Findyourownpace

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TheApplicationofUniversalDesignofInstructioninDanceDegreesinHigherEducation.1

"Ilovedthediversity,allofthelanguages,thesimultaneoustranslations,thephysicaltranslatingofwhatcanmybodydo?Theanswersbyamultitudeofabilitiesandages.ItseemedrepresentativeofthekindofworldIliketolivein.”

Studentresponsetointegrateddanceclass

Overview

Overthepastthirtyyearsdancecompaniesworkingwithdisabledandnon‐disabled

performershavedevelopedsuccessfulmethodologieseffectiveinworkshopsand

companytraining.Integrateddance2hasspreadbeyondpostmodernWestern

TheaterDancewithprominentproponentssuchasDanceAbility,AXISDance

CompanyorDancingWheelsintheU.S.orAmiciDanceTheaterandCandocoDance

CompanyintheUKtoplacesasdiverseasIndia,Ethiopia,Uzbekistan,Brazil,etc.

spanningamultitudeofdanceformsandgenres.Whiletheprincipleofinclusionin

thecreativeprocessandperformanceseemstospreadrelativelyeasily,itproves

bothdifficultandproblematictotransferintegrateddanceintomainstream

teachingandtoprovidecomprehensivetrainingandeducationforperformerswith

disabilities.Thelastdecadesawconcertedefforts,particularlyintheUK,toincrease

accesstodancedegreeprogramsforstudentswithdisabilities3.Theresearchand

theresultingpublicationsareusuallyabletoaddressphysicalaccesstofacilities,

information,inclusivelanguageandoverarchingartisticandeducationalprinciples.

Thereishoweveragreaterchallengetodisseminatebestpracticeinaccessible,

instructionalprocesses.Whileindividualsolutionsexist,theseapproachesareby

andlargenon‐verbal,applied,visual‐kineticandembodied.

Mypersonalhistoryasadancersomewhatmirrorsthedevelopmentof

integrateddanceandthechallengetotransferthepracticeintohighereducation.I

completedanMAinContemporaryDanceattheLondonContemporaryDance

Schoolin1997,trainingconventionallyasacontemporarydanceperformer.In2000

IgainedapositionwithCandocoDanceCompany4,aprofessionaltouringcompany

withdisabledandnon‐disabledperformers.Experiencingintegrateddance

fundamentallyshiftedandcontinuestoinfluencemyartisticandpedagogic

approach.Movingbackintohighereducation,joiningthefacultyintheDance

ProgramattheUniversityofWashingtonin2004,itwasimportanttomenotonlyto

teachaboutintegrateddance,butalsototeachstudioclassesinanaccessibleway.

Writingaboutanembodiedpracticeisalwaysanactoftranslation.The

process,however,ofwritingthischapterservesseveralimportantpurposesand

contributestothediscussionofUniversalDesignofInstructionfromadance

practitioner’sperspective.Thearticledocumentsimportantchangesmyapproach

tointegrateddanceunderwent,whenImovedfromaspecificcompanypracticeinto

highereducation.ConsideringUDofInstructionrequiredmetorethinkteaching

processandmaterial,andtogeneratenewideas,tasksandexercises.Theresulting

documentisasmucharecordandcritiqueofpastandestablishedworkasitisa

blueprintforcontinueddevelopment.Furthermore,thisarticlecanhopefullyreach

morepeople,andgenerateamorefar‐reachingdiscussionofaccessandteaching

practiceindanceaswellasinotherdisciplines.

Afterprovidingahistoricoverviewofintegrateddance,Idiscussthe

applicationofUDofInstructiontodancedegreeprogramsandstudiopractice.

Centralinthisdiscussionishowtomovebeyondworkingwithadaptationsasa

deviceforstudentswithdisabilities.Theaiminsteadistocreateaccessforamore

diversestudentpopulationbydevelopingaskill‐specificcurriculumwithteaching

methodologies,assessmentcriteria,classstructuresandmaterialrelevanttoall

participantsintheclass.

HistoricOverview

Artisnotamirrorhelduptoreality,butahammerwithwhichto

shapeit.‐BertholdBrecht

IntheUKandU.S.dancerswithdisabilitiestooktothestudioandthestagefromthe

late1960sonward.Inatimewhenthedisabilityrightsmovementwasgaining

momentumandfirstlegislationwasmovingaheadtoensureequalaccessforpeople

withdisabilities,postmoderndancefundamentallyquestionedwhatdancewasand

setouttodevelopanaestheticthatincorporateseverydaymovements,workswith

untrainedperformersandmixessocialdance,theatricalforms,etc.5

Duringthe90s,whiletheADA(American’swithDisabilitiesAct,U.S.A.1990)

andtheDDA(DisabilityDiscriminationAct,UK1995)werepassed,anumberof

integrateddancecompaniesformalizedtheirpracticefromgrassroots,short‐term

projectstotouringrepertorycompanies,offeringprojectorfulltimeemploymentto

theirdancers.6Thesedevelopmentstookplacedespitemarginalaccesstoformal

trainingfordancerswithdisabilities.7Intermsofthetrainingavailableto

performerswithdisabilitiesthe2003UKstudyDisabilityandtheDanceandDrama

Awardsconcludes.

Onthewhole,manydisabledpeoplecanonlygainaccesstoinformaltrainingprovision.”

(Verrent,2003,pp26)Studentswithdisabilitiesareunderrepresentedinmainstreamdanceeducation.8

Theirtrainingisdelegatedtospecializeddancecompaniesandschoolsor

workshopsforthedisabled.Artistswithdisabilities“learnonthejob”andthe

trainingremainsunaccredited.Theseseparatetracksfordisabledandnon‐disabled

artistsareproblematic.

• Itaffectsartistswithdisabilitiesintheirimmediatejobprospectsandlong‐term

careers

• Itlimitstheexposureofmainstreamdancers,teachersandartiststoinclusive

practice.

• Integrateddancecompaniesareprovidingtrainingtonewdancersotherwise

coveredbycollegesanduniversities.

Theteachingandtrainingintheacademyisstrugglingtokeeppacewith

developmentsintheperformingartworld.Thislackofaccessibleandaccredited

trainingstandsinstrikingdiscrepancytothegrowingpresenceofperformerswith

disabilitiesandthedemandfortrainedandqualifiedperformers(bothdisabledand

non‐disabled)tojoinestablishedintegratedcompanies.Companiestraditionally

workingwithdisabledperformersaresheddingthemarginalizinglabelof

“integrated”and“disabilitydance”whileotherscastartistswithdisabilitieswithout

evertakingupadisabilitylabel.9TruetoBrecht’squote,Art,inthiscase,dance

companiesandperformerswithdisabilitiesareleadingthewayanditistheReality

ofdancedegreecoursesandformaltrainingthatrequiressomeofthe“hammering”

tochangeshape.

UniversalDesign,DefinetheUniverse

UniversalDesignis,asdefinedbyRonMaceattheCenterforUniversalDesign

(CUD)atNorthCarolinaStateUniversity:

“Thedesignofproductsandenvironmentstobeusablebyallpeople,tothegreatestextendpossible,withouttheneedforadaptationorspecializeddesign”

(TheCenterforUniversalDesign,1997Website)10

InitiallyconceivedandappliedinthedesignofproductsandarchitecturetheCUD

establishedasetofsevenprinciples:

1. Equitableuse

2. Flexibilityinuse

3. Simpleandintuitive

4. Perceptibleinformation

5. Toleranceoferror

6. Lowphysicaleffort

7. Sizeandspaceapproachanduse

Thesegeneralprincipleshavebeenreconsideredforvariousspecificsettings,

amongstthemteachingandinstruction.SherylBurgstahlerandRebeccaCory’s

publicationUniversalDesigninHigherEducation;FromPrinciplestoPractice

presentsanumberofexampleswhereresearchersandpractitionershaveusedthe

sevenprinciplesofUDtodevelopguidelinesrelevanttotheirfields.Burgstahler

developedanumberofrubricsforUniversalDesignofInstructioninhigher

education:

1. Classclimate

2. Interaction

3. Physicalenvironment/products

4. Deliverymethods

5. Informationresources/technology

6. Feedback

7. Assessment

8. Accommodation

InordertoapplythediscussionofUDofInstructiontodance,weneedtostartwith

areflectionontheconventionsofteachingindancedegreeprograms,toteaseout

whichaspectspromoteandwhichoneschallengeaccessandinclusion.Atthispoint

Ialsocriticallyexamineapproachesusedbyanumberofintegrateddance

companiesanddiscusswhythesemethodologiesdonottranslateintomainstream

teaching.Subsequently,IaddressspecificpointsofbothUDandUDofInstruction.

