeneratenewideas,tasksandexercises.Theresulting
documentisasmucharecordandcritiqueofpastandestablishedworkasitisa
blueprintforcontinueddevelopment.Furthermore,thisarticlecanhopefullyreach
morepeople,andgenerateamorefar‐reachingdiscussionofaccessandteaching
practiceindanceaswellasinotherdisciplines.
Afterprovidingahistoricoverviewofintegrateddance,Idiscussthe
applicationofUDofInstructiontodancedegreeprogramsandstudiopractice.
Centralinthisdiscussionishowtomovebeyondworkingwithadaptationsasa
deviceforstudentswithdisabilities.Theaiminsteadistocreateaccessforamore
diversestudentpopulationbydevelopingaskill‐specificcurriculumwithteaching
methodologies,assessmentcriteria,classstructuresandmaterialrelevanttoall
participantsintheclass.
HistoricOverview
Artisnotamirrorhelduptoreality,butahammerwithwhichto
shapeit.‐BertholdBrecht
IntheUKandU.S.dancerswithdisabilitiestooktothestudioandthestagefromthe
late1960sonward.Inatimewhenthedisabilityrightsmovementwasgaining
momentumandfirstlegislationwasmovingaheadtoensureequalaccessforpeople
withdisabilities,postmoderndancefundamentallyquestionedwhatdancewasand
setouttodevelopanaestheticthatincorporateseverydaymovements,workswith
untrainedperformersandmixessocialdance,theatricalforms,etc.5
Duringthe90s,whiletheADA(American’swithDisabilitiesAct,U.S.A.1990)
andtheDDA(DisabilityDiscriminationAct,UK1995)werepassed,anumberof
integrateddancecompaniesformalizedtheirpracticefromgrassroots,short‐term
projectstotouringrepertorycompanies,offeringprojectorfulltimeemploymentto
theirdancers.6Thesedevelopmentstookplacedespitemarginalaccesstoformal
trainingfordancerswithdisabilities.7Intermsofthetrainingavailableto
performerswithdisabilitiesthe2003UKstudyDisabilityandtheDanceandDrama
Awardsconcludes.
Onthewhole,manydisabledpeoplecanonlygainaccesstoinformaltrainingprovision.”
(Verrent,2003,pp26)Studentswithdisabilitiesareunderrepresentedinmainstreamdanceeducation.8
Theirtrainingisdelegatedtospecializeddancecompaniesandschoolsor
workshopsforthedisabled.Artistswithdisabilities“learnonthejob”andthe
trainingremainsunaccredited.Theseseparatetracksfordisabledandnon‐disabled
artistsareproblematic.
• Itaffectsartistswithdisabilitiesintheirimmediatejobprospectsandlong‐term
careers
• Itlimitstheexposureofmainstreamdancers,teachersandartiststoinclusive
practice.
• Integrateddancecompaniesareprovidingtrainingtonewdancersotherwise
coveredbycollegesanduniversities.
Theteachingandtrainingintheacademyisstrugglingtokeeppacewith
developmentsintheperformingartworld.Thislackofaccessibleandaccredited
trainingstandsinstrikingdiscrepancytothegrowingpresenceofperformerswith
disabilitiesandthedemandfortrainedandqualifiedperformers(bothdisabledand
non‐disabled)tojoinestablishedintegratedcompanies.Companiestraditionally
workingwithdisabledperformersaresheddingthemarginalizinglabelof
“integrated”and“disabilitydance”whileotherscastartistswithdisabilitieswithout
evertakingupadisabilitylabel.9TruetoBrecht’squote,Art,inthiscase,dance
companiesandperformerswithdisabilitiesareleadingthewayanditistheReality
ofdancedegreecoursesandformaltrainingthatrequiressomeofthe“hammering”
tochangeshape.
UniversalDesign,DefinetheUniverse
UniversalDesignis,asdefinedbyRonMaceattheCenterforUniversalDesign
(CUD)atNorthCarolinaStateUniversity:
“Thedesignofproductsandenvironmentstobeusablebyallpeople,tothegreatestextendpossible,withouttheneedforadaptationorspecializeddesign”
(TheCenterforUniversalDesign,1997Website)10
InitiallyconceivedandappliedinthedesignofproductsandarchitecturetheCUD
establishedasetofsevenprinciples:
1. Equitableuse
2. Flexibilityinuse
3. Simpleandintuitive
4. Perceptibleinformation
5. Toleranceoferror
6. Lowphysicaleffort
7. Sizeandspaceapproachanduse
Thesegeneralprincipleshavebeenreconsideredforvariousspecificsettings,
amongstthemteachingandinstruction.SherylBurgstahlerandRebeccaCory’s
publicationUniversalDesigninHigherEducation;FromPrinciplestoPractice
presentsanumberofexampleswhereresearchersandpractitionershaveusedthe
sevenprinciplesofUDtodevelopguidelinesrelevanttotheirfields.Burgstahler
developedanumberofrubricsforUniversalDesignofInstructioninhigher
education:
1. Classclimate
2. Interaction
3. Physicalenvironment/products
4. Deliverymethods
5. Informationresources/technology
6. Feedback
7. Assessment
8. Accommodation
InordertoapplythediscussionofUDofInstructiontodance,weneedtostartwith
areflectionontheconventionsofteachingindancedegreeprograms,toteaseout
whichaspectspromoteandwhichoneschallengeaccessandinclusion.Atthispoint
Ialsocriticallyexamineapproachesusedbyanumberofintegrateddance
companiesanddiscusswhythesemethodologiesdonottranslateintomainstream
teaching.Subsequently,IaddressspecificpointsofbothUDandUDofInstruction.
Inparticular,theprincipleofEquitableUsereallystartedmyrethinkingofinclusive
practice.Thediscussionofspecific,moreequitablemethodologiesisthereforeatthe
centerofthisarticle.
ConventionsinDanceDegreePrograms
Atfirstglancethereisanarrayofdifferentcollegesanddegreeprograms
availabletostudydance.Onfurtherinvestigationhowever,itseemsthatmost
undergraduatedegreesareprettysimilarintheircurricularstructure.Students
interestedinperformanceandthoseinterestedindanceeducation,therapy,
communityorsocialdanceformsallgothroughsimilarundergraduatedegrees11,
withthebulkoftimededicatedtodancetechnique.Itisstandardtohaveadaily
balletclassfollowedbyasecondtechniqueclassinanotherstyle(e.g.modern,jazz,
tapandotherethnicforms).12Whiletherearesignificantdifferencesinemphasis,
techniqueclassesshareasystematicapproachtotrainingskills.13Intermsof
access,lecturecoursesindancefaceconsiderationssimilartootheruniversity
courses.Studiobasedcourseslikecreativeprocess,improvisation,repertoryand
composition,arelargelydeemedaccessible14.Techniqueclasshoweverworking
withsetmaterialislessaccessiblematerialandthereforedeservesparticular
attention.
Withintechniqueclasseswecandifferentiatebetweencodifiedandnon‐
codifiedforms.Codifiedtechniqueslikeclassicalballetandhistoricmodernforms
(e.g.Graham,LimónandCunningham)workwithanestablishedandsetvocabulary.
Non‐codifiedtechniques,associatedwithpostmodernandcontemporarydancecan
includepedestrianmovements,somaticpracticesandidiosyncraticmaterial
relevanttotheindividualteacher.Whileoftenstillset,non‐codifiedtechniquescan
offermorefreedomintermsofselectionandperformanceofthematerial.
Usinggenericorspecificassessmentcriteriaintechniqueclassalsogreatly
affectsaccessibility.TheTrinityCollegeinLondonforinstancesetsstandardcriteria
forinstitutionsawardingtheNationalDiplomainProfessionalDanceintheUK.15
Fromthesixassessmentobjectivesfortechniqueclass,numbertwoisagood
exampleforgenericassessmentcriteria.
Oncompletionofthiscomponentthecandidatemustbeableto:Executesustainedmovementsequencesconsolidatingstrength,balance,co‐ordination,flexibilityandcontrolwithaccuracy,safetyandtechnicalfluency.
