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By Krista Brown, Freelance Teaching Artist ~~ Many veteran teachers know the voice that springs up when there is a lull in learning choreography. As I am scrolling through notes, if ever there is a quiet moment I often hear 鈥渨e could鈥︹�� or 鈥渨hat about this鈥︹�� In my early years of teaching, I鈥檇 shoo it away and say, 鈥渢hat鈥檚 a nice idea鈥� and proceed with my choreography notes. Whether this is how I feel the classroom is best managed, I think rests on something beyond just expectation setti...

By Nancy Romita and Allegra Romita ~~ In many forms of dance the breath support for movement is not an integral part of training. It is not perceived to be important in the same manner that stretching, strengthening, and balance warrant focus. Little coaching and training time addresses breath support in most Western dance forms. We propose breath support is at the heart of expressivity and artistry in movement phrasing.Teachers may verbally coach students to hold the abdomen in so tightly the a...

By Pascal Rekoert, Assistant Professor and Dance Education Program Director at Central Connecticut State University ~~ As teachers, we spend endless time lesson planning, pondering the needs and joys of our students, and looking into our proverbial crystal ball. This process prioritizes our direct future, but what about the life learnings we implicitly share with our students? What about the distant future, the professional legacy we leave behind? My summer was a period laden with loss and鈥攊...

By Christine Mazeppa, Adjunct Professor of Dance at University of Miami ~~ As an avid reader and writer who has spent the last eighteen years teaching dance and language arts to high school students, I have long been fascinated by the effects of language and literature on movement. The connection between the two subjects is so present for me that it is often difficult to teach one subject without drawing from the other. My approach to teaching dance is much the same way I would teach my language...

By Wendy Masterson, MSME/T, RSDE, MFA ~~ The similarity yet diversity of our experiences with cancer helped us to clarify that our pathways were neither right nor wrong, sometimes based on fear, but always with the potential to deepen intrinsic knowledge of our selves. Our experiences acted as a catalyst in exploring the effects of cancer on people who identify themselves through their ability to move and express themselves through that movement. Cancer diagnosis was only the first step of many ...

By Alyssa Thostesen, Dance Facilitator, Arts Access Program at Matheny ~~ From accepting identities outside of the gender binary to celebrating diverse body shapes, abilities, and aesthetics, the dance world has been slowly embracing the idea of otherness in studios and performance. We, as a community, have taken major steps towards inclusion since the early years of codified dance that were fixated on appearance and sought perfection found in the ideal dancer physique through years of exploring...

By Anne Dunkin, NDEO's DELRdi Coordinator ~~ The DELRdi is a searchable dance education database that contains an index of over 9,000 journal articles, theses/dissertations, conference , government reports, independent research and papers, standards and curriculum, newsletters, historical papers, blogs, syllabi, and online postings. In this blog post, NDEO鈥檚 DELRdi Coordinator Anne Dunkin presents at what the DELRdi is and how it can benefit you as a dance educator, researcher, or student...

By Heather Harrington, Dance Faculty at Kean University ~~ The first time I heard a student of mine refer to dance as 鈥渢he industry鈥� was in 2015. Maybe she saw me physically recoil before saying, 鈥渘ot all dance falls under the category of industry.鈥� My recoil was rooted in my reluctance to see the pursuit of dance as 鈥渁 manufacturing activity or a distinct group of productive or profit-making enterprises鈥� (Merriam-Webster). During feedback sessions in my composition classes, as I began to ...

By Emily Enloe, Dance Educator at Oakbrook Middle School in South Carolina ~~ Like many educators, COVID-19 accelerated my tough daily load of teaching. I struggled with turning my program on a dime to meet new COVID-related protocols while remaining focused on what was important鈥攖he students and their needs. Although the changes gave me some time and ability to experiment in new ways with my dance program, it also took a toll on my mental and physical health. After being stuck at home during...

By Shannon Dooling-Cain, NDEO Special Projects - Content Writer ~~ Most dance teachers have at least a basic understanding of music. They know how to find the beat, count measures of 8, and understand the difference between a march and waltz. Others go their entire career using their own sense of musicality: feeling the music as opposed to understanding the theory behind it. Still others may be knowledgeable about music as its own discipline, but may want a deeper understanding of how music and ...

By Shannon Dooling-Cain, NDEO Special Projects - Content Writer ~~ Thank A Dance Teacher Day is a global movement to shine the spotlight on dance education and the teachers who make it possible. It was started in 2014 by the National Dance Education Organization (NDEO) to raise awareness of the benefits of dance education through social media. Held annually on the first Thursday in May, Thank A Dance Teacher Day is a perfect time to show your gratitude to the dance teachers who made all the diff...

By Shannon Dooling-Cain, NDEO Special Projects - Content Writer ~~ In this blog post, we鈥檒l discuss some of the many benefits of tap dancing. We鈥檒l also look at a brief history of tap dance and why it is important to include that history in your classes. You鈥檒l hear from Thelma Goldberg, Director of The Dance Inn, creator of Thelma鈥檚 tap notes, faculty at Dean College, and professor of NDEO鈥檚 online course OPDI M24-Classic Tap Repertoire: The Shim Sham Shimmy, as well as a few NDEO members...

by Cheryl Johnson, Adjunct Lecturer, Dance - University of Rochester ~~ I perceive jazz dance as a creation of people: people that I have met and who have influenced my life, and people of the past who have revolutionized American culture: Charles Sherwood: my uncle, percussionist with the U.S. Navy Band in Korea, who turned me on to jazz chord progressions: Steve Porter: dancer in the Company of Man, Buffalo, NY a Vietnam War Veteran who turned me on to the music of Nina Simone and dancing from...

By Luke Kahlich, Professor Emeritus, Temple University ~~ While I understand the complexity of charting new territory in assessment, I am concerned that the value of the content in the arts is not sacrificed for expediency or structure. I believe that we have entered a new age where the only certainty is change and that the future success of students will depend on flexibility in thought, knowledge of access procedures, and tolerance and respect of multiple perspectives. To address this new worl...

by Pascal Rekoert, Assistant Professor and Dance Education Program Director at Central Connecticut State University ~~ If one thinks about teaching and learning in dance education, the realization dawns quickly that, like the art form, dance education is a gendered field. As a nation, the U.S. upholds rigorous and conservative beliefs and values towards gender norms, especially the expectations towards men. While dance has become increasingly accepted for males, especially in progressive regions...