Inparticular,theprincipleofEquitableUsereallystartedmyrethinkingofinclusive

practice.Thediscussionofspecific,moreequitablemethodologiesisthereforeatthe

centerofthisarticle.

ConventionsinDanceDegreePrograms

Atfirstglancethereisanarrayofdifferentcollegesanddegreeprograms

availabletostudydance.Onfurtherinvestigationhowever,itseemsthatmost

undergraduatedegreesareprettysimilarintheircurricularstructure.Students

interestedinperformanceandthoseinterestedindanceeducation,therapy,

communityorsocialdanceformsallgothroughsimilarundergraduatedegrees11,

withthebulkoftimededicatedtodancetechnique.Itisstandardtohaveadaily

balletclassfollowedbyasecondtechniqueclassinanotherstyle(e.g.modern,jazz,

tapandotherethnicforms).12Whiletherearesignificantdifferencesinemphasis,

techniqueclassesshareasystematicapproachtotrainingskills.13Intermsof

access,lecturecoursesindancefaceconsiderationssimilartootheruniversity

courses.Studiobasedcourseslikecreativeprocess,improvisation,repertoryand

composition,arelargelydeemedaccessible14.Techniqueclasshoweverworking

withsetmaterialislessaccessiblematerialandthereforedeservesparticular

attention.

Withintechniqueclasseswecandifferentiatebetweencodifiedandnon‐

codifiedforms.Codifiedtechniqueslikeclassicalballetandhistoricmodernforms

(e.g.Graham,LimónandCunningham)workwithanestablishedandsetvocabulary.

Non‐codifiedtechniques,associatedwithpostmodernandcontemporarydancecan

includepedestrianmovements,somaticpracticesandidiosyncraticmaterial

relevanttotheindividualteacher.Whileoftenstillset,non‐codifiedtechniquescan

offermorefreedomintermsofselectionandperformanceofthematerial.

Usinggenericorspecificassessmentcriteriaintechniqueclassalsogreatly

affectsaccessibility.TheTrinityCollegeinLondonforinstancesetsstandardcriteria

forinstitutionsawardingtheNationalDiplomainProfessionalDanceintheUK.15

Fromthesixassessmentobjectivesfortechniqueclass,numbertwoisagood

exampleforgenericassessmentcriteria.

Oncompletionofthiscomponentthecandidatemustbeableto:Executesustainedmovementsequencesconsolidatingstrength,balance,co‐ordination,flexibilityandcontrolwithaccuracy,safetyandtechnicalfluency.

(TrinityCollegeLondon,pp3)

Thesegenericcriteriaaddress“meta‐skills”ofdanceapplicabletofundamentally

differentdancestyles.GretchenWardWarren’sClassicalBalletTechniqueandthe

HandbookforTeachers,VocationalGradedExaminationsfortheRoyalAcademyof

Dance(RAD)ontheotherhandbothpresentexactinglistsofstandardized

movementsforexaminations.Warrenincludesanumberofmeta‐skills,yetalso

stressesthefollowingqualitiesaboveall:

Mostimportant,howeveristheevaluationof(1)adancer’snaturalphysicalcapacityforclassicaltechniquewithregardsto“turn‐out,”extension,andballon,and(2)adancer’sfeet,height,weight,andbodyproportions.

(Warren,1989,pp64)Shegoesfurther.

Allaspiringballetdancers,however,mustmeetcertainbasicrequirements;itisneveracceptabletobeoverweight,awkward,extremely“turned‐in”orinflexible,ortopossesscertainexaggeratedphysicalcharacteristicsthatdonotconformtothetraditionalclassicallook.Classicalballetisavisualartform,andwhataudiencesseeonthestagemustbepleasingtotheeye.16

(Warren,1989,pp64)

Whileinstitutionsandinstructorsteachingdancemaynotactuallyspelloutsuch

specificcriteria,thesevaluesstilllingerinthemind‐setandpracticeofmany

instructorsandstudents.

Codifiedstyleswithspecificassessmentcriteriaposeveryevidentchallenges

toinclusionastheformofthestepbecomesabsoluteandunchangeable.Thereare

dancerswithdisabilities,KittyLunnandMarcBrueamongstthem,whoworkwith

theprinciplesandcharacteristicsofballet.Thisrequiresatranslationofthespecific

criteriatogeneralones.Adancerwithadisabilitywhilemaybenotinapositionto

executethedoublepirouetteendedansasspecifiedbytheRADcriteria,can

demonstrateitsgenericskillsofbalancingandturning,conveyingcontrol,

specificityandvirtuosity.

Non‐codifiedmaterialandgeneralassessmentcriteriaarepotentiallymore

inclusive.Yeteventheyareoftenstillassessedthroughuniformperformancesofthe

samemovementmaterial.Howevergenericcriteriadon’tprescribehowastudent

demonstratestherequiredskills.Theessenceisthatthestudentdemonstratesthe

abilitytoretainher(notauniform)setphrasewithaccuracyandperformitwith

appropriatecontrolanddetail.TimeandtimeagainhaveIseendancerswith

disabilitiesdemonstratethis.

Traditionaltechniqueclassandthehegemonicpositionballetandmodern

hold,arethesinglechallengetothesuccessfulinclusionofstudentswithdisabilities

intodancedegreeprograms.Examiningthegenericassessmentcriterialeadstothe

conclusionthatitisnotthecriteriaandthecurriculumbutwhatactuallyhappensin

theprocessofteaching,whicheitherexcludesorcreatesaccess.Thebasicquestions

fortechniqueclassthereforeare:

• HowcanIprovideclassmaterialandprocessesthatpromotetheskills

stipulatedbythecurriculumforadiversestudentbody?

• Howcanstudentsdemonstratetheseskillsthroughtheirmovementrange?

• HowdoIgivefeedbackandassesstheirperformance?

ConsideringUDatthelevelofDegreeRequirements

ThefacultyintheUWdanceprogramrecentlyconsideredtheroletechniqueclass

playsforanewdancestudiesdegree.Acknowledgingthehegemonysetbythe

techniqueclassesonoffer17,weexploreddifferentoptionsforstudentstocomplete

thisrequirement.Discussingthepossibilityofwaivingthetechniquerequirement

forstudentswithsignificantprevioustraining,Iwaskeentointroducethe

possibilityforstudentstocompletepartorallofthetechniquerequirements

throughindependentstudiesandtomaketechnicaltrainingpracticedoutsidethe

confinesoftheuniversitycount.Thisapproachtoaccesspresentsanumberof

benefitsforallstudents:

• Itopensupthedegreetostudentsinterestedinamultitudeofemerging,popular

andethnicdanceformsthatarenotpartoftheacademiccanon.

• Fortechniquesstudiedoutsidetheuniversity,thedegreeprogramprovides

qualityassuranceandaccreditationwhileothersubjectsarestudiedinthe

contextofdegreecourse.

• Thetechniquestudiedisrelevanttothestudent’spractice,whichwillcarryover

intoherprofessionalwork.

Sincetechniqueclassisthemajorobstaclefordisabilityaccess,itisworthitto

discussdifferentwaysinwhichthisrequirementcanbemet.Itisimportantthatwe

imaginethestudentpopulationwecouldteachandnotjustthinkoftheaverage

studentwealreadyteach.Solutionsdiscussedatthelevelofdegreerequirements

alonealreadyleadtoanumberofrigorousyetadaptableroutestoasuccessful

completionofadegreewithimprovedaccess.Diversityisbothincreasedinterms

ofstudentsattendingaswellasdanceformsrepresentedinthedegreeprogram.

ConventionsinIntegratedDance

Integrateddancerangesfromworkingexclusivelywithpeoplewithaspecific

disabilitytocompaniesintegratingdancersofall(dis)abilities18.Needlesstosay

aims,criteriaandartisticmissionvarygreatly–notallofthemrelevanttohigher

educationandthediscussionoftechniqueclass.Amongstthecompaniesworking

withtechniqueclass,Iamawareoftwodistinctapproaches:Disabilityspecific

dancetechniques19andworkingwithadaptations.