(TrinityCollegeLondon,pp3)
Thesegenericcriteriaaddress“meta‐skills”ofdanceapplicabletofundamentally
differentdancestyles.GretchenWardWarren’sClassicalBalletTechniqueandthe
HandbookforTeachers,VocationalGradedExaminationsfortheRoyalAcademyof
Dance(RAD)ontheotherhandbothpresentexactinglistsofstandardized
movementsforexaminations.Warrenincludesanumberofmeta‐skills,yetalso
stressesthefollowingqualitiesaboveall:
Mostimportant,howeveristheevaluationof(1)adancer’snaturalphysicalcapacityforclassicaltechniquewithregardsto“turn‐out,”extension,andballon,and(2)adancer’sfeet,height,weight,andbodyproportions.
(Warren,1989,pp64)Shegoesfurther.
Allaspiringballetdancers,however,mustmeetcertainbasicrequirements;itisneveracceptabletobeoverweight,awkward,extremely“turned‐in”orinflexible,ortopossesscertainexaggeratedphysicalcharacteristicsthatdonotconformtothetraditionalclassicallook.Classicalballetisavisualartform,andwhataudiencesseeonthestagemustbepleasingtotheeye.16
(Warren,1989,pp64)
Whileinstitutionsandinstructorsteachingdancemaynotactuallyspelloutsuch
specificcriteria,thesevaluesstilllingerinthemind‐setandpracticeofmany
instructorsandstudents.
Codifiedstyleswithspecificassessmentcriteriaposeveryevidentchallenges
toinclusionastheformofthestepbecomesabsoluteandunchangeable.Thereare
dancerswithdisabilities,KittyLunnandMarcBrueamongstthem,whoworkwith
theprinciplesandcharacteristicsofballet.Thisrequiresatranslationofthespecific
criteriatogeneralones.Adancerwithadisabilitywhilemaybenotinapositionto
executethedoublepirouetteendedansasspecifiedbytheRADcriteria,can
demonstrateitsgenericskillsofbalancingandturning,conveyingcontrol,
specificityandvirtuosity.
Non‐codifiedmaterialandgeneralassessmentcriteriaarepotentiallymore
inclusive.Yeteventheyareoftenstillassessedthroughuniformperformancesofthe
samemovementmaterial.Howevergenericcriteriadon’tprescribehowastudent
demonstratestherequiredskills.Theessenceisthatthestudentdemonstratesthe
abilitytoretainher(notauniform)setphrasewithaccuracyandperformitwith
appropriatecontrolanddetail.TimeandtimeagainhaveIseendancerswith
disabilitiesdemonstratethis.
Traditionaltechniqueclassandthehegemonicpositionballetandmodern
hold,arethesinglechallengetothesuccessfulinclusionofstudentswithdisabilities
intodancedegreeprograms.Examiningthegenericassessmentcriterialeadstothe
conclusionthatitisnotthecriteriaandthecurriculumbutwhatactuallyhappensin
theprocessofteaching,whicheitherexcludesorcreatesaccess.Thebasicquestions
fortechniqueclassthereforeare:
• HowcanIprovideclassmaterialandprocessesthatpromotetheskills
stipulatedbythecurriculumforadiversestudentbody?
• Howcanstudentsdemonstratetheseskillsthroughtheirmovementrange?
• HowdoIgivefeedbackandassesstheirperformance?
ConsideringUDatthelevelofDegreeRequirements
ThefacultyintheUWdanceprogramrecentlyconsideredtheroletechniqueclass
playsforanewdancestudiesdegree.Acknowledgingthehegemonysetbythe
techniqueclassesonoffer17,weexploreddifferentoptionsforstudentstocomplete
thisrequirement.Discussingthepossibilityofwaivingthetechniquerequirement
forstudentswithsignificantprevioustraining,Iwaskeentointroducethe
possibilityforstudentstocompletepartorallofthetechniquerequirements
throughindependentstudiesandtomaketechnicaltrainingpracticedoutsidethe
confinesoftheuniversitycount.Thisapproachtoaccesspresentsanumberof
benefitsforallstudents:
• Itopensupthedegreetostudentsinterestedinamultitudeofemerging,popular
andethnicdanceformsthatarenotpartoftheacademiccanon.
• Fortechniquesstudiedoutsidetheuniversity,thedegreeprogramprovides
qualityassuranceandaccreditationwhileothersubjectsarestudiedinthe
contextofdegreecourse.
• Thetechniquestudiedisrelevanttothestudent’spractice,whichwillcarryover
intoherprofessionalwork.
Sincetechniqueclassisthemajorobstaclefordisabilityaccess,itisworthitto
discussdifferentwaysinwhichthisrequirementcanbemet.Itisimportantthatwe
imaginethestudentpopulationwecouldteachandnotjustthinkoftheaverage
studentwealreadyteach.Solutionsdiscussedatthelevelofdegreerequirements
alonealreadyleadtoanumberofrigorousyetadaptableroutestoasuccessful
completionofadegreewithimprovedaccess.Diversityisbothincreasedinterms
ofstudentsattendingaswellasdanceformsrepresentedinthedegreeprogram.
ConventionsinIntegratedDance
Integrateddancerangesfromworkingexclusivelywithpeoplewithaspecific
disabilitytocompaniesintegratingdancersofall(dis)abilities18.Needlesstosay
aims,criteriaandartisticmissionvarygreatly–notallofthemrelevanttohigher
educationandthediscussionoftechniqueclass.Amongstthecompaniesworking
withtechniqueclass,Iamawareoftwodistinctapproaches:Disabilityspecific
dancetechniques19andworkingwithadaptations.
Disabilityspecifictechniques,whilevaluableinaparticularcompanyand
individualpractice,areineffectdiscriminatoryinthecontextofhighereducation,as
theyselectparticipantsongroundsoftheirdisabilitywhilepotentiallyexcluding
others.NothavinggeneralapplicationIvaluethesetechniquesaspointsof
referencewithgreatrelevancetoaspecificstudentImayhaveinaclass.Working
withadaptationsthedancerstranslateaspectsoftheoriginalphrasetotheir
individualmovementrange.Eachversionstaysconsistentwiththeoverall
principlesofaphrase,butallowsforaspectslikebodypartsused,actions,spaceuse,
time,anddynamicstobechanged.Inthisprocessinstructorandstudentshaveto
clarifyiftheformofthephraseismoreimportant(bodyshape,pathways,actions
etc.)oritsfunction(warmup,stretch,developstrengthandbalance,complexspace
useetc.).20Workingwithadaptationsismoreflexibleandabletoincludeabroader
rangeofabilities.WorkingwithCandoco,teachingcompanyclasstoexperienced
dancers,Iunderstandthechallengesofworkingwithadaptations.Teachingin
highereducationintensifiesthesechallenges.
• Inthecompanyformatparticipantswithadisabilityhaveacriticalmass,making
theapproachrelevanttotheindividualandthegroup.IntheuniversitysettingI
mayormaynothavestudentswithadisabilitypresent.
• Knowingthedancersandunderstandingtheirmovementrangeallowsthe
teachertopreparemultipleversions.Thisaddstimetoclassplanningand
instruction,reducingtimespentmoving.
• Notknowingthedancersoftenleavestheburdenofdevelopingadaptationswith
thedancer(s).
• Thematerialismodeledonnon‐disableddancers,favoringnormativemovement
patterns.
• Workingwithadaptationsisaprocessthatpresumesahighlevelofdanceskills,
skillsthatfirstneedtobetrained.
• Adaptingsinglesthedancerwithadisabilityout,andcanmarginalizeshim/her
intheprocess.
• Adaptationsengagestudentswithvalidandappliedchallenges.Thesechallenges
arehoweververydifferentfromthosefacedbytherestoftheclass.
• Non‐disabledstudentshaveeachotherandtheinstructoraspointsof
references,toobserveandcopy.Adaptingstudentsperformindividualversions
independentlyassolos.
