A Brain Compatible Approach to Studio Dance

A Brain Compatible Approach to Studio Dance

by Anne Green Gilbert

The Creative Dance Center (CDC), a nonprofit organization founded in 1981 in Seattle, Washington, is fairly unique among private dance studios, and serves as an excellent model for out of school programs that support learning. The goal of CDC is to provide brain-compatible dance education through a sequential and comprehensive curriculum to students of all ages, with a focus on infants through middle school students. A concept-based approach, in which the students learn the elements and principles of dance through a variety of learning processes (perceiving, understanding, doing, creating, and valuing) is the foundation for the CDC curriculum. This curriculum was created out of a dissatisfaction with the traditional studio approach to dance which is based on learning steps, and is competitive in nature. Years of using this curriculum has proven that through a conceptual approach to dance, the students learn to enjoy, understand, appreciate, and support dance throughout their lives. Our students not only become dancers, but also collaborative workers, critical and creative problem solvers, articulate communicators, and healthy, involved members of the community.

Brain-Compatible Dance Education
Brain-compatible dance education is a philosophy about and an approach to teaching dance, which integrates current research on how the brain learns into the teaching of dance concepts and technique. Below is a list of how students learn through a brain-compatible approach (Jensen 1998, Brandt 1998, Wolfe 2001). Students learn best:
· through a multi-sensory approach (hear, see, say and do);
· when the material is authentic and meaningful;
· when they are emotionally engaged and given opportunities for reflection;
· through social interaction and collaboration;
· when the material is challenging but achievable;
· when the feedback is positive, specific, timely, and learner-controlled;
· through novelty and repetition;
· when the material is developmentally appropriate and student-centered;
· when the material is presented sequentially and holistically, rather than randomly and in sub-parts;
· through a variety of teaching strategies.

Photo by Patrick Bennett

Multiple Intelligences
One of the ways we achieve brain-compatibility is through a mulitiple intelligence approach. At Creative Dance Center we teach much more than dance steps. We focus on the whole dancer because we think that strengthening brains, as well as social/emotional skills, is just as important as creating strong, flexible bodies. Our classes are built on Howard Gardner's theory of Multiple Intelligences. We provide a learning environment where all seven intelligences are strengthened in every class. At CDC we give our students the opportunity to:
· Dance and learn together, creating a special time for bonding and building social skills (Interpersonal Intelligence).
· Practice fundamental movement patterns (BrainDance) that reorganize our brains, helping us to fill in any missing gaps in our sensory/motor development (Bodily-Kinesthetic Intelligence).
· Respond to a variety of music pieces in a joyful way, and explore musical concepts (Musical Intelligence).
· Learn an extensive movement vocabulary, and use that vocabulary in discussions and writing (Verbal Linguistic Intelligence).
· Move through space with ease and safety, explore relationships between people and objects, copy movements, and work on concepts that increase proprioception (the body's sense of itself in space) (Visual-Spatial Intelligence).
· Learn movement patterns and sequences, solve problems through movement, create and perform movement phrases/dances to metered music and counts (Mathematical-Logical Intelligence).
· Explore opposing dance concepts (high/low, fast/slow) that expand the emotional and physical repertoire, and reflect on those feelings (Intrapersonal Intelligence).

Planning Conceptual Lessons
Another way that we achieve brain-compatability is though a conceptual approach. The CDC curriculum is based on fifteen dance concepts adapted from movement educator Rudolf Laban's dance vocabulary of Space, Time, Force, and Body. Each week a different concept is selected as the focus for all the dance classes. This dance concept is the thread that ties the whole lesson together. Teaching from a concept base makes the lessons more meaningful and motivating than teaching only steps and routines.
Sometimes we include an additional, more thematic concept such as: emotions; props; other subject areas such as math, science, art, or music; literacy; social skills such as partnering or conflict/resolution; dance history; dance in cultures; or health. However, the thematic concept is always viewed through the lens of the dance concept, which is the main concept of the lesson.