Disabilityspecifictechniques,whilevaluableinaparticularcompanyand

individualpractice,areineffectdiscriminatoryinthecontextofhighereducation,as

theyselectparticipantsongroundsoftheirdisabilitywhilepotentiallyexcluding

others.NothavinggeneralapplicationIvaluethesetechniquesaspointsof

referencewithgreatrelevancetoaspecificstudentImayhaveinaclass.Working

withadaptationsthedancerstranslateaspectsoftheoriginalphrasetotheir

individualmovementrange.Eachversionstaysconsistentwiththeoverall

principlesofaphrase,butallowsforaspectslikebodypartsused,actions,spaceuse,

time,anddynamicstobechanged.Inthisprocessinstructorandstudentshaveto

clarifyiftheformofthephraseismoreimportant(bodyshape,pathways,actions

etc.)oritsfunction(warmup,stretch,developstrengthandbalance,complexspace

useetc.).20Workingwithadaptationsismoreflexibleandabletoincludeabroader

rangeofabilities.WorkingwithCandoco,teachingcompanyclasstoexperienced

dancers,Iunderstandthechallengesofworkingwithadaptations.Teachingin

highereducationintensifiesthesechallenges.

• Inthecompanyformatparticipantswithadisabilityhaveacriticalmass,making

theapproachrelevanttotheindividualandthegroup.IntheuniversitysettingI

mayormaynothavestudentswithadisabilitypresent.

• Knowingthedancersandunderstandingtheirmovementrangeallowsthe

teachertopreparemultipleversions.Thisaddstimetoclassplanningand

instruction,reducingtimespentmoving.

• Notknowingthedancersoftenleavestheburdenofdevelopingadaptationswith

thedancer(s).

• Thematerialismodeledonnon‐disableddancers,favoringnormativemovement

patterns.

• Workingwithadaptationsisaprocessthatpresumesahighlevelofdanceskills,

skillsthatfirstneedtobetrained.

• Adaptingsinglesthedancerwithadisabilityout,andcanmarginalizeshim/her

intheprocess.

• Adaptationsengagestudentswithvalidandappliedchallenges.Thesechallenges

arehoweververydifferentfromthosefacedbytherestoftheclass.

• Non‐disabledstudentshaveeachotherandtheinstructoraspointsof

references,toobserveandcopy.Adaptingstudentsperformindividualversions

independentlyassolos.

Evennon‐disabledstudentswithprevioustrainingexperienceoftenfindthemselves

overwhelmedbythechallengeofworkingwithadaptations.TheonlydancersI

observedworkingsuccessfullywiththismethodareperformers,bothdisabledand

non‐disabled,withsignificantdanceexperience.Overyearsofpracticetheyhave

developedanalyticalskills,anunderstandingofhowmovementmaterialis

structuredandhowthisrelatestotheirmovementrangeandtraininglevel.21These

arepreciselythemeta‐skillsthatweultimatelywanttotrain,butwecan’tpossibly

expectthemfromabeginnerstudent.

UDprinciple:EquitableUse

WorkshopApproachestoWorkingwithVariations

TheUDprincipleofEquitableUseinparticularchallengedmetorethinkthepractice

ofworkingwithadaptationsinintegrateddance.Workinginhighereducationit

becameevidenthowinequitablethisapproachis,challengingmetomovebeyond

workingwithadaptationsasadevicesolelyforstudentswithdisabilities.Theskills

usedinadaptingarerelevanttoallparticipantsandneedtobetrainedaspartof

techniqueclass.TodistinguishtheapproachesIprefertalkingabout“translating”

material,developing“individualversions”or“variationstoatheme”.

Techniqueinitsrootmeansskill,yetindance,techniqueusuallystandsfor

thephysical‐anatomicaltrainingalone.Thisexcludescreative/compositional,

improvisational,analytical,rehearsalandperformanceskillspracticedinother

studio‐basedclasses.22Integrateddancecompaniesoftentrainrequiredskillsas

partofthecreativeprocessinafluidworkshop‐basedapproachnotnecessarily

usingformaltechniquematerial.Formaltrainingindegreecoursestendsto

segregatedanceintoseparateareasofskills,technique,improvisation,composition

andperformance.Thereisacertaintensionbetweenthismodernistapproachto

learningandtherealityand“messiness”ofthedancers’workinglives.Itseemsthat

postmodernpracticehasnotmadeitswayfullyintovocationaldancetraining.

RethinkingtechniqueIadvocateforthemixingofstudioapproachesandthe

inclusionofimprovisation,compositionalandcreativematerialinthecontextofa

techniqueclass.Thisapproachisbothaccessibleandrelevanttoprofessionalpraxis.

ImplementingthemixingofstudioapproachesIincludeimprovisationand

compositionexercisesinthecontextoftechniqueclassanduseaworkshopprocess

tointroduceworkingwithtranslations.Shortofprovidinganinstructionalmanual

here,Isummarizetheprocessanddiscussequitableuseandsharedteachinggoals.

Ifacilitateanice‐breakerduringafirstclassmeeting.Gettingparticipants“tomove

aroundthespace”Igraduallylayermoreinformation:Gothroughthegapsbetween

people,acknowledgeeachother,greeteachother,followsomebody,staycloseto

themorfaraway,introducetouchetc.SubsequentlyIsetothertaskswherewefind

outnames,eyecolor,whatpeopleeatforbreakfast,favoritemovements,etc.While

onthesurfaceabout“gettingtoknoweachother”,theicebreakerservesanumber

ofpurposes,influencinghowIcontinueinstructinganddeveloptheclass.

• Itinvitesaninformalexchangewherestudentsandinstructormeeteachother

asacommunityoflearners.23

• Itintroducesimprovisation,tasks,communicating,workingwithtouchas

methodologiesusedinthistechniqueclass.

• Itshowspreferencesinwaysofmoving,communicatingandprocessing

information,importantaspectsforrecognizingmultiplewaysofparticipating

andfacilitatingaccess.

Introducingworkingwithvariations,IregularlyuseasequenceofMirroring

exercisesatthebeginningofthequarterinalllevelsoftechniqueclasses.Following

eachtaskIaskanumberofquestions:“Whatwasyourexperience?”“Whatwere

challengesinperformingthistask?”“Howdidyousolvethem?”leadingintoa

discussionaboutpredominantwaysofworkingandtheroleofindividualized

material.

Mirroring:VersionISpoken,writtenanddemonstratedinstructions:

Findpartner(s)Faceyourpartner(s)Mirroreachother’smovementsSwaptheleadseamlessly(Makeitimpossibleforanaudiencetodetectwhoinitiatesatanygivenmovement)

Aclassicworkshopexerciseforchildrenandbeginners,Mirroringisnotan

accessibleexerciseandisnotusuallyusedinintegrateddancesettings.Copyingand

mirroringarehowevernotonlydominantformsofinstructionindance,theyare

alsorelevantinmanyotherformalandinformalteachingsituationsfromnewborns

toadults.Inamixedabilityclasspartneringupispotentiallyasensitivesituation,I

needtofacilitateandmakesureallparticipantsareincluded.Ialsohavetheoption

togostraighttoVersion2or3andjustdemonstrateVersion1anddiscussthe

valuesitimplies.24Thediscussionusuallyestablishesthesepoints:

• Demonstratingandcopyingisthepredominantteachingmethodologyin

techniqueclass.

• Itassumessamenessandvaluesuniformperformance.

• Thedemonstratingdancerinadvertentlysetsan“ablist”standardor“correct”

version.

Versiononeisnotidealintermsofinclusionandhighlights“ablist”assumptions

thatarebuiltintotheteachingmethodology.Withtheaimtobeaccurateand

“correct”Mirroringisoftenexecutedslowly.Thisapproachcharacterizesmany

techniqueclasssettingsandotherformsofinformationbasedinstruction,looking

foronecorrectsolution.

InasecondroundIencouragedtheparticipantstoshiftfromaccuracyto

challengingeachother,freeingupthefacing,spaceandtempouse.Ialsoaskthemto

consider“joining”or“dropping”amovementsuggestionfromtheirpartner.The

resultinthisversionisafastertempo,moreanddifferentmovementmaterial,

experimenting,findingmultiplesolutionsandmakingdecisionsispartofthe

“correct”completionofthetask.Thesubsequentdiscussionestablishes:

• Therearemoremovementpossibilitiesthaninthepreviousversion.

• Tempoandspacerangearegreater.

• Thereisalwaysaclearconnectionbetweenthetwopartners,observersstill

knowwhoisdancingtogether.