Evennon‐disabledstudentswithprevioustrainingexperienceoftenfindthemselves
overwhelmedbythechallengeofworkingwithadaptations.TheonlydancersI
observedworkingsuccessfullywiththismethodareperformers,bothdisabledand
non‐disabled,withsignificantdanceexperience.Overyearsofpracticetheyhave
developedanalyticalskills,anunderstandingofhowmovementmaterialis
structuredandhowthisrelatestotheirmovementrangeandtraininglevel.21These
arepreciselythemeta‐skillsthatweultimatelywanttotrain,butwecan’tpossibly
expectthemfromabeginnerstudent.
UDprinciple:EquitableUse
WorkshopApproachestoWorkingwithVariations
TheUDprincipleofEquitableUseinparticularchallengedmetorethinkthepractice
ofworkingwithadaptationsinintegrateddance.Workinginhighereducationit
becameevidenthowinequitablethisapproachis,challengingmetomovebeyond
workingwithadaptationsasadevicesolelyforstudentswithdisabilities.Theskills
usedinadaptingarerelevanttoallparticipantsandneedtobetrainedaspartof
techniqueclass.TodistinguishtheapproachesIprefertalkingabout“translating”
material,developing“individualversions”or“variationstoatheme”.
Techniqueinitsrootmeansskill,yetindance,techniqueusuallystandsfor
thephysical‐anatomicaltrainingalone.Thisexcludescreative/compositional,
improvisational,analytical,rehearsalandperformanceskillspracticedinother
studio‐basedclasses.22Integrateddancecompaniesoftentrainrequiredskillsas
partofthecreativeprocessinafluidworkshop‐basedapproachnotnecessarily
usingformaltechniquematerial.Formaltrainingindegreecoursestendsto
segregatedanceintoseparateareasofskills,technique,improvisation,composition
andperformance.Thereisacertaintensionbetweenthismodernistapproachto
learningandtherealityand“messiness”ofthedancers’workinglives.Itseemsthat
postmodernpracticehasnotmadeitswayfullyintovocationaldancetraining.
RethinkingtechniqueIadvocateforthemixingofstudioapproachesandthe
inclusionofimprovisation,compositionalandcreativematerialinthecontextofa
techniqueclass.Thisapproachisbothaccessibleandrelevanttoprofessionalpraxis.
ImplementingthemixingofstudioapproachesIincludeimprovisationand
compositionexercisesinthecontextoftechniqueclassanduseaworkshopprocess
tointroduceworkingwithtranslations.Shortofprovidinganinstructionalmanual
here,Isummarizetheprocessanddiscussequitableuseandsharedteachinggoals.
Ifacilitateanice‐breakerduringafirstclassmeeting.Gettingparticipants“tomove
aroundthespace”Igraduallylayermoreinformation:Gothroughthegapsbetween
people,acknowledgeeachother,greeteachother,followsomebody,staycloseto
themorfaraway,introducetouchetc.SubsequentlyIsetothertaskswherewefind
outnames,eyecolor,whatpeopleeatforbreakfast,favoritemovements,etc.While
onthesurfaceabout“gettingtoknoweachother”,theicebreakerservesanumber
ofpurposes,influencinghowIcontinueinstructinganddeveloptheclass.
• Itinvitesaninformalexchangewherestudentsandinstructormeeteachother
asacommunityoflearners.23
• Itintroducesimprovisation,tasks,communicating,workingwithtouchas
methodologiesusedinthistechniqueclass.
• Itshowspreferencesinwaysofmoving,communicatingandprocessing
information,importantaspectsforrecognizingmultiplewaysofparticipating
andfacilitatingaccess.
Introducingworkingwithvariations,IregularlyuseasequenceofMirroring
exercisesatthebeginningofthequarterinalllevelsoftechniqueclasses.Following
eachtaskIaskanumberofquestions:“Whatwasyourexperience?”“Whatwere
challengesinperformingthistask?”“Howdidyousolvethem?”leadingintoa
discussionaboutpredominantwaysofworkingandtheroleofindividualized
material.
Mirroring:VersionISpoken,writtenanddemonstratedinstructions:
Findpartner(s)Faceyourpartner(s)Mirroreachother’smovementsSwaptheleadseamlessly(Makeitimpossibleforanaudiencetodetectwhoinitiatesatanygivenmovement)
Aclassicworkshopexerciseforchildrenandbeginners,Mirroringisnotan
accessibleexerciseandisnotusuallyusedinintegrateddancesettings.Copyingand
mirroringarehowevernotonlydominantformsofinstructionindance,theyare
alsorelevantinmanyotherformalandinformalteachingsituationsfromnewborns
toadults.Inamixedabilityclasspartneringupispotentiallyasensitivesituation,I
needtofacilitateandmakesureallparticipantsareincluded.Ialsohavetheoption
togostraighttoVersion2or3andjustdemonstrateVersion1anddiscussthe
valuesitimplies.24Thediscussionusuallyestablishesthesepoints:
• Demonstratingandcopyingisthepredominantteachingmethodologyin
techniqueclass.
• Itassumessamenessandvaluesuniformperformance.
• Thedemonstratingdancerinadvertentlysetsan“ablist”standardor“correct”
version.
Versiononeisnotidealintermsofinclusionandhighlights“ablist”assumptions
thatarebuiltintotheteachingmethodology.Withtheaimtobeaccurateand
“correct”Mirroringisoftenexecutedslowly.Thisapproachcharacterizesmany
techniqueclasssettingsandotherformsofinformationbasedinstruction,looking
foronecorrectsolution.
InasecondroundIencouragedtheparticipantstoshiftfromaccuracyto
challengingeachother,freeingupthefacing,spaceandtempouse.Ialsoaskthemto
consider“joining”or“dropping”amovementsuggestionfromtheirpartner.The
resultinthisversionisafastertempo,moreanddifferentmovementmaterial,
experimenting,findingmultiplesolutionsandmakingdecisionsispartofthe
“correct”completionofthetask.Thesubsequentdiscussionestablishes:
• Therearemoremovementpossibilitiesthaninthepreviousversion.
• Tempoandspacerangearegreater.
• Thereisalwaysaclearconnectionbetweenthetwopartners,observersstill
knowwhoisdancingtogether.
• Version2leadstoanotherteachingstyle:explorationandplay.
InthethirdroundIaskthepartnerstochoosedifferentstartingpositionsfromeach
other(standing‐kneeling,sittinginachair–sittingonthefloor,lyingdown,etc.)In
amixed‐abilityclass,workingwithdifferentpositionsandlevelsmaybepresent
already.Iremindstudentsthatworkingwithdifferentpositionsorlevelsisnot
aboutassumingrolesasdisabledornon‐disabledparticipants.Thediscussion
establishesthefollowingpoints:
• Standinguprightonyourfeetisoftenassumedasauniversal,neutralposition
fromwhichallothermovementpossibilitiesfollow.
• Differentlevels/bases/positionsofferdifferentmovementranges.
• Copyingaloneisaninadequatestrategy;thematerialneedstobetranslatedinto
achangedrange.
Manystudentsstarttheexerciseassumingthestandingversionisthestandard,the
“proper”version.Astheytradetheleadbackandforthwiththeirpartner,thereisa
momentofrealization,whentheyseethatstandinghasitsownlimitations.The
seriesofmirroringexercisesaddressesthedominantwayofworkingindanceand
introducestheanalytical,playfulandimprovisationalskillsrequiredintranslating
material.Afterintroducingtheconceptoftranslatingitneedstobepracticedand
appliedfurther.
Traditionaltechniqueclassesuseasetseriesofexercisestowarmupand
trainspecificarticulationsandgeneralmovementpossibilities.Ialsoworkwith
thesecategoriesbuttrytogeneralizethemfurtherbyincludingapproachesfrom
Choreology,LabanMovementAnalysisandBartenieffMovementFundamentals25.
Generallyspeakingtheclassmaterialdevelopsfromexplorationandimprovisation
towardsvaryingdegreesofsettingandsharingofindividualmaterial.Forawarm
upexercisesforinstanceIpresentasequenceoffundamentalmovementconcepts
like:Reachingupanddown,shiftingforwardandbacketc.WhileinstructingI
demonstrateseveralwaysinwhichIinterpretthesameelement.ThefirsttimeI
may“Foldandreach,up‐down”withmyarms,thenexttimewithmylegsetc.
