Teaching Tips
Aiano Nakagawa leads creative-dance class. Photo courtesy of Nakagawa

In Aiano Nakagawa's creative-dance class at Acorn Woodland Child Development Center in Oakland, California, a student wanted to run really fast instead of exploring shapes as planned. Nakagawa didn't dismiss or correct the desire. Instead, she yelled, "Yeah! And can you try a sharp shape at the end?" Another time, teachers were asking students not to go underneath tables in the room, but students wanted to anyway. So, Nakagawa's next lesson involved a theme for dancing under things.

Nakagawa teaches ages 0 to 7 at Luna Dance Institute in Berkeley and has founded a publication and platform for QTBIPOC (queer/trans/black/indigenous/people of color) creatives to empower themselves and others through art, called Art for Ourselves. In this work with adults and teens, she says that "it's really about undoing internalized oppression. But young children have an innate sense of freedom, a deep connection to sensation." By promoting that autonomy, she believes that we can collectively dismantle oppressive systems from the ground up. For her, teaching dance is not just about students being creative or physically active, but a way of fostering critical thinking and social justice.

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Teaching Tips
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Q: How do you approach a K–12 class when one of your students has a disability?
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Q: I'm having such a love-hate relationship with mirrors right now. They can be distracting, as well as cause emotional distress for my students. At the same time, they're a really useful tool. I know some teachers remove theirs altogether. Is this something you recommend?

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Teaching Tips
Melanie George (right). Photo by Grace Corapi, courtesy of George

Teachers from coast to coast are pushing students to move outside the constraints of popular music. There is a consensus that the earlier you introduce varied musical forms, the more adept and adaptable a dancer's musicality will be.

New York–based jazz scholar and teacher Melanie George notices that many students' relationships to music can be reductive: They may think exclusively about lyrics or accents. But jazz, for example, is about swinging: an embodied comprehension of instrumentation that only comes with musical acuity. "Students are ready for this specificity, even if we aren't giving it to them," she says. When her students understand that there is a technique to listening, it becomes less about going forward, and more about going deeper into the sound and into their bodies.

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Q: How do you approach conflict between students in your class? I don't accept bullying of any kind, but I also don't want to draw unnecessary attention to something and detract from the rest of class.

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Though she loved choreographing, the high school student showcase wasn't quite enough for Julie Deleger, a recent graduate of The College Preparatory School in Oakland, California. The answer for her was an independent-study project during her last semester there. "Choreography is so personal that sometimes you need to take more or less time with it," she says. "Doing it on my own was really helpful. I let the project guide me rather than having to adhere to a specific set of rules."

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Photo by Tony Nguyen, courtesy of SAYE

The Shawl-Anderson Youth Ensemble, a key component of Shawl-Anderson Dance Center's youth program in Berkeley, California, strives to develop the whole person, not just improve dance technique. And its caliber of performance has made SAYE visible and respected in the San Francisco Bay Area over the past 13 years.

As a pre-professional, audition-based, modern performance group for ages 14 to 18, SAYE has its dancers co-create at least six pieces with professional choreographers each year. These dances explore relevant topics for teens, like bullying, coming-of-age and claiming identity.

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Q: What tips do you have for creating end-of-year performances that teachers, students, parents and administrators will all be happy with?

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