• Version2leadstoanotherteachingstyle:explorationandplay.

InthethirdroundIaskthepartnerstochoosedifferentstartingpositionsfromeach

other(standing‐kneeling,sittinginachair–sittingonthefloor,lyingdown,etc.)In

amixed‐abilityclass,workingwithdifferentpositionsandlevelsmaybepresent

already.Iremindstudentsthatworkingwithdifferentpositionsorlevelsisnot

aboutassumingrolesasdisabledornon‐disabledparticipants.Thediscussion

establishesthefollowingpoints:

• Standinguprightonyourfeetisoftenassumedasauniversal,neutralposition

fromwhichallothermovementpossibilitiesfollow.

• Differentlevels/bases/positionsofferdifferentmovementranges.

• Copyingaloneisaninadequatestrategy;thematerialneedstobetranslatedinto

achangedrange.

Manystudentsstarttheexerciseassumingthestandingversionisthestandard,the

“proper”version.Astheytradetheleadbackandforthwiththeirpartner,thereisa

momentofrealization,whentheyseethatstandinghasitsownlimitations.The

seriesofmirroringexercisesaddressesthedominantwayofworkingindanceand

introducestheanalytical,playfulandimprovisationalskillsrequiredintranslating

material.Afterintroducingtheconceptoftranslatingitneedstobepracticedand

appliedfurther.

Traditionaltechniqueclassesuseasetseriesofexercisestowarmupand

trainspecificarticulationsandgeneralmovementpossibilities.Ialsoworkwith

thesecategoriesbuttrytogeneralizethemfurtherbyincludingapproachesfrom

Choreology,LabanMovementAnalysisandBartenieffMovementFundamentals25.

Generallyspeakingtheclassmaterialdevelopsfromexplorationandimprovisation

towardsvaryingdegreesofsettingandsharingofindividualmaterial.Forawarm

upexercisesforinstanceIpresentasequenceoffundamentalmovementconcepts

like:Reachingupanddown,shiftingforwardandbacketc.WhileinstructingI

demonstrateseveralwaysinwhichIinterpretthesameelement.ThefirsttimeI

may“Foldandreach,up‐down”withmyarms,thenexttimewithmylegsetc.

ChangingmyownversionisimportantsothatIdon’tsetanormativephrase.

Demonstratingalsomakesmepartofasharedprocessandallowsmetomodela

committedperformancequality.Afteraninitialexplorationtheorderofthe

elementsisgivenandeachsetinatimeframeofeightcountsonamediumpaced

pulse.Withinthetimeframeeachparticipantisfreetochoosespeed,bodyparts

usedandrangeofmotion.Whileeachparticipantdevelopsherindividualversion

thedancerssharethesequentialorderandtimeframes,theyrecognizeanduse

theirfullrangeofmotion,warmupeffectivelyandprepareformorecomplex

movementsequences.Iusethissameapproach,definingandexploringelements,

andmovingfromimprovisingtosettingformorecomplexcenterphrases,where

studentsdeveloptheirindividualversionsaccordingtomoreandmorespecific

information.

Mymaincritiquepointofadaptationsis,thatitisinequitablesinceitis

usuallyjustofferedtoordemandedofstudentswithdisabilities.Usingmovement

categoriesanddescriptionsasexplainedhere,allthestudentsundergothesame

processandpracticeworkingwithtranslationsinanequitableway.Oncethe

processisestablishedtherearemultiplewaysinwhichthematerialcanbe

developed:

• Thephrasecanremainimprovisedorgraduallybecomeset

• Thetimingiskeptopen

• Thetempoisspecifiedasslow,sustained,fluidorfastbutnotsetona

meteredpulse

• Twoormoredancersperformthematerialinasharedtempo

• Thephraseissettospecificcountsandperformedindifferenttempogroups

• Timeframesareshortenedandrepetitionsremoved

• Dancerstranslate/copymaterialfromeachother

Theemergingmaterialallowsmetorespondwithspecificfeedback,assessthe

performancesandmakesuggestionsfordevelopment.Acommonunderstandingof

theapproachiscrucialasitallowsparticipantstoharnessthebenefitsofworking

withstructuredmaterial,practiceandgraspfundamentalmovementprinciples,and

demonstratetheirunderstandingandskillsthroughtheirindividuallysetphrases.

UDPrinciple:FlexibilityinUse

Itisimportantthatworkingwithvariationsisnotjustintroducedasatool

once,butthatitispracticedrepeatedlyintheclasscontext.Introducingthe

approachtotheclassasacollectivemakesavastdifferenceinthereadinessto

applythemethodologyandthelevelofaccomplishmentachieved.Allowingfor

flexibilityinuse,studentseventuallyworkwithvariationsindependentlywhereand

whenappropriate,translatinganythingfromasingle,specificmovementtoan

entirephrase.

Thereareanumberofwaysinwhichtofurtherincreasetheflexibilityinuse.

Thecomplexityoftheindividualphrasescanbeadjustedbyaddingorsubtracting

simultaneousmaterial.“Asyoureachuphighcanyoualsoaddaturn,travelor

jump?”“Whatmaterialsuggestsitselftoanexistingmovement?”“Doyouneedto

adjusttheoriginalmaterial,tostaywiththetimeframe,yourpartneretc.?”These

questionsengagestudentstoadjustthecomplexityoftheindividualvariationto

reflecttheircurrentabilities.

Peerobservationandfeedbackingroupsorone‐on‐oneisanotherwayof

flexiblyvaryingparticipation.Studentsobserveandreviewanexistingphrase

accordingtothesetcriteria.“Arealltheelementsandspecificsinthephrase

performedwithclarity?”“Whatarethetransitionsbetweentheelements?”“What

wouldcreateafullerperformance?”Thesearejustsomeoftheconcernsapeercan

commenton.

Whilemovingandreviewingarenotnecessarilyequivalentwaysof

participatinginadanceclass,studentscandemonstrateaclearunderstandingof

movementskillsbygivingfeedback.Isetobservationtasksbothforthewholeclass

andforindividualstudentswhoarenotinapositiontophysicallyperformthe

phraseatthistime.Thelong‐termaimisforstudentstousetranslating,adjusting

complexity,observingandgivingfeedbackindependentlyandflexibly.

UDPrinciple:SimpleandIntuitive

Inmyexperienceworkingwithindividualvariationsisinitiallynotsimpleor

intuitive.Whilethecomplexitycanbeadjustedtoanindividuallevel,having

multipleversionsofthematerialperformedsimultaneouslybecomesconceptually

moredemanding.Somedancersfindtheapproachfreeing,astheysetmoreand

morespecificsattheirpace.Participantswhoareusedtoperformuniform,set

materialandthosewhorelyontheirpeerstoremembermovementsequencescan

findworkingwithvariationsdisconcertingandconfusing.Othersalsoforgetabout

thespecificsofataskandindulgeinsafe,habitualmovements.Allofthese

preferencestakesomecoaching.Iencourageallstudentswhostrugglewith

retainingmaterialtoworkwithspecificpartnersandto“staywiththem”while

performing.Igivestudentsmoretimetoobserveandassisttheminfinding

compatiblepartners.Ialsoprovidefeedbacktoguidestudentstomaterialthat

addressesthespecificsofthetask.

UDPrinciple:ToleranceofErrorandLowPhysicalEffort

ToleranceofErroratthelevelof,gettingthesequence“wrong”andmakingmistakes

ispartofthelearninginthestudiospaceandaquestionofmakingsurethelevelof

complexityissetright.Moreseriouslythereisalsothepossibilityoflossofcontrol,

resultingininjury.Itisimportantinallclassestoconsiderthepotentialfor

accidentsandtoprovidehealthandsafetyadvice.

InprinciplestudentsknowtheirbodiesandpossibilitiesbestandI

encouragethemtorecognize,respectandaddresstheirlimits.AtthesametimeI

alsoencouragediscoveryandrisktakingtoexpandthecurrentmovement

possibilities.Theconflictbetweenthesetwostatementsisattheheartofthe

learningprocesseswiththeaimofbuildingawarenessforadancer’sabilitieswhile

alsoexpandingherrange.

Inmostclassesinstructorsteachsafealignmentanduseofeffortbasedon

personalexperienceaswellasabodyofknowledgedevelopedindanceover

generations.Thisadvicebuildsontheassumptionthattheinstructorandthe

studentsharethesamephysicalandperceptualpossibilitieswhichisnotagiven.