ChangingmyownversionisimportantsothatIdon’tsetanormativephrase.
Demonstratingalsomakesmepartofasharedprocessandallowsmetomodela
committedperformancequality.Afteraninitialexplorationtheorderofthe
elementsisgivenandeachsetinatimeframeofeightcountsonamediumpaced
pulse.Withinthetimeframeeachparticipantisfreetochoosespeed,bodyparts
usedandrangeofmotion.Whileeachparticipantdevelopsherindividualversion
thedancerssharethesequentialorderandtimeframes,theyrecognizeanduse
theirfullrangeofmotion,warmupeffectivelyandprepareformorecomplex
movementsequences.Iusethissameapproach,definingandexploringelements,
andmovingfromimprovisingtosettingformorecomplexcenterphrases,where
studentsdeveloptheirindividualversionsaccordingtomoreandmorespecific
information.
Mymaincritiquepointofadaptationsis,thatitisinequitablesinceitis
usuallyjustofferedtoordemandedofstudentswithdisabilities.Usingmovement
categoriesanddescriptionsasexplainedhere,allthestudentsundergothesame
processandpracticeworkingwithtranslationsinanequitableway.Oncethe
processisestablishedtherearemultiplewaysinwhichthematerialcanbe
developed:
• Thephrasecanremainimprovisedorgraduallybecomeset
• Thetimingiskeptopen
• Thetempoisspecifiedasslow,sustained,fluidorfastbutnotsetona
meteredpulse
• Twoormoredancersperformthematerialinasharedtempo
• Thephraseissettospecificcountsandperformedindifferenttempogroups
• Timeframesareshortenedandrepetitionsremoved
• Dancerstranslate/copymaterialfromeachother
Theemergingmaterialallowsmetorespondwithspecificfeedback,assessthe
performancesandmakesuggestionsfordevelopment.Acommonunderstandingof
theapproachiscrucialasitallowsparticipantstoharnessthebenefitsofworking
withstructuredmaterial,practiceandgraspfundamentalmovementprinciples,and
demonstratetheirunderstandingandskillsthroughtheirindividuallysetphrases.
UDPrinciple:FlexibilityinUse
Itisimportantthatworkingwithvariationsisnotjustintroducedasatool
once,butthatitispracticedrepeatedlyintheclasscontext.Introducingthe
approachtotheclassasacollectivemakesavastdifferenceinthereadinessto
applythemethodologyandthelevelofaccomplishmentachieved.Allowingfor
flexibilityinuse,studentseventuallyworkwithvariationsindependentlywhereand
whenappropriate,translatinganythingfromasingle,specificmovementtoan
entirephrase.
Thereareanumberofwaysinwhichtofurtherincreasetheflexibilityinuse.
Thecomplexityoftheindividualphrasescanbeadjustedbyaddingorsubtracting
simultaneousmaterial.“Asyoureachuphighcanyoualsoaddaturn,travelor
jump?”“Whatmaterialsuggestsitselftoanexistingmovement?”“Doyouneedto
adjusttheoriginalmaterial,tostaywiththetimeframe,yourpartneretc.?”These
questionsengagestudentstoadjustthecomplexityoftheindividualvariationto
reflecttheircurrentabilities.
Peerobservationandfeedbackingroupsorone‐on‐oneisanotherwayof
flexiblyvaryingparticipation.Studentsobserveandreviewanexistingphrase
accordingtothesetcriteria.“Arealltheelementsandspecificsinthephrase
performedwithclarity?”“Whatarethetransitionsbetweentheelements?”“What
wouldcreateafullerperformance?”Thesearejustsomeoftheconcernsapeercan
commenton.
Whilemovingandreviewingarenotnecessarilyequivalentwaysof
participatinginadanceclass,studentscandemonstrateaclearunderstandingof
movementskillsbygivingfeedback.Isetobservationtasksbothforthewholeclass
andforindividualstudentswhoarenotinapositiontophysicallyperformthe
phraseatthistime.Thelong‐termaimisforstudentstousetranslating,adjusting
complexity,observingandgivingfeedbackindependentlyandflexibly.
UDPrinciple:SimpleandIntuitive
Inmyexperienceworkingwithindividualvariationsisinitiallynotsimpleor
intuitive.Whilethecomplexitycanbeadjustedtoanindividuallevel,having
multipleversionsofthematerialperformedsimultaneouslybecomesconceptually
moredemanding.Somedancersfindtheapproachfreeing,astheysetmoreand
morespecificsattheirpace.Participantswhoareusedtoperformuniform,set
materialandthosewhorelyontheirpeerstoremembermovementsequencescan
findworkingwithvariationsdisconcertingandconfusing.Othersalsoforgetabout
thespecificsofataskandindulgeinsafe,habitualmovements.Allofthese
preferencestakesomecoaching.Iencourageallstudentswhostrugglewith
retainingmaterialtoworkwithspecificpartnersandto“staywiththem”while
performing.Igivestudentsmoretimetoobserveandassisttheminfinding
compatiblepartners.Ialsoprovidefeedbacktoguidestudentstomaterialthat
addressesthespecificsofthetask.
UDPrinciple:ToleranceofErrorandLowPhysicalEffort
ToleranceofErroratthelevelof,gettingthesequence“wrong”andmakingmistakes
ispartofthelearninginthestudiospaceandaquestionofmakingsurethelevelof
complexityissetright.Moreseriouslythereisalsothepossibilityoflossofcontrol,
resultingininjury.Itisimportantinallclassestoconsiderthepotentialfor
accidentsandtoprovidehealthandsafetyadvice.
InprinciplestudentsknowtheirbodiesandpossibilitiesbestandI
encouragethemtorecognize,respectandaddresstheirlimits.AtthesametimeI
alsoencouragediscoveryandrisktakingtoexpandthecurrentmovement
possibilities.Theconflictbetweenthesetwostatementsisattheheartofthe
learningprocesseswiththeaimofbuildingawarenessforadancer’sabilitieswhile
alsoexpandingherrange.
Inmostclassesinstructorsteachsafealignmentanduseofeffortbasedon
personalexperienceaswellasabodyofknowledgedevelopedindanceover
generations.Thisadvicebuildsontheassumptionthattheinstructorandthe
studentsharethesamephysicalandperceptualpossibilitieswhichisnotagiven.
Workingwithstudentswhohavedifferentwaysofhearing,seeing,movingand
processinginformationfurtherchallengesnormativeassumptionsaboutrangeof
motion,awareness,centerofgravityetc.Eveninaveryhomogenousclasswehave
tobeawarethatassumptionsaboutsimilaritiescanbeverymisleading.The
externalformofamovement,thatisobservedandcopied,isoftenverydifferent
fromitsinternalconnectionsandefforts.Thereareongoingdebatesaboutthe
aestheticversusthefunctionofamovementorposition,andwhichismore
important.26Movingbeyond“thelook”ofamovementorpositionrequiresan
unpackingofitsfunction;safepracticewithdiverseparticipantsrequiresastute
observationandanongoingdialoguebetweentheinstructorandthestudent.Untila
dancerandinstructoraremorefamiliarwitheachotherandtheprocessIerronthe
sideofcaution.
Besidesencouragingstudentstotakeresponsibilityforasafeclass
environmenttheinstructorisinchargeofsettingupsafeplacementandtiming
betweengroupsandindividuals.Performingmultipleversionsratherthanunison
makesthemovementofindividualsinagrouplesspredictable,sogivingmore
distanceandtimeaswellasopportunitiestoobserveisadvisable.Itispreciselya
strengthoftechniqueclassthatbybuildingfromsmaller,repetitivemovementsto
larger,complexphrasesandgraduallydevelopingawarenessandskillsitallowsfor
savepractice,minimizingaccidentsandinjuries.
