Keeping the Artist Alive in Young Dancers (and stepping outside my comfort zone)
These last weeks as I have begun working with American Ballet Theatre’s National Training Curriculum in my own ballet classroom I find myself bumping up against a small dilemma: improvisation is to be explored in the lower levels of the curriculum.
Er, okay. See, the thing is, I suck at improvisation. I always have. Once I discovered this truth about myself as a young ballet student I managed to finagle my way out of just about any situation in which I would be asked to improvise dance on the spot; I even “missed” most of my modern dance classes—where improvisation was likely—when I went away to ballet school (until the school notified my parents of this oversight on my part). Note to my friends in the modern dance world for whom improvisation is practically second nature: go ahead and collectively roll your eyes. But American Ballet Theatre will be on my doorstep on April 24th to see how my young students have fared in their classes with me during the course of this academic year. So improvisation it is.
I had an opportunity to take classes in Primary through Level 3 of the National Training Curriculum this past summer at ABT. I recall a moment during the Primary Level class in which our teacher—the lovely and able Harriet Clark—said something along the lines of, Now here is where we would do our improvisation, waving it away so that we could proceed to the next exercise. A little voice inside me screamed, Wait! Stop! Improvise what? Everybody else seemed satisfied that she was going on, so I put on my best poker face and nodded knowingly with them. And unfortunately, we were not able to observe any classes in the very lowest levels of the curriculum, as the summer intensives students whose classes ran concurrently with ours were older and therefore in slightly higher levels (where, you guessed it, there is no improvisation exercise).
But I also recall an especially painful moment during the training in which one of my classmates attempted to “show” an improvisation. This happened in a small group session, where we each had a chance—over the course of several days—to create exercises in Primary through Level 3, demonstrating them for the group and then listening to feedback from each other and our instructor. Improvisation Lady, we’ll call her, stood and announced the scenario she had created, and then painstakingly took us through each and every aspect of it in agonizing detail. Cringe. In truth I was mesmerized by it, but struggled to find its relevance for the ballet classroom. When Improvisation Lady had finished, our instructor solicited comments. After an uncomfortable silence, she suggested that you can’t really give an improvisation: to do so would be, well, NOT improvisation.
Ouch. Proverbial slap on the wrist. I at least had the wherewithal to make a mental note at that moment that improvisation is NOT to be dictated to young students; it would be sort of like a prosecutor leading the witness, sort of. I think.
Left to my own devices, I’ve had to figure out this improvisation thing so that my students are ready for their examination classes in the spring. So I decided to plow ahead with my own ideas. I’ve been experimenting with the orchestrated music from familiar ballets—Sleeping Beauty and the Nutcracker for the time being (it is, after all, Nutcracker season). On some days I give each child her own piece of music, typically about thirty seconds to a minute. I tell her she has the entire room to herself, and to imagine she is on a stage. I encourage her to do anything—anything—that inspires her imagination, but I suggest that she draw from the movements already in her collection: skipping, galloping, swaying, tiny runs on demi-pointe, turning movements. Sometimes I include “props”—hoops placed on the floor, for example—and then see how the presence of the hoops affects her movement: will she jump into and out of them? run around them? ignore them altogether? I place a scarf in each of her hands, because I discovered in short order that a child is more likely to use her hands and arms that way. And then off she goes.
On other days I select one piece of music and allow each child to create an improvisation to only that piece of music. First, we listen. Then I solicit ideas: what do you think of when you hear that music? I get all kinds of answers to that question (a fairy, a hummingbird, a witch, a butterfly), and then I tell them to go for it. What interests me the most on these days is how each child borrows ideas from the ones who went before. I think both “versions” of the improvisation are useful. In the first case, each dance is unique. In the second, each dance has unique aspects, but each young artist has the opportunity to improve on or at least change what went before.
So how is it going, you wonder? So far, so good, mainly. The overwhelming majority of my students look forward to improvisation. Some of them can’t wait for that moment in class; the joy they feel in the movement is written all over their faces. Others volunteer to go first just to get it over with (I feel their pain). I do appreciate the idea that it is important to keep the artist alive in our children, as Raymond Lukens so poetically observed during the ABT training. I also think it is entirely possible to be a wonderful young artist without creative exercises that put you on the spot. Still, I think it is fair to say that the improvisation exercise is pretty overwhelmingly successful thus far.
Frankly, I’m enjoying trolling for new music to use for improvisations. And there have been some other interesting epiphanies, as well. On one recent day, one of my Primary Level B students (that’s the class pictured here) inadvertently executed the most gorgeous grand jete entournant as part of her improvisation. Of course, she has no clue what that is. But her movement was so lovely that I gasped out loud, just like when I go see ballet in the theatre. We are after all a bunch of bunheads at Knoxville Ballet School. Improvising bunheads, that is.