Dance Concepts
Space
1. Place self (personal) space, general space, empty space
2. Size big (far reach), medium (mid-reach), small (near reach)
3. Level high, middle, low
4. Direction forward, backward, right, left, up, down
5. Pathway curved, straight, zigzag
6. Focus single focus, multi-focus

Time
7. Speed fast, medium, slow
8. Rhythm pulse, pattern, grouping, breath

Force
9. Energy sharp, smooth, shaky, swingy
10. Weight strong, light, active, passive
11. Flow free, bound

Body
12. Parts head, neck, shoulders, arm, wrists, elbows, hands, fingers, hips,
pelvis, trunk, spine, stomach, sternum, legs, knees, feet, toes, heels, etc.
13. Relationships over, under, around, through, above, below, beside, between, near, far,
in, out, on, off, together, apart, alone, connected, in front, in back
14. Shapes curved, straight, angular, twisted, symmetrical, asymmetrical
15. Balance off balance, on balance

Photo by Patrick Bennett

Brain-Compatible Lesson Plan
Below is an overview of each section of our brain-compatible lesson plan. There are five lesson plan sections that are addressed in each lesson

1. Warming Up is a five to fifteen-minute (depending on the length of the lesson) teacher-directed activity that prepares the brain and body for the rest of the lesson. The BrainDance, described later in this article is perfect! During the warm-up the dance concept for the day is introduced through a multi-sensory approach (hear, see, say, and do). Dancers need to say the words and move the words, while seeing the words visually written and displayed, in order for the concept to be remembered and embodied.

2. Exploring the Concept is a five to fifteen-minute (depending on the length of the lesson) student-centered activity in which the concept is explored through a structured, problem-solving approach. The dancers are allowed time to explore the concept in a number of ways individually, or in pairs, and trios. The lesson's dance concept is explored through the lens of the many other dance concepts so that the dancers are encouraged to find new ways of moving, and to increase their critical thinking skills. Students focus on exploring the concept in self and general space, using isolated body parts and the whole body, working alone, and with others. After the exploration, dancers reflect mentally and verbally about their feelings toward the concept, and the exploration. They share their feelings with a partner, the whole class, and/or write in a journal.

3. Developing Skills is a five to fifteen-minute (depending on the length of the lesson) primarily teacher-directed activity in which locomotor and nonlocomotor skills are learned and practiced. The skills learned are practiced through the lesson concept. For example: turns are practiced on different levels when the concept is Level; skips can be practiced for several weeks by adding different Direction, and changes in Size, Level, Speed, and Energy to relate to the week's lesson concept. Combinations of movements (dance phrases, routines, or folk dances) should also be practiced, focusing on the transitional flow between movements. Leaps and turns are included in this section, as well as partnering skills.

4. Creating is a five to thirty-minute (depending on the length of the lesson) primarily student-centered activity which includes improvisation and/or choreography. This is a time when the dancers utilize all they have learned earlier in the lesson, and is therefore, an excellent time to assess how well the lesson has been taught. In this section, the students combine their emerging movement skills with their developing creative skills to create dances, either improvised or choreographed. The teacher gives the dancers a movement problem to solve on the spot without practice (improvisation), or to solve through creating a set study (choreography), which can then be shared with the class.

5. Closure/Cooling-Down is a five to fifteen-minute activity that can take several different forms. Students might share the improvisations or choreography created earlier. Then they reflect, and share feelings about what they observed, what concepts they saw, how the performers solved the problem, etc. Alternatively, dancers stretch muscles as they review the lesson concept. Visualization is utilized to review skills learned in class, or dancers do deep breathing and relaxation exercises. Very young dancers receive special words of praise as well as stamps on their hands and feet that relate to the lesson concept.

The five-part lesson plan format is very successful for many reasons, and can be used as a model for teaching any subject area from math to music. First of all, this format alternates teacher-directed and student-centered activities. This allows the teacher to present new material and/or continue work on familiar material. It also allows time for the students to construct their own learning, which increases their motivation and memory. Secondly, the format provides an opportunity for novelty through the introduction and creative exploration of new concepts each week, and repetition through the practicing of skills from week to week. Novelty gets students' attention, and repetition provides the practice need for remembering new information.