TheUDprincipleofLowPhysicalEffortneedsrethinkingfordanceandother
physicaldisciplines.Indanceweseektofindandpushadeeplyphysical
performancetogainenduranceandstrength,whilealsomovingefficiently,only
usingasmucheffortasneeded.IproposeAdjustableandAppropriateEffort.
Inthesamewayastheactioncomponentofadancephrasecanbeadjusted
wecanalsovaryeffortanddynamicsused.“Marking”materialisawayofadjusting
effortdancerslearnintheprocessofsettingpiecesonastage.Markingreduces
effortwhilestayingconsistentinrelevantspace,actionandtimeaspectsofaphrase.
Thiscanbepracticedinthestudiosettingbyaskingstudentstoperformthephrase
onthesidewhiletheyareobservingtheirpeersorbybuildingaversionworking
withspecificeffortelements.
Understandingindividualrangeofeffort,encouragingpushinglevelsof
exhaustion,andmovingefficientlyareimportantteachingpoints.Allstudentsare
challengedtolearnanddifferentiatebetweenpainasaresultofgrowthandpains
thatleadtoinjuries.Workingwithstudentswithdifferentbodytypesthanmine,I
havetobeparticularlyawareofthedangerofassumptionsandengageinthis
dialoguethroughquestionsandobservations.
UDPrinciple:FeedbackandAssessment
Eachnewstudenttoourclassesshouldencourageustore‐evaluatethebodyandthebodyofknowledgethatwehavecometotakeforgranted.Assessmentproceduresinschoolsmayneedtoberevisedwhenwerecognizethateachstudentisplayingadifferentinstrument…
(Benjamin,2002,pp8)
Degreeprogramsinhighereducationaimtopreparestudentsforlifeasworking
danceartists.Consideringthemanywaysinwhichdancersworkasperformers,
choreographers,teachersinvarioussettingsitisimportantthatwedon’tdetermine
toonarrowlywhatthisentails.Assessmentcriteriatoooftenserveafunctionofgate
keeping,tellingpeoplewhocanandwhocannotdance,ratherthanoneofguiding
explorationandencouragingdevelopment.Allowingstudentstounderstanddance
asadisciplineandtodiscovertheirartisticvoiceisprobablymoreimportantthan
topredictifandwhattypeofcareertheywillhaveindance.Paradoxicallythereare
studentsgainingdancedegreeswhoneverworkinthefieldwhiledancerswithout
degreesfindemployment.
Increatingaccesstheintentisnottoreplacetheexistingcriteriabuttoassesshowtheyarerelevanttothequalificationandhowindividualstudentscanmeetthem.AsdiscussedpreviouslyIhavefoundgenericcriteriamosthelpfulinworkingwithUD.Benjaminalsoproposesanumberofprerequisitesandassessmentcriteriarootedincurrentdancepraxiswhilealsoconsideringdiversityinthestudiospace.
Prerequisitesfordancers• Stagepresence• Aptitudeforlearning(creating)movementsequences• Stamina• Versatility• Arangeofmovementappropriatetothepiecebeingmadeoran
individualsuitabilitytotheethos(aesthetic)ofthecompany[school]• Otherexperiencesinperformingarts• Understandingforstagecraftandperformanceskills
(Benjamin,2002,pp74)
Assessmentcriteria
• Theachievementofsetandagreedphysicalgoalsindancetechnique• Demonstrateanunderstandingofdanceterminology• Interpretationandadaptationofsetmaterial• Individualperformanceskills• Partneringskills• Communication/Teachingskills• ChoreographicSkills• Improvisationalskills
(Benjamin,2002,pp8/9)
Asinanydisciplinenoteverybodywillbesuccessfulinmeetingalltherequired
criteria;theabilitytomeetthem,however,isnottiedtothedisabilityornon‐
disabilitystatusofastudentbutdependentonthestudent’stalentandabilities.
Ialreadydiscussedhowworkingwithvariationsallowsmetogivegeneralaswell
asindividualfeedbackinthesamewayaswhenIworkwithothersetmaterial.
Referringtogeneralgradingcriteria,workingwithvariationscanbeassessedasa
technicalskillbutalsoasself‐directedlearningandworkingindependently.In
givingfeedbackIoftenoptforaskingquestionsordescribingwhatIobserverather
thansuggestingcorrectionsrightaway.Differencesintheperformancecanhave
manyreasonssomeofthemexposinghabitsandlackofawarenessandothers
actuallydemonstratingunderstandingandindependentapplication.These
instancesoffeedbackdevelopintoformulatingindividuallearninggoalsandself‐
assessmentaswellasinstructorbasedevaluation.
InassessingIexperienceabiggapbetweentheverbalfeedbackIprovide
duringtheclassandthefinalnumbergradeIissue–wordsgetforgotteneasilyand
numbergradesdon’tarenotspecificaboutaccomplishmentsandneedsforlearning.
TobridgethatgapIcurrentlyexchangenoteswithmystudentshalfwaythrough
thequarter.Theywriteaself‐assessmentandincludequestionsabouttheclass.At
thesametimeIletthemseemycollectednotesofclassobservations.Inacollective
feedbackclassIaddressquestionsandclarifyteachingpoints.Thefinalnumerical
gradeispublishedonlinewithashortcomment,allowingmetodifferentiate,create
individualrelevancewhilediscussingsharedteachingaimsandassessmentcriteria.
Discrepanciesinthestudents’self‐assessmentsandtheinstructor’sevaluationare
oftenasinterestingasareasofagreement.Hereanexampleofastudent’sself‐
assessmentandmyfeedback.
“Istrugglewithtechniquealot.Iaskmyselfisthisreallybeneficialforme?…Afterworkingonthesolo,IfeelabitrestrictedintechniqueclassbecauseIknowIcandoalotmoreandIknowmyphysicalstrengths.”
Self‐assessmentofastudentwithadisability
“Youhavemadegreatprogress,demonstratingastrongunderstandingoftheclassmaterialandyourownrangeandpossibilities.Yourtranslationofmaterialhasmaturedtremendouslyandyoudemonstratethatbothonthe
floorandinthechair.Iwouldstillliketoseeyouchallengeassumptionsandfindingnewpossibilitiesespeciallyinreoccurringmaterial.Yourabilitytoobserve,analyze,translateandretainisexcellent.”
MyassessmentandresponsetothesamestudentUDPrinciple:ClassClimateandInteraction
Theprevailingimageaboutdance,whereyouhavetobethin,fitandableto“stand
onyourtoes”havetobeconsideredwhencreatinganinclusiveclassclimateand
interactions.Iincludethefollowinginformationinmyonlinesyllabusto
communicatemyapproachtotechniqueclassandtheaccessibilitythesecourses
promote:
Instructor’sEducationalPhilosophyDanceclassisalearningenvironmentwhereweareexposedtoset,experientialandimprovisedmaterial.Theemphasisisontrainingdanceskillsbyaccessingandchallengingeachindividualdancer'sfacilitiesandabilities.Throughregularandsystematicpracticewenotonlystrivetoexpandandsustainourphysical,conceptualandartisticrangebuttoapplytheseskillsconsciouslyandwithgrowingawareness.Indanceweengagewiththechangingrealityofourbodyandmind,thisalsoincludesouridentityintermsofbody‐type,age,race,ethnicity,gender,sexualityanddisability.
Koch,ModernTechniqueClassSyllabus
BesidesemphasizingmixingapproachesfromdifferentstudioclassesIalsoaddress
disabilityaspartofdiversity.Itisimportantforallstudentstorealizethatthereis
noneutralbodyandthattakingidentityandindividualityintoconsiderationispart
oftheartisticendeavour.Mycourseoverviewalsostatesprerequisitesand
reiteratespredominantwaysofinstructing.
Theclassisstructuredtofitanaveragestudentatthislevel.Yourabilitiesandexperiencemaydifferanditisimportanttorespectthisinthewayyouworkwiththemovementmaterialandinstructionalprocess.Danceoftenreliesonastudent’sabilitytoprocessvisualandverbalinformationviademonstrationsandinstructionsandtoworkincloseproximitytootherdancerswithimprovisedaswellassetmaterial.