Workingwithstudentswhohavedifferentwaysofhearing,seeing,movingand

processinginformationfurtherchallengesnormativeassumptionsaboutrangeof

motion,awareness,centerofgravityetc.Eveninaveryhomogenousclasswehave

tobeawarethatassumptionsaboutsimilaritiescanbeverymisleading.The

externalformofamovement,thatisobservedandcopied,isoftenverydifferent

fromitsinternalconnectionsandefforts.Thereareongoingdebatesaboutthe

aestheticversusthefunctionofamovementorposition,andwhichismore

important.26Movingbeyond“thelook”ofamovementorpositionrequiresan

unpackingofitsfunction;safepracticewithdiverseparticipantsrequiresastute

observationandanongoingdialoguebetweentheinstructorandthestudent.Untila

dancerandinstructoraremorefamiliarwitheachotherandtheprocessIerronthe

sideofcaution.

Besidesencouragingstudentstotakeresponsibilityforasafeclass

environmenttheinstructorisinchargeofsettingupsafeplacementandtiming

betweengroupsandindividuals.Performingmultipleversionsratherthanunison

makesthemovementofindividualsinagrouplesspredictable,sogivingmore

distanceandtimeaswellasopportunitiestoobserveisadvisable.Itispreciselya

strengthoftechniqueclassthatbybuildingfromsmaller,repetitivemovementsto

larger,complexphrasesandgraduallydevelopingawarenessandskillsitallowsfor

savepractice,minimizingaccidentsandinjuries.

TheUDprincipleofLowPhysicalEffortneedsrethinkingfordanceandother

physicaldisciplines.Indanceweseektofindandpushadeeplyphysical

performancetogainenduranceandstrength,whilealsomovingefficiently,only

usingasmucheffortasneeded.IproposeAdjustableandAppropriateEffort.

Inthesamewayastheactioncomponentofadancephrasecanbeadjusted

wecanalsovaryeffortanddynamicsused.“Marking”materialisawayofadjusting

effortdancerslearnintheprocessofsettingpiecesonastage.Markingreduces

effortwhilestayingconsistentinrelevantspace,actionandtimeaspectsofaphrase.

Thiscanbepracticedinthestudiosettingbyaskingstudentstoperformthephrase

onthesidewhiletheyareobservingtheirpeersorbybuildingaversionworking

withspecificeffortelements.

Understandingindividualrangeofeffort,encouragingpushinglevelsof

exhaustion,andmovingefficientlyareimportantteachingpoints.Allstudentsare

challengedtolearnanddifferentiatebetweenpainasaresultofgrowthandpains

thatleadtoinjuries.Workingwithstudentswithdifferentbodytypesthanmine,I

havetobeparticularlyawareofthedangerofassumptionsandengageinthis

dialoguethroughquestionsandobservations.

UDPrinciple:FeedbackandAssessment

Eachnewstudenttoourclassesshouldencourageustore‐evaluatethebodyandthebodyofknowledgethatwehavecometotakeforgranted.Assessmentproceduresinschoolsmayneedtoberevisedwhenwerecognizethateachstudentisplayingadifferentinstrument…

(Benjamin,2002,pp8)

Degreeprogramsinhighereducationaimtopreparestudentsforlifeasworking

danceartists.Consideringthemanywaysinwhichdancersworkasperformers,

choreographers,teachersinvarioussettingsitisimportantthatwedon’tdetermine

toonarrowlywhatthisentails.Assessmentcriteriatoooftenserveafunctionofgate

keeping,tellingpeoplewhocanandwhocannotdance,ratherthanoneofguiding

explorationandencouragingdevelopment.Allowingstudentstounderstanddance

asadisciplineandtodiscovertheirartisticvoiceisprobablymoreimportantthan

topredictifandwhattypeofcareertheywillhaveindance.Paradoxicallythereare

studentsgainingdancedegreeswhoneverworkinthefieldwhiledancerswithout

degreesfindemployment.

Increatingaccesstheintentisnottoreplacetheexistingcriteriabuttoassesshowtheyarerelevanttothequalificationandhowindividualstudentscanmeetthem.AsdiscussedpreviouslyIhavefoundgenericcriteriamosthelpfulinworkingwithUD.Benjaminalsoproposesanumberofprerequisitesandassessmentcriteriarootedincurrentdancepraxiswhilealsoconsideringdiversityinthestudiospace.

Prerequisitesfordancers• Stagepresence• Aptitudeforlearning(creating)movementsequences• Stamina• Versatility• Arangeofmovementappropriatetothepiecebeingmadeoran

individualsuitabilitytotheethos(aesthetic)ofthecompany[school]• Otherexperiencesinperformingarts• Understandingforstagecraftandperformanceskills

(Benjamin,2002,pp74)

Assessmentcriteria

• Theachievementofsetandagreedphysicalgoalsindancetechnique• Demonstrateanunderstandingofdanceterminology• Interpretationandadaptationofsetmaterial• Individualperformanceskills• Partneringskills• Communication/Teachingskills• ChoreographicSkills• Improvisationalskills

(Benjamin,2002,pp8/9)

Asinanydisciplinenoteverybodywillbesuccessfulinmeetingalltherequired

criteria;theabilitytomeetthem,however,isnottiedtothedisabilityornon‐

disabilitystatusofastudentbutdependentonthestudent’stalentandabilities.

Ialreadydiscussedhowworkingwithvariationsallowsmetogivegeneralaswell

asindividualfeedbackinthesamewayaswhenIworkwithothersetmaterial.

Referringtogeneralgradingcriteria,workingwithvariationscanbeassessedasa

technicalskillbutalsoasself‐directedlearningandworkingindependently.In

givingfeedbackIoftenoptforaskingquestionsordescribingwhatIobserverather

thansuggestingcorrectionsrightaway.Differencesintheperformancecanhave

manyreasonssomeofthemexposinghabitsandlackofawarenessandothers

actuallydemonstratingunderstandingandindependentapplication.These

instancesoffeedbackdevelopintoformulatingindividuallearninggoalsandself‐

assessmentaswellasinstructorbasedevaluation.

InassessingIexperienceabiggapbetweentheverbalfeedbackIprovide

duringtheclassandthefinalnumbergradeIissue–wordsgetforgotteneasilyand

numbergradesdon’tarenotspecificaboutaccomplishmentsandneedsforlearning.

TobridgethatgapIcurrentlyexchangenoteswithmystudentshalfwaythrough

thequarter.Theywriteaself‐assessmentandincludequestionsabouttheclass.At

thesametimeIletthemseemycollectednotesofclassobservations.Inacollective

feedbackclassIaddressquestionsandclarifyteachingpoints.Thefinalnumerical

gradeispublishedonlinewithashortcomment,allowingmetodifferentiate,create

individualrelevancewhilediscussingsharedteachingaimsandassessmentcriteria.

Discrepanciesinthestudents’self‐assessmentsandtheinstructor’sevaluationare

oftenasinterestingasareasofagreement.Hereanexampleofastudent’sself‐

assessmentandmyfeedback.

“Istrugglewithtechniquealot.Iaskmyselfisthisreallybeneficialforme?…Afterworkingonthesolo,IfeelabitrestrictedintechniqueclassbecauseIknowIcandoalotmoreandIknowmyphysicalstrengths.”

Self‐assessmentofastudentwithadisability

“Youhavemadegreatprogress,demonstratingastrongunderstandingoftheclassmaterialandyourownrangeandpossibilities.Yourtranslationofmaterialhasmaturedtremendouslyandyoudemonstratethatbothonthe

floorandinthechair.Iwouldstillliketoseeyouchallengeassumptionsandfindingnewpossibilitiesespeciallyinreoccurringmaterial.Yourabilitytoobserve,analyze,translateandretainisexcellent.”

MyassessmentandresponsetothesamestudentUDPrinciple:ClassClimateandInteraction

Theprevailingimageaboutdance,whereyouhavetobethin,fitandableto“stand

onyourtoes”havetobeconsideredwhencreatinganinclusiveclassclimateand

interactions.Iincludethefollowinginformationinmyonlinesyllabusto

communicatemyapproachtotechniqueclassandtheaccessibilitythesecourses

promote:

Instructor’sEducationalPhilosophyDanceclassisalearningenvironmentwhereweareexposedtoset,experientialandimprovisedmaterial.Theemphasisisontrainingdanceskillsbyaccessingandchallengingeachindividualdancer'sfacilitiesandabilities.Throughregularandsystematicpracticewenotonlystrivetoexpandandsustainourphysical,conceptualandartisticrangebuttoapplytheseskillsconsciouslyandwithgrowingawareness.Indanceweengagewiththechangingrealityofourbodyandmind,thisalsoincludesouridentityintermsofbody‐type,age,race,ethnicity,gender,sexualityanddisability.

