Week 2: 19/3/15 - Inclusive Dance Practice
Seminar taken by Jacqui Dressens Inclusive Dance Practice = "Acknowledging that every single person has an ability to move, this includes people with any disabilities e.g. students with down syndrome" Jacqui Dressens Creating an inclusive dance environment for all physicalities and bodies is dependant on the pedagogical knowledge of the teacher (Zitomer 2013). It is dependant not only on their ability to adapt their dance practice to be inclusive but also on their knowledge on the needs and capabilities of all in the class (Zitomer 2013). Resources that might be useful:
Props: We discussed the beauty in using props for people that may have a disability, props such as:
However, also consider the changes this makes to your dance practice in terms of safety. They can easily become a tripping hazard. We experimented in our tutorial in the use of a scarf for a person with a physical disability and the freedom this gives in terms of feeling in control of the movement and extending the movements. It gave a broader range of options. The Creative Making Process: ISARE I = Improvisation S = Selection of movement A = Arrangement of movement R = Refining of movement E = Evaluation of movement phrases Any dance piece is formed this way, the dancer improvises with movement, they select the movements they feel are suitable, they arrange them and refine them. The most important part is the evaluation, this is how we improve. In AusVELS, you might see ISARE written as "dance making" (ISAR) and "dance response" (E) Experience Activities 1. Experience how it is to be guided by someone else We walked in the space, find partners. We put one person's hand on the top of the other person's hand, the person on the bottom is on control. We went around the room, exploring different movements and alternating partners. Jacqui added music (The Beatles mix) which assisted in exploring another range of movements involving rhythm. This is a wonderful ice breaker activity, the hands are on top of each other, making the contact non invasive. Jacqui shocked us to get our attention by making a loud noise. This is a wonderful technique as it shows children it is ok to be loud, this is a space where they are allowed to be free. We reflected on this activity:
We could have developed this activity in many ways with different body parts remaining attached e.g. foot must remain connected on the floor, hand must stay connected to the head and this controls the movement. This also assists in making the activity more inclusive as it can be adapted for many different physicalities 2. Experience how it would be to do this activity blind We did the same activity however, half of the class (those that were being guided) were 'blind' - they closed their eyes. You could notice instantly the reluctance in the 'blind' people's bodies, the faster the guide moved, the more resistance that was required in the hand contact (the person underneath needed to be pushing up and the person on top must be pushing downwards) To get into this activity, Jacqui split the class in half. Half remained on the floor with their eyes closed and the other half stood with their eyes open on the other half of the room. The people with their eyes closed came and selected a person to guide around the room. This was a wonderful technique. You were not to speak with the person guiding you. It would be a great activity for students reluctant to work with each other as it builds trust and respect easily. It is important for people to experience this and challenge perceptions of those with disabilities in our culture (McMillian 2012). In McMillian's article on 'Magpie Dance', health carers are paired up to dance with a student with a learning disability. It highlights the ways in which perceptions of those with disabilities are challenged through dance and empowering each other. Dancing with a partner allows students to experiment with elements such as force, energy, weight and control. A note on music: It is important to use a variety of music from a variety of cultural backgrounds, use the students prior knowledge to engage in the dance practice and rhythms the music offers. 3. We then sat in a circle, model of 'Mirror Mould Extend' This was beautiful, as it is inclusive, you can see everyone Jacqui, myself and another student modelled 'Mirror Mould Extend' There are 3 steps for each individual: 1. Posing 2. Watching 3. Transitioning The first person strikes a pose, the second person can choose to mirror that position, mould around that position or extend that position (extend a particular line e.g. leg/arm line), once the second person has chosen their position, the first person transitions out of the pose and the third person then chooses to mirror, mould or extend on the second person's position. Once they have decided, the second person transitions out of the position and the cycle repeats. This is a wonderful activity for students: - Turn taking is expected - Students must actively participate and watch (when it is not their turn) - Encouraging improvisation - don't think, just do! - No physical contact Mould can be seen as contract Extend can be seen as stretch Mirror can be seen as reflect Students enjoy this activity as it involves choice! This activity also creates a dance: Intro - when a student comes into the space Middle - when the student mirror, moulds or extends End - when the student leaves/exits 4. In groups of 3, one person has a physical disability, use mirror mould extend to create a dance We firstly improvised together with April having no movement in her legs and a scarf to extend her movement range. We chose the phrases we liked and arranged them in a order. We sat down and discussed our weaknesses which included transitions. We kept refining and evaluating as we practice until we performed. Jaqui used music in the background to help keep us inspired (The Cat Empire was played) We performed by splitting the room into 4 quarters and taking it in turns at watching each group. Each group showed the next group their final position so we were able to know when to start. It was one continuous performance. This was an idea that was brainstormed by myself when Jacuqi was asking for alternative performance arrangements, I was surprised she chose my idea, unsure if it would be better than her ideas but in the end it strengthened my confidence as it worked well and wasn't intimidating. At the end we discussed particular elements of the performance and what we would clarify for our students to reduce uncertainty: - Enforcing the importance of improvising if one person forgets - Seeing other groups made students uncertain of how long the performance had to be Alternative ways of performing: - One half of the room stand and watch, the other half perform in the space they have been working in - switch over - A circle and having the middle as the performance space Connection to AusVELS: Grade 2, Level 2
As a warm up activity, the teacher places a range of large stuffed toys around the room. The teacher plays a long continuous piece of music (Perhaps a remix by the Beatles). The teacher models how students can move around the space, when the music stops, students must choose to mirror or mould to an animal shape. This is a lead in to lessons on mirror, mould and extend later on in the year. This is also linked to Science, Level 2 in Biological sciences as students look at how living things grow and move. The teacher may choose to look at the range of stuffed animals and point out their external features. They may also choose to compare and contrast the children's features to the stuffed animal. It is important that the teacher is aware of the ways in which this activity could be adapted for those with limited movement due to a disability. If needed, students with a physical disability could have a prop to dance with (see list above for ideas) and/or sit on a chair which spins around. The student could have a range of stuffed animals around their chair and face different animals when the music stops. The prop may increase their range of movement and movement vocabulary, helping them also the feel a part of the class. References ACARA 2014, Australian Curriculum, Education Services Australia, accessed 15th April, <http://www.australiancurriculum.edu.au/>. e.motion21 2015, Moving Bodies, Moving Boundaries, visited April 3rd 2015, <http://emotion21.org.au/>. McMillan, I 2012, 'Communicating through dance', Community Living, 26, 2, pp. 14-15, CINAHL Complete, EBSCOhost, viewed 7 June 2015. Restless Dance Theatre 2015, Who, Free Range Future, visited April 3rd 2015, <http://restlessdance.org/who/>. Zitomer, M 2013, 'Creating Space for Every-Body in Dance Education', Physical & Health Education Journal, vol. 79, no. 1, pp. 18-21. |