Koch,OnlineQuestionnaire
ThroughanonlinequestionnaireIaskstudentsabouttheirprevioustraining
experience,possibleconcerns,expectations,andlearninggoalsforthecourse.Ialso
includeinformationaboutacademicaccommodationsduetodisabilityandinvite
studentswhoareusingthesedisabilityresourcestosetupameetingwithme. All
studentsarerequiredtosubmitthequestionnaire.Whilenotassessed,completingit
countstowardstheirparticipationgrade.Thisensuresthatallstudentshaveseen
thesyllabusinformation.Thequestionnairestartsadialoguebetweentheindividual
studentandme.Itisconfidentialbutnotanonymousandwhileitfacilitates
disclosureitdoesnotrequireit.Theresponsesinformmyapproachinthestudio
andallowmetofollowupwithindividualstudentswherenecessary.
Learning,practicingandtestingofskillsfolloweachothercloselyindance
andareunlikeinmanyotherdisciplinesalwayspublic–soistheuseofvariationsor
accommodations.Reasonstoadjustthelearningprocesshowevercutacross
stereotypicalgroupingsofdisabledornon‐disabled.Age,injury,gender,bodytype,
height,size,etc,areallrelevantaspectsthatmayinvolveworkingwithvariations.
Consideringthepublicandperformativeaspectsofdancestudentsinahigher
educationdanceclassneedtobeopentobeingwitnessedinperformance,and
interestedinengagingonthispersonallevel.Facilitatingaccessandanoptimal
learningengagementmayrequiresomeformofdisclosurewherethestudent‐
teacherdialogueneedstobeextendedtothestudiopracticeandinvolvepeers.This
includes:Keepingsite‐linesclearforASLinterpreters,reservingworkingspacenear
thefrontforspecificstudents,adjustinguseoftouch,momentum,forceandweight
whendancingwithapartner,etc.Itisimportantthoughthattheseconversations
focusonfacilitatingandoptimizingthelearningprocessanddonotveerinto
discussingpersonalinformationandsituations.Thesyllabusalsoestablishes
explicitlygroundrulesaroundclassclimateandinteractions:
• Takeandshareresponsibilityincreatinganaccessibleclass
environment.
• Makeyourneedsknown,whilerespectingtheneedsofothers.
• Berespectfulofyourpeersandinstructors.
• Worksafelyandeffectivelyinclass. Youknowyourabilitiesbest,be
bothactiveandsafeinexploringnewandestablishedmaterial.
Koch,OnlineModernTechniqueSyllabusPhysicalEnvironmentDeliveryMethodandPerceptibleInformation
Dancestudiospacesareonthewholesomeofthemostaccessibleteaching
environmentsIknow.Theyarewelllit,havegoodacousticsandarespecificallybuilt
forunobstructedmovement.Itisagainsomeoftheconventionsintheuseofthe
spaceandclassorganizationthatneedtobeconsideredwithregardstoaccess.
Mosttechniqueclassesstartstationarywiththestudentsworkingintheir
ownkinesphere,eitherupright,sittingorlyingonthefloorandthenprogressively
increasetheuseofspacetoincludelevelchangescoveringincreaseddistances,
changeoffacingsanddirections.Verbalandvisualinformationthrough
demonstrationsareoftenpresentsimultaneously,andwhilesomeinformation
overlaps,theytendtocomplementeachother.Verbalinformationoftenonly
highlightsspecificaspectsofthemovementphraseratherthandescribingallthe
material.Accompanyingmusicalsoprovidesimportantimplicittempo,phrasing
anddynamicinformation.Thereislittletonouseofwrittentext,books,projection
andothermediaintheteachingprocess.Thephysicalenvironment,wherewe
teach,andperceptibleinformationarenotjusttheenvironmentwelearninandthe
mediumwetransfercontentwith,itisitselfteachingcontent.Dancespecifically
trainstheuseofspaceaswellasawarenessforsensoryinformationand
proprioception.Movinginto,outofandacrossthefloor,usinglevelsfromthefloor
toflyingthroughtheair,rhythm,sound,spaceandtimerelationship,areimportant
skillsandmovementprincipleswetrain.Accesstothephysicalenvironmentand
perceivableinformationthereforealsoimmediatelyinvolvesquestionsofteaching
aimsandcontent,methodology,assessmentandclassclimate.
Whilethepredominantuseofverbalandvisualinformationpresentssome
specificchallenges,accesstoperceivableinformationforstudentswithsensory
impairmentsissimilartootherclasses.
• Theplacementofthestudentneartheinstructor
• Usingclearprojectedspeech
• Keepingverbalinformationconcise.
• FortheinstructionpartanASLinterpreterneedstosharethesightlinewiththe
instructor.
• Wearingclothesthatcontrastwiththeenvironment
• Uselivemusicforbettersoundtransference.Livemusicalsoallowsforflexible
phrasingandtempochanges.
Methodologiesdescribedinequitableusealsofacilitateaccesstoperceptible
information.Separatingdemonstrations,verbalinstructionsanddescriptionsas
wellasusingtouchfurtherlayerstheinformationintoseveralinstructionalstages.
Involvingtouchintheteachingprocessispartofmanyexperientialpracticeswith
theadvantagethatitdoesnotonlyrevealtheformofthemovementbutalsothe
underlying,anatomicalaspectsofthematerial.Whilepracticedinisolated
explorationsitismoredifficulttousetouchintheinstructionofmorecomplex
movementphrases.Asimportantastheproximitytotheinstructoriswhile
instructing,proximitytopeerswhileperformingisjustasimportanttomaster
sequencing,timingandmovementdetailsofaphrase.Icansetupspecificpeer
relationshipstofacilitatethis.Sincelevelsofperceptionandpreferencesdifferthis
isultimatelyalearningprocessformeastheinstructoranditishelpfultoinvolve
thestudent(s)andgettingfeedbackintheprocess.
Thereisaclearneedtomakethetransientinformationofdancemore
accessible.Ihavebeenusingpowerpointprojectionatanexperimentallevelto
displaywrittentaskandphrasedescriptions.Iamstillindoubthoweffectivethisis
andamconsideringlow‐techoptionslikeastudenttranscribingtheexercisetoa
whiteboardwhileIaminstructing.Thetranscriptthenstayspresentduringthe
practiceoftheexercise.Usingacodifiedstyleactuallymaypresentanadvantage
hereasaterminologydescribingspecificmovementsalreadyexistsandcanbeused
directlytosummarizeanexercise.Printeddefinitions,glossariesandphotosofthe
codifiedmovementcanalsobetranslatedintoaccessibleformatsandstudied
outsidetheclassroom.Teachingnon‐codifiedmaterialIamconsideringlistingand
definingrecurringelements,materialandprocessesandtodevelopaglossaryof
definitionsaspartoftheclass.Thesedescriptionsanddefinitionscanthenbeused
infutureclasses.
Consideringtheuseofspaceasteachingcontentitisimportanttodiscuss
theuseofdifferentlevels,stancesanddistancesindesigningaccess.Oneground
ruleistoreflectonthepurposeofworkingonaparticularlevelratherthansimply
tocopyaposition.Iftraditionallystudentsarestandinguprighttohavethemost
optionsworkingintheirkinesphere,onewheelchairusermaywanttobeinthe
chairandanotherprefertositonthefloortohavethesamemaximumrange.
Thisprocessrequiressomeexperimentation.Atfirstpossiblyneitherthe
instructornorthestudentmayknowwhatthebestsolutionis.Inaoneonone
meetingIdiscusswiththestudenthowtobestworkwithlevelsanddistancesand
findoutiftransferringisofinterest.Itisworthasking,ifandhowastudentcan
accessdifferentspatiallevelsanddistancestoexplorethepotentialoftheseoptions.
Transferringfromawheelchaircanbebeneficialforonestudent,allowingherfull
useofthekinesphere,whileforanotherstudenttransferringmaynotbeproductive.