Koch,ModernTechniqueClassSyllabus

BesidesemphasizingmixingapproachesfromdifferentstudioclassesIalsoaddress

disabilityaspartofdiversity.Itisimportantforallstudentstorealizethatthereis

noneutralbodyandthattakingidentityandindividualityintoconsiderationispart

oftheartisticendeavour.Mycourseoverviewalsostatesprerequisitesand

reiteratespredominantwaysofinstructing.

Theclassisstructuredtofitanaveragestudentatthislevel.Yourabilitiesandexperiencemaydifferanditisimportanttorespectthisinthewayyouworkwiththemovementmaterialandinstructionalprocess.Danceoftenreliesonastudent’sabilitytoprocessvisualandverbalinformationviademonstrationsandinstructionsandtoworkincloseproximitytootherdancerswithimprovisedaswellassetmaterial.

Koch,OnlineQuestionnaire

ThroughanonlinequestionnaireIaskstudentsabouttheirprevioustraining

experience,possibleconcerns,expectations,andlearninggoalsforthecourse.Ialso

includeinformationaboutacademicaccommodationsduetodisabilityandinvite

studentswhoareusingthesedisabilityresourcestosetupameetingwithme. All

studentsarerequiredtosubmitthequestionnaire.Whilenotassessed,completingit

countstowardstheirparticipationgrade.Thisensuresthatallstudentshaveseen

thesyllabusinformation.Thequestionnairestartsadialoguebetweentheindividual

studentandme.Itisconfidentialbutnotanonymousandwhileitfacilitates

disclosureitdoesnotrequireit.Theresponsesinformmyapproachinthestudio

andallowmetofollowupwithindividualstudentswherenecessary.

Learning,practicingandtestingofskillsfolloweachothercloselyindance

andareunlikeinmanyotherdisciplinesalwayspublic–soistheuseofvariationsor

accommodations.Reasonstoadjustthelearningprocesshowevercutacross

stereotypicalgroupingsofdisabledornon‐disabled.Age,injury,gender,bodytype,

height,size,etc,areallrelevantaspectsthatmayinvolveworkingwithvariations.

Consideringthepublicandperformativeaspectsofdancestudentsinahigher

educationdanceclassneedtobeopentobeingwitnessedinperformance,and

interestedinengagingonthispersonallevel.Facilitatingaccessandanoptimal

learningengagementmayrequiresomeformofdisclosurewherethestudent‐

teacherdialogueneedstobeextendedtothestudiopracticeandinvolvepeers.This

includes:Keepingsite‐linesclearforASLinterpreters,reservingworkingspacenear

thefrontforspecificstudents,adjustinguseoftouch,momentum,forceandweight

whendancingwithapartner,etc.Itisimportantthoughthattheseconversations

focusonfacilitatingandoptimizingthelearningprocessanddonotveerinto

discussingpersonalinformationandsituations.Thesyllabusalsoestablishes

explicitlygroundrulesaroundclassclimateandinteractions:

• Takeandshareresponsibilityincreatinganaccessibleclass

environment.

• Makeyourneedsknown,whilerespectingtheneedsofothers.

• Berespectfulofyourpeersandinstructors.

• Worksafelyandeffectivelyinclass. Youknowyourabilitiesbest,be

bothactiveandsafeinexploringnewandestablishedmaterial.

Koch,OnlineModernTechniqueSyllabusPhysicalEnvironmentDeliveryMethodandPerceptibleInformation

Dancestudiospacesareonthewholesomeofthemostaccessibleteaching

environmentsIknow.Theyarewelllit,havegoodacousticsandarespecificallybuilt

forunobstructedmovement.Itisagainsomeoftheconventionsintheuseofthe

spaceandclassorganizationthatneedtobeconsideredwithregardstoaccess.

Mosttechniqueclassesstartstationarywiththestudentsworkingintheir

ownkinesphere,eitherupright,sittingorlyingonthefloorandthenprogressively

increasetheuseofspacetoincludelevelchangescoveringincreaseddistances,

changeoffacingsanddirections.Verbalandvisualinformationthrough

demonstrationsareoftenpresentsimultaneously,andwhilesomeinformation

overlaps,theytendtocomplementeachother.Verbalinformationoftenonly

highlightsspecificaspectsofthemovementphraseratherthandescribingallthe

material.Accompanyingmusicalsoprovidesimportantimplicittempo,phrasing

anddynamicinformation.Thereislittletonouseofwrittentext,books,projection

andothermediaintheteachingprocess.Thephysicalenvironment,wherewe

teach,andperceptibleinformationarenotjusttheenvironmentwelearninandthe

mediumwetransfercontentwith,itisitselfteachingcontent.Dancespecifically

trainstheuseofspaceaswellasawarenessforsensoryinformationand

proprioception.Movinginto,outofandacrossthefloor,usinglevelsfromthefloor

toflyingthroughtheair,rhythm,sound,spaceandtimerelationship,areimportant

skillsandmovementprincipleswetrain.Accesstothephysicalenvironmentand

perceivableinformationthereforealsoimmediatelyinvolvesquestionsofteaching

aimsandcontent,methodology,assessmentandclassclimate.

Whilethepredominantuseofverbalandvisualinformationpresentssome

specificchallenges,accesstoperceivableinformationforstudentswithsensory

impairmentsissimilartootherclasses.

• Theplacementofthestudentneartheinstructor

• Usingclearprojectedspeech

• Keepingverbalinformationconcise.

• FortheinstructionpartanASLinterpreterneedstosharethesightlinewiththe

instructor.

• Wearingclothesthatcontrastwiththeenvironment

• Uselivemusicforbettersoundtransference.Livemusicalsoallowsforflexible

phrasingandtempochanges.

Methodologiesdescribedinequitableusealsofacilitateaccesstoperceptible

information.Separatingdemonstrations,verbalinstructionsanddescriptionsas

wellasusingtouchfurtherlayerstheinformationintoseveralinstructionalstages.

Involvingtouchintheteachingprocessispartofmanyexperientialpracticeswith

theadvantagethatitdoesnotonlyrevealtheformofthemovementbutalsothe

underlying,anatomicalaspectsofthematerial.Whilepracticedinisolated

explorationsitismoredifficulttousetouchintheinstructionofmorecomplex

movementphrases.Asimportantastheproximitytotheinstructoriswhile

instructing,proximitytopeerswhileperformingisjustasimportanttomaster

sequencing,timingandmovementdetailsofaphrase.Icansetupspecificpeer

relationshipstofacilitatethis.Sincelevelsofperceptionandpreferencesdifferthis

isultimatelyalearningprocessformeastheinstructoranditishelpfultoinvolve

thestudent(s)andgettingfeedbackintheprocess.

Thereisaclearneedtomakethetransientinformationofdancemore

accessible.Ihavebeenusingpowerpointprojectionatanexperimentallevelto

displaywrittentaskandphrasedescriptions.Iamstillindoubthoweffectivethisis

andamconsideringlow‐techoptionslikeastudenttranscribingtheexercisetoa

whiteboardwhileIaminstructing.Thetranscriptthenstayspresentduringthe

practiceoftheexercise.Usingacodifiedstyleactuallymaypresentanadvantage

hereasaterminologydescribingspecificmovementsalreadyexistsandcanbeused

directlytosummarizeanexercise.Printeddefinitions,glossariesandphotosofthe

codifiedmovementcanalsobetranslatedintoaccessibleformatsandstudied

outsidetheclassroom.Teachingnon‐codifiedmaterialIamconsideringlistingand

definingrecurringelements,materialandprocessesandtodevelopaglossaryof

definitionsaspartoftheclass.Thesedescriptionsanddefinitionscanthenbeused

infutureclasses.

Consideringtheuseofspaceasteachingcontentitisimportanttodiscuss

theuseofdifferentlevels,stancesanddistancesindesigningaccess.Oneground

ruleistoreflectonthepurposeofworkingonaparticularlevelratherthansimply

tocopyaposition.Iftraditionallystudentsarestandinguprighttohavethemost

optionsworkingintheirkinesphere,onewheelchairusermaywanttobeinthe

chairandanotherprefertositonthefloortohavethesamemaximumrange.

