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By Heather Acomb, Visiting Assistant Professor of Dance, Nazareth College ~~ The Bill Evans Method, affectionately referred to as 鈥淏ETI Pedagogy鈥� because of its birth inside of the Bill Evans Teachers Intensive (BETI) over the course of many years, is infused with elements of Creative Systems Theory, Transformational Learning Theory, and the framework of Laban/Barteneiff Movement Analysis. What makes this value system so unique is its ability to help us cultivate community...

By Weiselande 'Tanui' Cesar, Executive Founding Director and Choreographer of TLL, Inc ~~ It is universally known that dance is a form of communication, and it is often considered to be the language of our soul. From a cultural context, dance and music are essentially the fabric of cultures. In many cultures, folk dances emerged from the day to day activities of the common people, and Haitian Folk dances are no different. Haitians are a group African descent people...

By Sara Lavan, Executive Director and Co-Artistic Director of Local Motion Project ~~ Local Motion Project (LMP) is a young organization in Alexandria Virginia, whose mission is to bring people together in meaningful experiences through the art of dance and movement. Founded in 2016 as a youth dance program, it has grown to provide programming for youth and adults alike. We at LMP, like all of you, have been navigating our newest dance journey and what it means to serve our community during the ...

By Allegra Romita and Nancy Romita ~~ As you read this, freeze. Hold the position in which you currently find yourself. Do not adjust anything. Without judgment or shifting, notice the position of both feet. Does one foot have more weight on it than the other? Are both feet on the floor? Is there an even weight distribution? Is one foot or ankle a little more turned or rolled in or out? Are you sitting on one foot? Is a leg crossed and how does...

By Meg Garofola, M.A.T., CYT-250 ~~ My first and greatest dance teacher has been my breath. Following my body鈥檚 curiosities, sensations, feelings, and impulses has been powerful, connective, and healing. Spending hours in the studio moving for movement鈥檚 sake, for prowess, for living a more beautiful life has greatly informed my understanding of dance, as a mover, observer, and choreographer. My studies in yoga and somatic dance...

By Alexandra "Sparkles" Lund ~~ Worried that our studio cohesiveness and energy was going to fall apart if we couldn鈥檛 be in the studio together, the staff put our heads together and developed a simple, inexpensive and effective way to help keep the kids on a regular schedule by using a mix of live and pre-recorded classes. The goal is to keep their bodies moving and help provide them a bit of consistency and 鈥渘ormalcy鈥�...

By Luke Muscat, M.S.Ed Candidate and Teacher, The Hewitt School; Steps Youth Programs; The School at the Mark Morris Dance Center ~~ The constructivist approach to education is rooted in a student driven, inquiry-based approach to learning. Using constructivism has proven to improve student motivation, commitment, satisfaction, and learning retention (Woolfolk, Winne, & Perry, 2012). In a pre-professional ballet program, however, such a contemporary outlook on learning is scarce. Due to its trad...

By Donna H. Krasnow and M. Virginia Wilmerding ~~ Dance training is at the heart of the art form of dance. All dancers can recall the teachers who had tremendous influence on their growth as young dancers and artists. The science known as motor behavior 鈥� an umbrella term for motor development, motor control, and motor learning 鈥� is having a stronger voice in helping teachers and dancers develop...

By Ashley Goos, Adjunct Professor of Dance, Xavier University and Miami University ~~ I have so many students who say they can鈥檛. Can鈥檛 turn out, can鈥檛 leap, can鈥檛 articulate their spine, can鈥檛 count, can鈥檛 dance. I have students that haven鈥檛 even tried these things but already 鈥渒now鈥� they can鈥檛. So in my class, I employ a radical approach: everyone can. Students only get this idea about 鈥渃an鈥檛鈥� from being told so. They are being told they don鈥檛 have the right body...

By Erica Hornthal, LCPC, BC-DMT ~~ Dance has always been a natural form of expression and for many people a 鈥渢herapy鈥�. That being said many institutions, behavioral health facilities, and even dance companies and studios are recognizing the inherent healing power that can come from dance. As dance continues to gain popularity in the media more and more people are embracing dance as a way to meet physical and emotional needs. It is not uncommon to see the word 鈥渢herapy鈥�...

By Lindsey McGovern, Owner and Director of Enchanted Dance Academy ~~ What even defines a 鈥渉ealthy body image鈥� in this day and age? It鈥檚 nearly impossible to avoid feelings of insecurity--especially as a teenager--as we鈥檙e subjected to constant comparison through various growing forms of social media. While the modeling and fashion industries are certainly making strides to value all body types, insecurity in growing dancers is still all too prevalent--in part due to the mirrors surrounding ...

By Kaylee Bosse, Gonzaga State University ~~ The bus had arrived, buzzing with the energy of over 20 fourth and fifth graders. The first day of ZagDance class had come. The children emerged from the vehicle like ants darting their way to a sandwich dropped on the floor, forming surprisingly orderly lines as they chattered about a wide range of subjects. As the tiny beings approached, I concealed my anxiousness with a Disney princess smile. A laser-like focus on becoming a professional ballet dan...

By Maggie McCaig, Student at the University of South Carolina and NDEO Intern Summer 2019 ~~ Junior year of college: a time when most emerging adults are starting to feel the pressure of having an internship or a summer job that will benefit their future careers. That was exactly what was going through my mind during my junior year at the University of South Carolina. I am a lifelong dancer, and am currently studying dance education under Dr. Stephanie Milling, who helped me discover NDEO鈥檚 int...

By Emily Meisner, Director, NDEI Collaborative for Teaching & Learning ~~ I was twenty-three when I had my first job teaching dance to children in a New York City school. I naively figured that given my rigorous dance training and time in a professional company I was equipped to lead engaging classes for children. I spent many hours at night focused on the 鈥榳hat鈥� of teaching - What steps would I teach? What music would I use? What choreography would we create? I felt prepared once I had a very...

By Glenna Batson ~~ Dance has been a primary mover in shaping my life. Some of my earliest memories are of dancing at my mother鈥檚 school, the Modern School of Dance Education. Between the years 1935 and 1950, she danced with Ruth St. Denis and Hanya Holm, dancers whose legacies I carry with me to this day. In the 1960s, when I was considering a dance career, the field was strictly defined and proscribed: You could be a dance artist, teacher, or choreographer. Lacking the talent and psychologica...