Ifastudentisinterestedintransferringtherearesomequestionstoclarify:Does
shetransferherselfordoessheneedassistance?Whoispartoffacilitating
(instructor,peers)?Whatdoesitinvolve(lifting,movingandstoringofequipment,
etc.)?Isthetimeusedeffectivelyforthewholeclass?Doesthestudentneedspecial
equipmentorclothingwhileworkingonthefloor(mat,stool,longsleeves,kneepads
etc.)?
Somepeoplemayfeeluncomfortableatthesuggestionofinstructorsand
peersliftingfellowstudents.Howevertouch,liftingandworkingwithpartnersis
notanaddedaspecttodance,itispartofourartandtraining.Instructingsafe
practiceinlifting,takingandsharingweightareimportantskills,and,whilenot
traditionallypartoftechniqueclasscaneasilybemadeexplicitlearningand
teachinggoals.Onceagain,access,safetyandaestheticaspectsarepartofthe
teachingprocessandcontent.Itisparamountthatthisisadialogue.Ionlyconsider
transferringanoptionwhenastudentindicatesthatthisisofinterest,ispossible
andhasthepotentialtoincreasethemovementrange.Noparticipantshouldever
feelobligedtotransfer.Ialsodon’texpectanyparticipant(instructororpeers)to
liftorpartneranotherdancerinthecontextofthetechniqueclass.Itisimportant
thatIprovidealternativesandfacilitatethisdialoguewithsomesensitivity,assess
transferringonacase‐by‐casebasisandallowforchangesovertimeforboththe
transferringstudentandtheirpartners.
Consideringworkingwithdistance,notallstudentswillnecessarilybeable
tocoverthesamedistancesorfeelsafeincrossingthestudiospace.Distancescan
beadjustedtoanindividual’smaximumrange,usingdifferentpointsofreturn
ratherthanthemaximumdistanceaspaceoffers.Forsafetystudentscanshadow
eachotherwhilecrossingthespace.Shadowingorwitnessingiscommonpracticein
danceensuringpartnersstayssafe,whenmovingwithclosedeyes,during
experientialexercises,inauthenticmovementpraxis,improvisationsandwhile
movingandexitingbackwards.Interventionsbytheobservingdancerrangefrom
calling,placingherselfbetweenthedancerandanobstacle,usingtouchandcatching
thepartner.Eachpairingwillhavetodiscusswhatworksbestfortheminrelation
tothetask.
Whiledancestudiosoffergreatflexibilityandareinprincipleveryaccessible
physicalenvironments,accesstoinformation,differentlevelsanduseofdistance
requiresomeexperimentation,researchandeffectivefacilitating.Besidesstartinga
dialogueandprovidingassistance,thismayalsoincludetheintroductionofnew
processesinvolvingpeersandtheclasscollective.Workingasacommunityof
learners,creatingaccessisnotthesoleresponsibilityoftheinstructorortheperson
withadisability,butsomethingthatconcernsalltheparticipantsinaclass.Creating
accessispartoftheclassclimateandtheteachinggoalsoftechniqueclass.
Conclusion
Asstatedbymanyinstructors,workingwithUDresultsinageneral
investmentingoodteachingpracticewithpositivespin‐offsforallstudentsinthe
class.Theapproachesdiscussedextendbeyondtheinitialideaofadaptationsasa
disabilityaccommodationanddisabilitybecomesapartofthespectrumofdiversity
presentinoursocieties,institutionsofhighereducationanddancestudiosrather
thanaseparategroupofstudents.Differencesinbody‐type,age,levelortypeof
training,acuteorchronicinjuries,currentform,individuallearninggoals,etcare
not“issues”buteducationalandartisticinterests.ApplyingUDofinstructionalsoin
mymainstreamclassesheresomespecificbenefitsIobserved:
• Studentsversedintraditionaltechniquematerialarechallengedbyworking
withimprovisationandcommentonitsspecificandrigorousnature
• Studentswithvaryinglevelsoftrainingmanagetofindtheirindividual100%in
termsofcomplexityandperformanceofthematerial
• Studentsoftendemonstrateasenseofconnectionandcoordinationthatisnot
presentwhenworkingwithsettechniquematerial
• Thematerialanditsprogressioncreateacommongroundwithoutaimingatthe
“lowestcommondenominator”(Performingonlymaterialalltheparticipants
canperforminunison)
• Studentswithinjurieslearntopacethemselvesandmakechoicesabouthow
theyworkandwhichmaterialtheyvary
• Thereisanoverallsenseofincreasedagencyinthelearningprocessand
ownershipofthematerial
• Theapproachistransferrabletootherclasseswherestudentsapplythese
strategiesindependently
• ImplementingUDinthestudioandwritingaboutithasstimulateddiscussionsin
thewiderfaculty,raisingquestionsaboutaccess,diversityandconventionsin
teachingtechniqueclass
Intheprocessofcreatingaccesstotrainingopportunitiesandaccreditationfor
dancerswithdisabilitiesthroughUniversalDesignofInstructionitisclearthatthe
formandthemethodologiesdonotstaythesame.Challengingandcomplexasthe
processmaybeIhavealsoexperiencedhowrewardingandcreativelystimulatingit
isformeasaninstructorandforthedancersintheclass.TheaspectsIhave
implementedandtheresultstheycreatedencouragemetocontinuethisprocess.
Havingcompletedthisarticleitnowmeansmovingawayfromthedrawingboard
andbacktothepraxisandlivedexperienceinthestudio.
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Endnotes:
1IwouldliketoacknowledgethatpartsofthisarticlehavebeenpresentedandpublishedinapapertitledWorkshop:Ready,set,unsetattheCORDSpecialTopicsConference,June25‐27,2009atCEPA,DeMontfortUniversity,UK.InthearticleathandIsummarizethisinformationandthenfocusontheapplicationofUDinthedancestudioingreaterdepth2Disabilityinperformancespansacrossmanygenresandtherearemanytermscoinedtotalkaboutit:DanceandDisability,DanceAbility,InclusiveDancetonamebutafew.IgenerallyuseintegrateddanceorIDknowingthatitisnotatermunderstoodbythegeneralpublicandalsonotoneacceptedbyallpractitioners.3Anumberofthesepublicationsarecitedandreferencedinthispaper.TheyincludeAdamBenjamin’sMakingandEntranceandJoVerrent’sDisabilityandtheDaDAReportfundedbytheUKDepartmentforEducationandSkillsDfES.AdirectresultfromthereportwastheCandocoFoundationCoursethatranfrom2004to2007.ThishassincebeenreplacedbytheADAPTProgramattheUrdangAcademyLondonruninconjunctionwithCandocoDanceCompany.In2007SarahWhatleyfromCeMapatCoventryUniversityrantwoconferencesconcernedwithDanceandDisabilityaccesstoHigherEducationthefindingsofwhichwerepublishedin2008underthetitleMovingMatters:SupportingDisabledDanceStudentsinHigherEducation.4ThecompanyrecentlychangedthespellingoftheirnamefromCandoCoorCandoCotoCandoco.5 Sandahl andAuslanderdiscuss the connectionbetweenart and societalmovements andstresstheradicalrootsattheheartofdisabilityandperformance.(SandahlandAuslander,2005,pp8)AdamBenjamindescribeshow integrateddanceemerged throughpostmoderndanceemphasizing the link tocontact improvisation(Benjamin,2002).SeenmorebroadlyIDemergedthroughseveralsocialandcommunitydanceforms.6ThisincludesCandocoDanceCompany,AXISDanceCompanyandDancingWheels.Othercompaniesdeliberatelychoosetobecommunityandprojectbased.Iammakingthispointnottobuyintothehierarchyofartmakingbuttonoteaparticularstageintheprocessofperformerswithdisabilitiesestablishingthemselves.1990‐2000alsosawanumberofimportantpublicationsdiscussingperformance,traininganddisabilitybyauthorslikeAlbright,Benjamin,Kuppers,Sandahl,etc.7AdamBenjaminmentionsandcriticallydiscussesAlexSpitzer(US)andDavidTool(UK)asearliestattemptstoroutedisableddancersthroughconventionaldancetrainingprograms.SpitzerreceivedhisB.A.degreeinDancefromTexasWoman’sUniversityinDenton,Texas,andaccordingtohiswebsitesholdsthedistinctionofbeingthefirstdancerinawheelchairtoreceiveafour‐yeardegreeindanceintheUnitedStates.