Thisprocessrequiressomeexperimentation.Atfirstpossiblyneitherthe

instructornorthestudentmayknowwhatthebestsolutionis.Inaoneonone

meetingIdiscusswiththestudenthowtobestworkwithlevelsanddistancesand

findoutiftransferringisofinterest.Itisworthasking,ifandhowastudentcan

accessdifferentspatiallevelsanddistancestoexplorethepotentialoftheseoptions.

Transferringfromawheelchaircanbebeneficialforonestudent,allowingherfull

useofthekinesphere,whileforanotherstudenttransferringmaynotbeproductive.

Ifastudentisinterestedintransferringtherearesomequestionstoclarify:Does

shetransferherselfordoessheneedassistance?Whoispartoffacilitating

(instructor,peers)?Whatdoesitinvolve(lifting,movingandstoringofequipment,

etc.)?Isthetimeusedeffectivelyforthewholeclass?Doesthestudentneedspecial

equipmentorclothingwhileworkingonthefloor(mat,stool,longsleeves,kneepads

etc.)?

Somepeoplemayfeeluncomfortableatthesuggestionofinstructorsand

peersliftingfellowstudents.Howevertouch,liftingandworkingwithpartnersis

notanaddedaspecttodance,itispartofourartandtraining.Instructingsafe

practiceinlifting,takingandsharingweightareimportantskills,and,whilenot

traditionallypartoftechniqueclasscaneasilybemadeexplicitlearningand

teachinggoals.Onceagain,access,safetyandaestheticaspectsarepartofthe

teachingprocessandcontent.Itisparamountthatthisisadialogue.Ionlyconsider

transferringanoptionwhenastudentindicatesthatthisisofinterest,ispossible

andhasthepotentialtoincreasethemovementrange.Noparticipantshouldever

feelobligedtotransfer.Ialsodon’texpectanyparticipant(instructororpeers)to

liftorpartneranotherdancerinthecontextofthetechniqueclass.Itisimportant

thatIprovidealternativesandfacilitatethisdialoguewithsomesensitivity,assess

transferringonacase‐by‐casebasisandallowforchangesovertimeforboththe

transferringstudentandtheirpartners.

Consideringworkingwithdistance,notallstudentswillnecessarilybeable

tocoverthesamedistancesorfeelsafeincrossingthestudiospace.Distancescan

beadjustedtoanindividual’smaximumrange,usingdifferentpointsofreturn

ratherthanthemaximumdistanceaspaceoffers.Forsafetystudentscanshadow

eachotherwhilecrossingthespace.Shadowingorwitnessingiscommonpracticein

danceensuringpartnersstayssafe,whenmovingwithclosedeyes,during

experientialexercises,inauthenticmovementpraxis,improvisationsandwhile

movingandexitingbackwards.Interventionsbytheobservingdancerrangefrom

calling,placingherselfbetweenthedancerandanobstacle,usingtouchandcatching

thepartner.Eachpairingwillhavetodiscusswhatworksbestfortheminrelation

tothetask.

Whiledancestudiosoffergreatflexibilityandareinprincipleveryaccessible

physicalenvironments,accesstoinformation,differentlevelsanduseofdistance

requiresomeexperimentation,researchandeffectivefacilitating.Besidesstartinga

dialogueandprovidingassistance,thismayalsoincludetheintroductionofnew

processesinvolvingpeersandtheclasscollective.Workingasacommunityof

learners,creatingaccessisnotthesoleresponsibilityoftheinstructorortheperson

withadisability,butsomethingthatconcernsalltheparticipantsinaclass.Creating

accessispartoftheclassclimateandtheteachinggoalsoftechniqueclass.

Conclusion

Asstatedbymanyinstructors,workingwithUDresultsinageneral

investmentingoodteachingpracticewithpositivespin‐offsforallstudentsinthe

class.Theapproachesdiscussedextendbeyondtheinitialideaofadaptationsasa

disabilityaccommodationanddisabilitybecomesapartofthespectrumofdiversity

presentinoursocieties,institutionsofhighereducationanddancestudiosrather

thanaseparategroupofstudents.Differencesinbody‐type,age,levelortypeof

training,acuteorchronicinjuries,currentform,individuallearninggoals,etcare

not“issues”buteducationalandartisticinterests.ApplyingUDofinstructionalsoin

mymainstreamclassesheresomespecificbenefitsIobserved:

• Studentsversedintraditionaltechniquematerialarechallengedbyworking

withimprovisationandcommentonitsspecificandrigorousnature

• Studentswithvaryinglevelsoftrainingmanagetofindtheirindividual100%in

termsofcomplexityandperformanceofthematerial

• Studentsoftendemonstrateasenseofconnectionandcoordinationthatisnot

presentwhenworkingwithsettechniquematerial

• Thematerialanditsprogressioncreateacommongroundwithoutaimingatthe

“lowestcommondenominator”(Performingonlymaterialalltheparticipants

canperforminunison)

• Studentswithinjurieslearntopacethemselvesandmakechoicesabouthow

theyworkandwhichmaterialtheyvary

• Thereisanoverallsenseofincreasedagencyinthelearningprocessand

ownershipofthematerial

• Theapproachistransferrabletootherclasseswherestudentsapplythese

strategiesindependently

• ImplementingUDinthestudioandwritingaboutithasstimulateddiscussionsin

thewiderfaculty,raisingquestionsaboutaccess,diversityandconventionsin

teachingtechniqueclass

Intheprocessofcreatingaccesstotrainingopportunitiesandaccreditationfor

dancerswithdisabilitiesthroughUniversalDesignofInstructionitisclearthatthe

formandthemethodologiesdonotstaythesame.Challengingandcomplexasthe

processmaybeIhavealsoexperiencedhowrewardingandcreativelystimulatingit

isformeasaninstructorandforthedancersintheclass.TheaspectsIhave

implementedandtheresultstheycreatedencouragemetocontinuethisprocess.

Havingcompletedthisarticleitnowmeansmovingawayfromthedrawingboard

andbacktothepraxisandlivedexperienceinthestudio.

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Endnotes:

1IwouldliketoacknowledgethatpartsofthisarticlehavebeenpresentedandpublishedinapapertitledWorkshop:Ready,set,un­setattheCORDSpecialTopicsConference,June25‐27,2009atCEPA,DeMontfortUniversity,UK.InthearticleathandIsummarizethisinformationandthenfocusontheapplicationofUDinthedancestudioingreaterdepth2Disabilityinperformancespansacrossmanygenresandtherearemanytermscoinedtotalkaboutit:DanceandDisability,DanceAbility,InclusiveDancetonamebutafew.IgenerallyuseintegrateddanceorIDknowingthatitisnotatermunderstoodbythegeneralpublicandalsonotoneacceptedbyallpractitioners.3Anumberofthesepublicationsarecitedandreferencedinthispaper.TheyincludeAdamBenjamin’sMakingandEntranceandJoVerrent’sDisabilityandtheDaDAReportfundedbytheUKDepartmentforEducationandSkillsDfES.AdirectresultfromthereportwastheCandocoFoundationCoursethatranfrom2004to2007.ThishassincebeenreplacedbytheADAPTProgramattheUrdangAcademyLondonruninconjunctionwithCandocoDanceCompany.In2007SarahWhatleyfromCeMapatCoventryUniversityrantwoconferencesconcernedwithDanceandDisabilityaccesstoHigherEducationthefindingsofwhichwerepublishedin2008underthetitleMovingMatters:SupportingDisabledDanceStudentsinHigherEducation.4ThecompanyrecentlychangedthespellingoftheirnamefromCandoCoorCandoCotoCandoco.5 Sandahl andAuslanderdiscuss the connectionbetweenart and societalmovements andstresstheradicalrootsattheheartofdisabilityandperformance.(SandahlandAuslander,2005,pp8)AdamBenjamindescribeshow integrateddanceemerged throughpostmoderndanceemphasizing the link tocontact improvisation(Benjamin,2002).SeenmorebroadlyIDemergedthroughseveralsocialandcommunitydanceforms.6ThisincludesCandocoDanceCompany,AXISDanceCompanyandDancingWheels.Othercompaniesdeliberatelychoosetobecommunityandprojectbased.Iammakingthispointnottobuyintothehierarchyofartmakingbuttonoteaparticularstageintheprocessofperformerswithdisabilitiesestablishingthemselves.1990‐2000alsosawanumberofimportantpublicationsdiscussingperformance,traininganddisabilitybyauthorslikeAlbright,Benjamin,Kuppers,Sandahl,etc.7AdamBenjaminmentionsandcriticallydiscussesAlexSpitzer(US)andDavidTool(UK)asearliestattemptstoroutedisableddancersthroughconventionaldancetrainingprograms.SpitzerreceivedhisB.A.degreeinDancefromTexasWoman’sUniversityinDenton,Texas,andaccordingtohiswebsitesholdsthedistinctionofbeingthefirstdancerinawheelchairtoreceiveafour‐yeardegreeindanceintheUnitedStates.(http://www.spitzerdancecompany.org/index.htm)DavidToolecompletedaone‐year"ProfessionalDiplomainCommunityDanceStudies"attheLabanCentre–Londonin1992(http://www.dtoole.co.uk/)FromconversationwiththetwoartistsBenjamincontendsthatneitheroftheseattemptsatinclusionwereparticularlysuccessful.(Benjamin,2002,pp8) 8FromfourhundredstudentsindanceanddramaschoolsintheUKonly1.5%statedthattheyhadadisability.Inallcasesthestudentsnotingadisabilityweredyslexic.(CEDARJuly2002inVerrent,2003,pp5and11)2004‐05incourseswheredanceformed50%ormoreofthetotalstudytime,only13studentswereregisteredashavingphysicalorsensorydisabilities:evenfeweroftheserequiredlearningsupportinstudio‐basedactivities.Thisrepresents0.5%ofstudentsonthesecourses.(Whatley,2008,pp3)IamnotawareofanyU.S.baseddata.Inmyestimateitissafetoassumethatindividualswith