Deb, it sounds like you are going in exactly the right direction. The photos say it all: lightness, fun, creativity. I totally sympathize with you because I never felt comfortable with improvising either, which was a big detriment in my career because most choreographers expect the dancers to produce and provide movement that they “shape” into their piece. So I have made an effort in my process of learning how to be the best teacher I can be to learn how to incorporate creative aspects into my ballet classes. I am lucky that I have the opportunity to take workshops and teacher’s courses here in New York.
The two most important things that I learned were one, that “creative” and “improvise” are not synonymous with “do whatever you want.” In fact, most people discover their creative possibilities through working within a structure or an assignment. And two, that including creative elements within a class does not take time away from working on technique, but rather, reinforces and helps the acquisition of technique. One of the daunting aspects of ballet for many children is that there is no shortcut: it takes times and lots of repetition to improve. The improvement can be so gradual, and there is always more to learn, and more to improve, that sometimes they do not gain satisfaction from recognizing that they are indeed making progress. Giving the students the chance to perform what they know helps them see how much they have learned, which is very gratifying.
Here is some ideas that have worked for me:
Movement sentences: Assign a beginning, middle and end, like “Make up a sentence that has a a traveling step, a stay in place step, and a jump.” Do a fast, sharp version. Now do the same steps in a slow, liquid version. (or use characters: “How would a princess so this sequence?”, How would a superhero do it?” etc.) Or ” Two ballet movements we have worked on in class today, and one movement that is totally your own, not necessarily from ballet class, but something you enjoy doing.” Or do a Laban motif -type thing: make cards or posters that use symbols to represent turn, jump, pose in position, wiggle, glide, etc. (You can have the kids make up the symbols with you, which will help them remember what they denote, or I can mail you a set of the real Laban motif writing symbols.) Mix up the cards, have the children pick them out and make up a dance using those types of movements. And I have done it with ballet steps on papers that we tape to the mirror: great for ages 8 through 12 to learn the names, meanings and spellings of vocabulary. “Choose three steps, tape them to the mirror, and show us the dance they make.”
Jessica Nichols is a modern dance teacher here in New York who gives teachers’ workshops on how to incorporate creative elements into technique classes: she is a dynamic teacher who is very clear about what she asks the students to do, so they understand the assignment and can feel confident of fulfilling it. (She usually brings in a group of kids, often from a public school program, to demonstrate her methods.) She gives her combination: even basic warm-up or barre sequences, and in the middle of it says, “here you do whatever arm movement you want for four counts and then go on to do” (her steps.) Or ” at the end you do eight counts of sharp movements going from a high level to a low level.” Or “repeat the combination but face in different directions.” Or “between the right side and the left side you have 16 counts to move through space.” Or “after you do the 8 degages, you have 8 counts to dance with another body part besides your feet.” Etc.
What I observe in Jessica’s method, is that the students are continuing to gain the kind of body awareness and control that we want them to gain through technique even when they are making up their own movement: the assignment pushes them to use their imagination while feeling their muscular possibilities. You know what I mean? The creative part is not “airy -fairy” or wishy -washy.” It is strong deliberate movements they have chosen to do themselves.
With little kids (3 to 7) you can lead them through a story line: the classic one is caterpillar to butterfly, or having them be spaghetti: first uncooked, then throw in the pot, gradually, get loose and limp, then wiggly, pile on plate, fall off plate like a snake, etc. Or seed to tree, then breeze to hurricane. Or have them be an object like a ball: it rolls, dribbles, bounces, gets thrown from one person to another, etc. Paper: it can be rolled up, written on, painted on, folded, cut, torn, shredded and fall like a ticker tape parade.
When I am working with these ideas I try to have a list of actions (VERB!) or of adjectives handy to help stimulate (my) their imaginations. Or you can have them come up with a bunch of “winter words” for a winter dance (Vivaldi’s Four Seasons is good for that one.) I love Fall dances; my favorite one was a wistful, lyrical dance, which the child said was “A Lost Scarf.” And at Halloween, I enjoyed having a ballet 1 class go through their regular class exercises with each exercise in a different “costume” (we have to use a Costume Ball to be p.c.). Doing plies like ghosts, tendus like Frankenstein, chasses like horses, etc actually helped the kids feel their muscles more (they definitely keep their legs straight in Frankenstein tendus!). (The only problem is that they want to do it in all subsequent classes, but you can work it in subtly or use it as a reward.) You could also try suggesting different emotions, but I personally am not good at eliciting movement possibilities by saying; “sad pas de chat, glad pas de chat!”
