Teaching Dance on the Right Side of the Brain
Preface
In discussions with other teachers of dance I have gained some clarity about a certain problem in a common teaching method, namely, describing steps. This essay explains my thinking.
The left side of the brain is commonly thought to process in logical, analytical, verbal (descriptive), sequential modes. The right side is thought to process in experiential, intuitive, expressive, artistic modes. This is considered to be generally true, although the distinction is far too distinct, black and white, than the reality. (This, in itself, is a failing of using verbal concepts to explain complicated things).
Drawing Problem
In "Drawing on the Right Side of the Brain", by Betty Edwards, the author shows some results of adults attempting to draw a realistic cube, while processing in a left-brain mode. The person looks at a cube, thinks that it is composed of six square shapes, then starts by drawing a square and proceeding from there. In reality, a square is almost never visible when one observes a cube. Some left-side results are shown below, with right-side results below those.
(Extracted from “Drawing on the Right Side of the Brain”)
Teaching Problem
So, how does this apply to teaching dance? If a teacher provides a verbal description of a dance movement the student will certainly be in a left-brain learning process. Also, the description will probably be too simplistic: motion is complicated. The result, of course, will be the student attempting to do a left-brain and simplistic movement. The teacher may observe that a student's movement is not “realistic”, and might feel frustrated with the result, even though the student is doing exactly what the teacher described. This process is the equivalent of trying to draw a cube, but beginning with a square. Also, descriptions are sometimes overly complicated, leaving only confused and frustrated students in their wake.
As a real world example of this, think about teaching the basic Swing step. A teacher may begin by describing the man's step as a step to the left, one to the right, and two quick steps going backward and forward. As a graphic example, and to add clarity, the teacher may demonstrate steps that actually move the whole body left, right, backward and forward, and the steps may be large in distance traveled. I've done this myself, then tried to get the student to quit doing my description. (This is a perfect example of saying the wrong thing, Teaching guideline #2 from my list.)
The “reality” of the dance is probably that, although the body appears to move left and right, the feet are most likely shoulder width apart, and stepping more or less in place. The backward and forward steps might be only three or fours inches, not even the length of the foot, and the body movement might be only big enough to create a slight tug with the partner. A classic sign of a beginner Swing dancer is that their movements are too big.
(There are times when a teacher may decide to teach a movement that does not actually occur in the particular dance being taught. I find this approach problematic, because invariably some students seem get imprinted on the movement and try to employ it in the actual dance, where it doesn't belong. If you decide this method will be useful, then you must be sure that the students understand that you are only using a teaching method, and they must understand what they should be learning from your method.)
Teaching Solution
If our teaching methods causes students to dance “in their heads”, rather than “in their bodies”, and if the description produces an incorrect result, maybe we should either describe a movement that actually occurs in the dance, or quit using a description altogether. What if we taught by giving the students an observation or an experience, rather than a description? Might that take them out of their left-brain?
So, for a real world example, we'll reconsider the basic Swing movement. (Notice, I didn't say “step”). We could begin by putting on some music and saying only, “Do this”, then demonstrate stepping in place, L-R-L-R (no back step), to the rhythm S-S-Q-Q. (After the class is familiar with this start, a teacher could choose to also include step variations, such as triple steps and tap steps. Or, these steps might be introduced later.) The teacher could demonstrate various body movements, or encourage students to explore their own, without saying a word of description about them. At this point the back step has not been mentioned. We would only be teaching expressive body movement to a particular rhythm. (Isn't this what dance really is?) Next, we could have students take both hands with a partner and get them to make a slight backwards tug with their partner on the first Q step (ct 5). To add variety, we could ask them to try it with various combinations of hands: double, single, crossed. Finally, having not mentioned it before, we could suggest adding a slight back step on count 5, to contribute to the tug. This sequence would focus attention on moving with ones partner, rather than on the back step.
Conclusion
In some communities where social dancing is common - Polish, Latino, Tex-Mex - children are taught to dance, not in a class, but by taking them to the dance floor and dancing with them. This is a right-brain process. If they get any description at all, it is minimal. Sometimes this type of dance training is best, because it doesn't leave the mark of “schooling” on the dancer. Long-time dancers who have learned to dance in this manner are often unable to describe what they are doing. I think this proves that descriptions are not necessary. If this is the end result we are looking for, as dance teachers, maybe we can find a way to go directly to it, bypassing the detour of left-brain descriptions.
To be sure, adult dancers may not be comfortable with this method, because they have lived much of their lives in a left-brain mode and they are familiar with it. We live in an information-oriented culture. However, if we think that dancing is a right-brain activity, then we must assist students in achieving right-brain awareness of dance. Running your class in a fun-oriented, non-judgemental manner should contribute to this. Derailing them in a left-brain process may be counter-productive.
Admittedly, teaching with descriptions is often easier than teaching without them, but does it achieve the desired end-result for the students? Teachers, themselves, may have to go into a right-brain mode in order to discover (observe) the reality of the dance, before they can try to transmit that reality to their students. The more often teachers say, “Do this”, and the less they rely on descriptions, the less necessary it is for their descriptions to be correct.
The most profound dance learning is probably an experiential process (right-brain). If you must resort to descriptions for your teaching, and this is often the case, then make sure the descriptions are not simplistic or incorrect. Also make sure your students understand that even a good description of dance may be superficial, and that they must go beyond the description to realize the dance. When I'm pointing at the moon, don't study my finger.
My teaching motto is “Less talk: More rock”.
Postscript
Refer to Teaching Guideline #39