The BrainDance
The BrainDance (created by CDC founder Anne Green Gilbert), is another unique aspect of the CDC curriculum that supports learning. All classes at CDC start with this very beneficial warm-up exercise. The BrainDance is composed of eight fundamental movement patterns human beings are programmed to move through from birth through twelve months that wire the central nervous system laying a foundation for appropriate behavior and attention, eye convergence necessary for reading, sensory-motor development, and more.
When patterns are missed due to birth trauma, illness, environment, head injury, or not enough "tummy time" on a non-carpeted surface, there may be missing gaps in a person's neurological development. These gaps can cause neurological dysfunction that may later appear as learning disabilities, behavior disorders, memory problems, sleep disorders, speech, balance or filtering problems, and a host of other difficulties that may disrupt the flow of normal childhood development.
Cycling through these patterns on a daily basis may correct flaws in a person's perceptual process, and reorganize or re-pattern the central nervous system. The BrainDance prepares the brain for learning and helps develop appropriate behavior and social skills. The BrainDance is done as a warm-up at the beginning of dance class but can also be done before tests, performances, and presentations, and during computer work for brain reorganization, recuperation and oxygenation, a centering body/brain warm-up, and to wake-up or calm-down.

The eight BrainDance patterns and benefits (briefly described) are:
Breath: Take four to five deep breaths through the nose and out the mouth filling the belly, diaphragm and lungs. (Brain needs oxygen to function)
Tactile: Touch all body parts in various ways – squeezing, tapping, slapping, scratching, brushing. (Bonding and sensory integration)
Core-Distal: Stretch away from body center (naval) through fingers, toes, head, tail, and curl back to core center. (Relate to others and to self)
Head-Tail: Stretch and curl head and tail (pelvis) together & apart, circle head & pelvis, wiggle spine. (Spine flexibility and neck strength)
Upper-Lower: Move the whole upper body while stabilizing with lower body. Move lower-stabilize upper. (Articulate body halves and emotional grounding)
Body-Side: Move right side fully while stabilizing left side. Move left–stabilize right. Track eyes right/left. (Articulate body sides and horizontal eye-tracking)
Cross-Lateral: Move or connect opposite arm and leg, or cross mid-line of body in many different ways. Track eyes up/down. (Integrate brain hemispheres, vertical eye tracking)
Vestibular: Swing, tip, rock, sway, and roll. Spin until dizzy (fifteen seconds), rest, and spin the other way. (Proprioception, balance)

Summary
A wide variety of students take classes at the Creative Dance Center. Some of our students are in gifted programs, some are in programs for special-needs, others are home schooled. However, all of the parents have brought their children to CDC because of the special focus we have on learning through movement in a positive, non-competitive environment, where the emphasis is on education, as well as enjoyment!

Resources

Brandt, Ron. (1998). Powerful Learning. Alexandria, VA: ASCD.

Gilbert, Anne Green. (1992). Creative Dance for All Ages. Reston, VA: NDA/AAHPERD.

__________ . (2003) BrainDance (video). Reston, VA: NDA/AAHPERD.

__________ . (Fall, 2004) Brain Compatible Dance Education. Reston, VA: NDA/AAHPERD.

Jensen, Eric. (1998). Teaching With The Brain in Mind. Alexandria, VA: ASCD.

Wolfe, Patricia. (2001). Brain Matter: Translating Research into Classroom Practice. Alexandria, VA: ASCD.

About the author

Anne Green Gilbert began her teaching career over 30 years ago as a third grade teacher in Chicago. Anne is currently the Director of the Creative Dance Center and Kaleidoscope Dance Company, which she founded in Seattle, Washington in 1981. Anne is recognized as one of the leading dance educators in the world. She has a Masters in Teaching and is currently an adjunct faculty member at Seattle Pacific University, Seattle University, and Lesley University where she teaches courses on creative dance and using movement in the classroom. Anne has conducted hundreds of workshops for children and adults around the world. She is the author of two books: Teaching the Three Rs Through Movement and Creative Dance for All Ages, as well as two videos: Teaching Creative Dance and BrainDance . Her third book, Brain-Compatible Dance Education, will be published Summer 2004. Anne is founder and Past President of the Dance Educators Association of Washington, an organization promoting quality dance education in all Washington State schools K-12, and is the USA Representative for Dance and the Child International. Anne has received numerous teaching awards including the prestigious American Alliance for Health, Physical Education, Recreation and Dance Honor Award.

Contact information:

Anne Green Gilbert
Artistic Director
Creative Dance Center
Kaleidoscope Dance Company
12577 Densmore Ave N
Seattle, WA 98133
www.creativedance.org
206-363-7281

Email: agilbert@creativedance.org

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