(http://www.spitzerdancecompany.org/index.htm)DavidToolecompletedaone‐year"ProfessionalDiplomainCommunityDanceStudies"attheLabanCentre–Londonin1992(http://www.dtoole.co.uk/)FromconversationwiththetwoartistsBenjamincontendsthatneitheroftheseattemptsatinclusionwereparticularlysuccessful.(Benjamin,2002,pp8) 8FromfourhundredstudentsindanceanddramaschoolsintheUKonly1.5%statedthattheyhadadisability.Inallcasesthestudentsnotingadisabilityweredyslexic.(CEDARJuly2002inVerrent,2003,pp5and11)2004‐05incourseswheredanceformed50%ormoreofthetotalstudytime,only13studentswereregisteredashavingphysicalorsensorydisabilities:evenfeweroftheserequiredlearningsupportinstudio‐basedactivities.Thisrepresents0.5%ofstudentsonthesecourses.(Whatley,2008,pp3)IamnotawareofanyU.S.baseddata.Inmyestimateitissafetoassumethatindividualswith
disabilitiesarejustasunderrepresentedindancecollegesanddegreeprogramsintheU.S.astheyareintheUK.9DavidTooleperformedinanumberofperformancesandproductionswithDV8directedbyLloydNewsonwithoutthecompanyeverreferringtoitselfortheirworkbeingreferredtoasintegrated.10ItisnoteworthyhowstronglytheambitiousobjectivesofUDresonatewithAdamBenjamin’saimsforintegrateddancetraining.“Intermsofteachingmethodology,anintegratedworkshoporclasscanfunctionperfectlywellwithoutthepresenceofadisabledstudent;itsimplydoesn’tmissabeatwhenadisabledpersonjoins.”(Benjamin,2002,pp16)11ItwouldbeworthconductingamorecomprehensivestudyexaminingdifferencesandsimilaritiesintheBAandBFAdancedegreesandhowthisaffectsthedemographicsofthestudentpopulation.InmylimitedresearchIfoundmostprogramsfocustheirBA/BFAprogramsonasimilarrangeofsubjectsincludingtechnicaltrainingthroughballetandmodern.SomeofferareasofconcentrationfortheirBAorBFAstudentsincludingK–12TeachingCertificates.TheUniversityofNorthCarolinaGreensboroCommunityDanceoffersaconcentrationincommunitydancetotheirBAorBFAstudents.NotabledifferencesareColumbiaCollege,ChicagoofferingmoredifferentiatedBA/BFAdegreesin:DanceStudies,Dance‐making,PerformanceandTeaching.TheAmsterdamSchooloftheArts(AHK)offersanumberofdifferentiateddegreesinballet,moderntheaterdance,jazzandmusicaldance,newdancedevelopmentanddanceteaching.OtherschoolsliketheLabanCenterofferanindependentstudyprogramandapostgraduatecertificateincommunitydancetheformerculminatesinacertificateonlywhereasthelatterpresumesaccesstoafirstdegree.12Classicalballetandmoderndanceareofcourseethnicformsaswell.13Benjaminappreciatestraditionaltechniqueclassastraining“skillsthatarenecessaryandhighlyvalued…forprofessionaldancers”(Benjamin,2002,pp44),butisalsojustifiablycriticalofthelimitedselectionofdanceformsofferedandthecontinuedexclusionofimprovisationasaformoftechnicaltraining.
14AnexperienceIsharewithmanycompaniesworkinginthefieldaswellasauthorssuchasAnneAlbright,AdamBenjaminandSarahWhatley.15IntheU.S.,asimilardocument,theStandardsofLearningandTeachingDanceintheArts:Ages5‐18bytheNationalDanceEducationOrganizationprovidesanevenmoredetailedcatalogueoflearninggoals.Thelanguageusedagainisgeneralandinclusive.16Warren’scriteriaareinmyviewbeyonddiscussion.Placingappearancebeforeskillandequalingaestheticwithphysicalbeautyisnotonlyhighlyexclusiveitalsodiminishesdanceasanartformtosomethingdecorativewithnothingmuchtosayaboutthecomplexityofhumanexistence.17TheUWDanceProgramfocusesitstechniqueclasstrainingonballetandmodernwiththeadditionofjazz,ballroomdancingandintegrateddanceaselectivesthatcanalsocoverpartsofthetechniquerequirements.18Companydforinstanceworkswithteenagerswithdownsyndrome,companieslikeAXISandCandocoworkwithdancerswithphysicaldisabilitiesintheirtouringcompanybutworkwithabroaderrangeofdisabilitiesintheireducationalworkandcompanieslikeAmiciDanceTheaterorDanceAbilityworkwithcommunitiesofdancersincludingavastagerangeandalltypesofdisabilities.19ExamplesfordisabilityspecificdancetechniquesincludeKittyLunndevelopingballetclassesfor(manual)wheelchairusers(Lunn,1999),CompanydteachingandperformingjazzdancewithyoungpeoplewithDownsyndrome,andStevePaxtonandAnneKilcoyneteachingcontactimprovisationtovisuallyimpairedandnon‐disabledparticipants.20KarenKaufmann’sarticle,AdaptationTechniquesforModelingDiversityintheDanceClass(Kaufmann,2002),isaconcise,ifnotunproblematicsummaryofthemethodology.StineNilsenand
CharlotteDarbyshirealsopublishedashortpaperInvestigatingIntegratedTeachingPractice(DarbyshireandNilsen,undated)wheretheydiscusstheuseofadaptations.21IhadthepleasureofhavingPetraKuppersvisitforonedayduringaweeklongintegrateddanceintensiveinSeattlein2009.Petraattendedamid‐weeksessionandindependentlydevelopedherfloorversionofatravelingphrasewithrelish,whileIworkedwiththerestofthegroup,mostofthemwithlessexperienceindance,tilltheendoftheweektodevelopamoreindependentunderstandingoftheapproach.22Ipreferthetermtraditionaltechniqueclasswhentalkingaboutcoursestrainingphysical‐anatomicalskillsandrefertoworkingwithset,improvisedandexperientialmaterialwhenreferringtoabroaderunderstandingoftechnique.23Whiledancersworkincloseproximitywitheachotherthenon‐verbalnatureoftheworkoftenpreventsthemgettingtoknoweachother.Studentssometimesdon’tevenknoweachother’snamesbytheendofthequarter.Thisdoesnotmeanthattherearenototherwaysofknowingeachotherinaclass.Usingwordsandopeningupadialoguewillnottakeawayfromtheprofoundpossibilitiesthenon‐verbalexperienceofdanceoffers,butwillbeimportantinfacilitatingaccessandcollaboratingwitheachother.24Sincetheexercisefocusesexclusivelyonvisualinformation,dependingonthegroupImaywanttodemonstratehowthetaskcanbeperformedthroughverbaldescriptionsorthroughtouch.25In2002IwasabletoconductaresearchprojectconcernedwiththeapplicationofChoreologyand,inparticular,thestudyofmovementanalysis,incontemporarydanceintegratingdancerswithandwithoutphysicaldisabilities,underthetutelageofLondon‐basedchoreologistRosemaryBrandt.26Thediscussionofturnoutofthelegsisonesuchexample.Classicalballetinparticularfavorsaturnoutasnearto180degreesaspossible.Ifthisisanatomicallynotpossibleforastudentthequestionsisifthelook(aesthetic)oftheturnoutismoreimportantthanthefunctionofusingthecorrectturnout.Whilenowadaysmanypractitionersteachtheuseofanindividual,anatomicallycorrectalignmentthisisnotalwaysthecase.Morerecentlythissamedebatealsoextendedtotheparallelpositionusedinmoderndanceandthealigningofthekneesoverthefeet,thecarriageofthearms,etc.