Exploring the
supportive relationship between Ballet and Modern techniques in training
adolescent dancers.
I would like
to explore how ballet (RAD and ISTD) and modern (Limon technique and ISTD) techniques can support each
other in the training of adolescents
(ages 10-18).
Within this
exploration I intend on looking into the stages of development that are
experienced throughout adolescents, using literature and research to inform my
understanding. I intend on examining the physical, mental and emotional
development of adolescents and how this development affects their ability to
learn, embody, and perform ballet and modern techniques.
Vulnerability – Maturity – Decision Making – Attention span – Ability
to learn and embody movement.
The
adolescent years of a dancer are filled with much expectation from both the
dancer and the teacher/parent. The student hopes to progress in a seamless
manner and gain talent and facility. The teacher places many expectations on
the adolescent in training, including focus, desire, respect, the ability to
embody or “pick up” movement, etc. The parent expects the dancer to enjoy their
training, commit to dance for a given time period, stay in shape, etc.
Decision-making
is also an area of interest to me as I know adolescents struggle with this, however
these adolescent years are also the years in which many choices and decisions
are placed on them regarding their future in dance. Classes, examinations, performance
opportunities, additional training, etc are all offered to them with an
expectation that they will choose according to their potential future career in
dance.
- · What is the relationship between teacher/student/parent decision-making?
- Does training in both Ballet and Modern technique create an environment in which fewer decisions are expected of adolescents?
In understanding
the development of adolescents, I would like to look into how training in both
Ballet and Modern technique can benefit the dancer. I will look into areas such
as: efficiency, freedom and control of movement; technical support (turn out,
weight transference, placement etc); muscle development; balance (of muscle
development, movement etc); how the spine is involved in each technique;
initiation of movement; understanding of anatomy – how and where movement comes
from – which leads to efficiency of movement and injury prevention. Areas of
interest include:
-
· What principles of movement are similar or compatible between Ballet and Modern technique?
- Are the students able to translate information between technique classes?
- Is this affected by their stage of development?
- What is the student’s experience of this relationship?
o Do
they understand it?
o Can
they verbalize what they have experienced?
o Can
they translate information from one technique to the other within class?
o Have
they experienced a benefit from training in both techniques and thinking
about the relationship between the two?
- · Are teachers able to communicate the relationship and draw the students attention to details within each technique that support the other?
- How can teachers help facilitate this relationship in the training of adolescents?
I believe
these two techniques when taught with an understanding of the each other and in
relationship with each other can offer adolescents balanced training. I would
like to look into the physical/technical benefit of this relationship – balance
in muscle development and injury prevention (for example the balance between
training in turnout & parallel).
How can this balanced approach to training affect the adolescent dancer
emotionally? I believe it creates an even playing field for dancers – training
is no longer focused on the best at one particular technique, but rather the
mutual respect and appreciation creates a training environment in which the
dancer feels accomplished and successful as well rounded dancers. The
appreciation and understanding of this relationship can encourage a broad
spectrum of dancers, not just those who are successful at ballet.
- · Is one technique seen as more superior to the other?
- · Can this relationship create a more balanced understanding of Ballet and Modern technique as equals?
I would also
like to explore how this supportive relationship allows or creates room for a
holistic approach to teaching. I have already discussed how I believe it can
offer the opportunity for balanced training physically and emotionally. It also
provides education for the dancer in offering technical training in two very
important techniques – providing them with training that can facilitate the
potential for further careers in dance (since most professional ballet and
modern companies expect efficiency in both techniques). Having an understanding
of developmental stages in adolescence and anatomical knowledge, we as teachers
are able to train our students in a safe informative way. As well, this
relationship may be approached from the intention to nurture the whole dancer. Through
exploring and researching the above ideas I believe that a nurturing learning
environment would be able – recognizing the strengths and abilities of all
dancers, care for the dancer’s development as a human not just a technical
machine, and allowing for a healthier body image.
The
teacher’s role within this relationship is critical. The teacher must be
informed enough to understand both Ballet and Modern techniques. In order for
the adolescent students to benefit from this relationship, they must be introduced
to it in an encouraging environment in which the teachers are informed and
supportive of the relationship. I
believe the teacher (either ballet or modern) can have a strong influence on the
student’s ability to appreciate, recognize and embody this relationship.
