NDEO鈥檚 Guest Blog Series features posts written by our members about their experiences in the fields of dance and dance education. We continue this series with a post by Jill Vasbinder Morrison, Faculty in Dance at the University of Maryland, Baltimore County.聽 Guest posts reflect the experiences, opinions, and viewpoints of the author and are printed here with their permission. NDEO does not endorse any business, product, or service mentioned in guest blog posts. If you are interested in learning more about the guest blogger program or submitting an article for consideration, please click here.听听听听
Continuing Tradition Through Dance: The Power of Intergenerational Connections
Dance is more than just movement; it is an oral tradition that we share through the stories told by our bodies. It connects us across generations, allowing us to learn from our elders and carry on their legacies. Have you taken the time to connect with your dance teachers or mentors recently? I encourage you to reach out, whether it鈥檚 for coffee, a walk, or simply a chat. These connections can inspire new ideas for your classes and refresh your perspective on choreography.
Barbara Supovitz (pictured above with Anna Sokolow, and below teaching), a cherished guest artist in my dance history class, has been teaching a folk dance workshop for over 15 years. The COVID-19 pandemic pushed us to adapt to online formats, and it was during this time that I truly began to understand her wealth of experience. Through our Zoom practice runs, Barbara shared her life stories, revealing a rich tapestry of training and experiences that have shaped her as a dancer and educator.
Barbara's journey began in Long Beach taking lessons on her ballet teacher鈥檚 porch, with the Rom Sisters at Steinway hall and then at the New Dance Group. In 1951 at Juilliard, at the invitation of Martha Hill, she became part of the first class of dancers, sharing the stage with greats like Paul Taylor. Her training with influential figures such as Anthony Tudor and Helen McGehee laid the groundwork for her future endeavors. Our lives, though separated by decades, share intriguing parallels鈥攆rom our college experiences in Morningside Heights to the dance performances we attended at Riverside Church.
The "bubble" of education on the Upper West Side, comprising institutions like Barnard College, Manhattan School of Music, and Union Theological Seminary, fostered a unique environment for aspiring artists. Barbara recalls attending classes late into the night, navigating the city as a young woman, much like I did years later. Her stories of ushering performances and selling concessions in New York and Washington DC resonate with my own experiences in the venues like Riverside Church & City Center, creating a sense of camaraderie through our shared love for dance. We share stories of watching the Lim贸n Dance Company and moving in that technique.
Reflecting on our teaching methods, both Barbara and I have experienced a shift in how dance is taught. While we both value the discipline entrenched and necessary in pre-professional dance training; it has evolved, giving way to a more nuanced understanding of individual student needs. Barbara, who taught for 20 years at Montgomery College after completing her Master鈥檚 at American University, notes how we now create agreements in syllabi that respect students' preferences in receiving corrections. This adaptive approach is vital in the ever-changing landscape of dance education.
Throughout her career, Barbara encountered various teaching styles, from the strict methods of Anna Sokolow to the more nurturing environment of her later teaching experiences. These encounters shaped her own teaching philosophy, emphasizing the need for compassion and understanding in the classroom. Similarly, my experiences with harsh criticism from instructors, including Elena Kunikova & Fabrice Herrault, have informed my approach, leading me to prioritize student well-being and empowerment.
As we both navigate the complexities of dance education, we recognize the importance of fostering a supportive environment for our students. Teaching dance is not merely about imparting technical skills; it is about guiding students to find their own voice and expression within the art form. We encourage them to take ownership of their bodies and develop their unique dance identities.
Barbara often describes her dual role as a modern dance teacher and a folk dance instructor. Each genre demands a different approach, and I find myself wearing similar hats as I teach both social and modern dance. The adaptability required in teaching social dances allows students to explore their creativity and develop their style, while modern dance emphasizes collaboration and innovation.
Barbara鈥檚 commitment to maintaining connections is evident in her travels and interactions with former students and colleagues. She actively seeks to build relationships across generations, collecting stories and experiences wherever she goes. This dedication to connection reminds us that learning and growth are ongoing processes, enriched by the wisdom of those who came before us.
Through our intergenerational exchanges, we learn to set aside competition and comparison, embracing the power of storytelling and embodied practice. Dance education is not just about technique; it is about the shared experiences that bind us together. It is through these connections that we can innovate and expand our understanding of dance.
It is through these connections that span generations that we can learn from each other. We set aside the need to compete and compare, and simply connect. But this knowledge gained through embodied practice & dancing together, through storytelling鈥s more than reminiscing. It is continuing the oral tradition of dance; it is dance education. It is tradition and traditional, yet it is what allows us to innovate, build upon, expand our knowledge, and create. By honoring the traditions of our predecessors while embracing new ideas, we create a vibrant, dynamic landscape for future generations of dancers. I invite you to reconnect with your teachers, mentors, students and colleagues. Learn from each other; find your connections.
Jill Vasbinder Morrison, BA (Barnard College), MFA (SUNY Purchase), is a dancer, scholar & community activist currently teaching dance studies at UMBC, the John Carroll School, and Morton Street Dance Center. After performing with the Lisa Leizman Dancers in Massachusetts and Full Force Dance Theater in Connecticut and New York City, Jill went on to be office manager of Hartford Children鈥檚 Theater, Assistant Director of Dance and the Hartt School Community Division, University of Hartford, and Artist Director of Common Ground Dance Company. She has taught Ballet, Modern, Composition, Ballroom, Latin and Swing dancing since 1995 in New York, Maryland, Connecticut, and Massachusetts. Jill now centers her research on decolonizing Dance Studies courses, incorporating embodied knowledge and learning into the practice of traditional coursework. She examines the intersections of dance, open licensing & copyright; questioning how historical practices of exclusion have brought us to this ambiguous place. Jill has presented at state, national and international conferences. Jill has published articles and open educational resources on her research and led cross disciplinary Movement Labs. Currently, Jill is writing of the biography and critical analysis of the life and work of Barbara Supovitz.
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