Finally, I have to tell you, Deb, that I do not remember that the ABT curriculum has improvisation in it. I don’t know if they have altered and improved on it already (This is only the second year of it) or if I just forgot it because I am not currently teaching the primary levels, and the schools I am involved in are not participating in the official ABT examination part. (You are so brave, I tip my hat to you). I will look through my syllabus again. It may be that my suggestions are too structured for their ideas of how the improvisations should go. But perhaps they can be used as “stepping stones” in a progression where you are guiding the students toward helping them be more creative or have more ideas for more open improvisations.
If I think of anything else, I will write again. I can also give you a list of books that are helpful, since I collect them -as you know! What you are doing is great and going to help their musicality immensely. Keep up the good work! And thank you for writing it out, it is a joy to read. Regards, Sophia
Aargh– I thought I proof -read but I missed it: Here ARE some ideas that have worked for me:
Deb, it is so interesting to read your thoughts on this. I grew up learning creative dance and improv techniques alongside my traditional technique classes. So I’m one of those folks for whom improvisation comes pretty naturally. HOWEVER, I must say that doing and teaching improvisation are two different things. It is not an easy thing to teach. It requires more thoughtful preparation than any other dance method I’ve ever taught. I think because the best sessions are like well-oiled machines that don’t show the gears working, which requires a great deal of material and a “toolbox” of alternatives or places to go should something not work or have the desired affect or take up the amount of time you thought, etc. Plus there are infinite choices on how to present and explore!
Anyway, it sounds to me like you are serving the children in your classes well despite any obstacles you’ve had or have. It can be especially challenging to just insert improv into a technique class because, though children are naturally creative, improvisation must be practiced just like any other skill in order to be truly effective (and 5-10 minutes a week doesn’t always cut it). I think it works best when technique is enriched with creative concepts and improv is structured to relate to technical concepts. Oh gosh, I could go on… let me just say that Sophia’s tips/thoughts above are really great. I’ve written a little bit on Dance Advantage about incorporating creative dance/improv into technique classes (try a search for curriculum or lesson planning or creative dance). I’d be happy to answer any questions or chat with you about it, too, though I still feel I am learning and have some distance go in my own teaching!
Just want to add two things: I loved your anecdote about the child who did a grand jete entournant. This to me points out one of the values of giving children time and space to discover movement. It is great preparation to experiment with jumping, turning, leaping, skipping, etc. before attempting to mold the experience in accordance with a particular technique. The body learns a great deal through “play” - we know this is how children learn other things as well, makes sense that it applies to movement skills too.
And regarding your statement “I also think it is entirely possible to be a wonderful young artist without creative exercises that put you on the spot.” I want to say that if the creative exercises are making anyone feel like they’ve been “put on the spot” that something is flawed in the way it is being presented. One should be able to grow into the experience of showing improv or improvisational choreography in front of a group. Feeling secure in the environment is crucial for developing confidence in improv techniques, particularly for children. And empowering a dancer to make creative and individualized choices is important in developing artistry - structured improv is not the only way to offer this but it is a great way!
Thank you for your work, sort of making peace with improv within yourself, so that you can offer it to your pupils. Many are not so willing to bridge that gap and I know you are doing a great job!!
@Sophia: I can’t thank you enough. ABT clearly needs you on staff….
@Nichelle: Thanks for stopping by! I truly apprectiate your kind words, support, and suggestions (not to mention the resources on your great website…the scarves we are using at the school in fact came from a supplier I read about in one of your posts). I will absolutely go back and look for earlier posts at DanceAdvantage about improv and creative movement. It’s funny that in the Primary Level classes, pretty much not one day goes by now in which at least one child doesn’t ask, Are we getting to make our own dance again today? I think we may be on to something….
Fascinating. I thought all dancers enjoyed improvising. I could imagine (as a non-dancer) some of the difficulty, though… like an actor who is happy reading from a script but terrified of, well, IMPROV? I loved reading the dialog betw three teachers, including the ideas of using “real” movements in an improvised way. Sounds like many art projects, music projects, and writing projects I’ve been given, where we were to use the techniques and rules, but in our own “sentences.”
It also interesting to think of the process you are recreating through improvisation: every “real” ballet dance step began as an improvisation (invention) by someone originally, then was improved upon and perfected by the same and subsequent dancers. (as your dancers were doing with each other’s improvised movements, Deb!)