disabilitiesarejustasunderrepresentedindancecollegesanddegreeprogramsintheU.S.astheyareintheUK.9DavidTooleperformedinanumberofperformancesandproductionswithDV8directedbyLloydNewsonwithoutthecompanyeverreferringtoitselfortheirworkbeingreferredtoasintegrated.10ItisnoteworthyhowstronglytheambitiousobjectivesofUDresonatewithAdamBenjamin’saimsforintegrateddancetraining.“Intermsofteachingmethodology,anintegratedworkshoporclasscanfunctionperfectlywellwithoutthepresenceofadisabledstudent;itsimplydoesn’tmissabeatwhenadisabledpersonjoins.”(Benjamin,2002,pp16)11ItwouldbeworthconductingamorecomprehensivestudyexaminingdifferencesandsimilaritiesintheBAandBFAdancedegreesandhowthisaffectsthedemographicsofthestudentpopulation.InmylimitedresearchIfoundmostprogramsfocustheirBA/BFAprogramsonasimilarrangeofsubjectsincludingtechnicaltrainingthroughballetandmodern.SomeofferareasofconcentrationfortheirBAorBFAstudentsincludingK–12TeachingCertificates.TheUniversityofNorthCarolinaGreensboroCommunityDanceoffersaconcentrationincommunitydancetotheirBAorBFAstudents.NotabledifferencesareColumbiaCollege,ChicagoofferingmoredifferentiatedBA/BFAdegreesin:DanceStudies,Dance‐making,PerformanceandTeaching.TheAmsterdamSchooloftheArts(AHK)offersanumberofdifferentiateddegreesinballet,moderntheaterdance,jazzandmusicaldance,newdancedevelopmentanddanceteaching.OtherschoolsliketheLabanCenterofferanindependentstudyprogramandapostgraduatecertificateincommunitydancetheformerculminatesinacertificateonlywhereasthelatterpresumesaccesstoafirstdegree.12Classicalballetandmoderndanceareofcourseethnicformsaswell.13Benjaminappreciatestraditionaltechniqueclassastraining“skillsthatarenecessaryandhighlyvalued…forprofessionaldancers”(Benjamin,2002,pp44),butisalsojustifiablycriticalofthelimitedselectionofdanceformsofferedandthecontinuedexclusionofimprovisationasaformoftechnicaltraining.

14AnexperienceIsharewithmanycompaniesworkinginthefieldaswellasauthorssuchasAnneAlbright,AdamBenjaminandSarahWhatley.15IntheU.S.,asimilardocument,theStandardsofLearningandTeachingDanceintheArts:Ages5‐18bytheNationalDanceEducationOrganizationprovidesanevenmoredetailedcatalogueoflearninggoals.Thelanguageusedagainisgeneralandinclusive.16Warren’scriteriaareinmyviewbeyonddiscussion.Placingappearancebeforeskillandequalingaestheticwithphysicalbeautyisnotonlyhighlyexclusiveitalsodiminishesdanceasanartformtosomethingdecorativewithnothingmuchtosayaboutthecomplexityofhumanexistence.17TheUWDanceProgramfocusesitstechniqueclasstrainingonballetandmodernwiththeadditionofjazz,ballroomdancingandintegrateddanceaselectivesthatcanalsocoverpartsofthetechniquerequirements.18Companydforinstanceworkswithteenagerswithdownsyndrome,companieslikeAXISandCandocoworkwithdancerswithphysicaldisabilitiesintheirtouringcompanybutworkwithabroaderrangeofdisabilitiesintheireducationalworkandcompanieslikeAmiciDanceTheaterorDanceAbilityworkwithcommunitiesofdancersincludingavastagerangeandalltypesofdisabilities.19ExamplesfordisabilityspecificdancetechniquesincludeKittyLunndevelopingballetclassesfor(manual)wheelchairusers(Lunn,1999),CompanydteachingandperformingjazzdancewithyoungpeoplewithDownsyndrome,andStevePaxtonandAnneKilcoyneteachingcontactimprovisationtovisuallyimpairedandnon‐disabledparticipants.20KarenKaufmann’sarticle,AdaptationTechniquesforModelingDiversityintheDanceClass(Kaufmann,2002),isaconcise,ifnotunproblematicsummaryofthemethodology.StineNilsenand

CharlotteDarbyshirealsopublishedashortpaperInvestigatingIntegratedTeachingPractice(DarbyshireandNilsen,undated)wheretheydiscusstheuseofadaptations.21IhadthepleasureofhavingPetraKuppersvisitforonedayduringaweeklongintegrateddanceintensiveinSeattlein2009.Petraattendedamid‐weeksessionandindependentlydevelopedherfloorversionofatravelingphrasewithrelish,whileIworkedwiththerestofthegroup,mostofthemwithlessexperienceindance,tilltheendoftheweektodevelopamoreindependentunderstandingoftheapproach.22Ipreferthetermtraditionaltechniqueclasswhentalkingaboutcoursestrainingphysical‐anatomicalskillsandrefertoworkingwithset,improvisedandexperientialmaterialwhenreferringtoabroaderunderstandingoftechnique.23Whiledancersworkincloseproximitywitheachotherthenon‐verbalnatureoftheworkoftenpreventsthemgettingtoknoweachother.Studentssometimesdon’tevenknoweachother’snamesbytheendofthequarter.Thisdoesnotmeanthattherearenototherwaysofknowingeachotherinaclass.Usingwordsandopeningupadialoguewillnottakeawayfromtheprofoundpossibilitiesthenon‐verbalexperienceofdanceoffers,butwillbeimportantinfacilitatingaccessandcollaboratingwitheachother.24Sincetheexercisefocusesexclusivelyonvisualinformation,dependingonthegroupImaywanttodemonstratehowthetaskcanbeperformedthroughverbaldescriptionsorthroughtouch.25In2002IwasabletoconductaresearchprojectconcernedwiththeapplicationofChoreologyand,inparticular,thestudyofmovementanalysis,incontemporarydanceintegratingdancerswithandwithoutphysicaldisabilities,underthetutelageofLondon‐basedchoreologistRosemaryBrandt.26Thediscussionofturnoutofthelegsisonesuchexample.Classicalballetinparticularfavorsaturnoutasnearto180degreesaspossible.Ifthisisanatomicallynotpossibleforastudentthequestionsisifthelook(aesthetic)oftheturnoutismoreimportantthanthefunctionofusingthecorrectturnout.Whilenowadaysmanypractitionersteachtheuseofanindividual,anatomicallycorrectalignmentthisisnotalwaysthecase.Morerecentlythissamedebatealsoextendedtotheparallelpositionusedinmoderndanceandthealigningofthekneesoverthefeet,thecarriageofthearms,etc.