Miss Joan's Creative Movement World

In all my classes I start with a movement concept and a theme.  Here we are dancing the story of baby birds that hatch from their eggs.  As we grow and learn new tricks – like how to plie’, jump and balance – we become stronger.  When a storm comes and blows us out of the nest we all have to learn to fly with straight strong wings.

Teaching through story allows the children to become immersed in what they are learning, so the movement has meaning. In this particular lesson we learn how to move in close proximity to other dancers (spatial awareness), about the mechanics of reaching a straight leg to the front, side or back (tendu), and how to use our ‘strong’ legs and ‘reaching’ arms to lift us off the floor (leaps).

Discovering Shapes

Class is a wonderful time to discover new ideas or look at familiar ideas in new ways.  In this picture dancers at Ballet Austin are experimenting with shapes, then playing with transferring those shapes onto their own bodies.  We experiment with diamonds, triangles, circles, squares and pentagons, then change our shapes as we dance.   We also play with combining two or more shapes at a time.

Dance and Executive Function The benefits of learning how to listen, think and move at the same time are invaluable.  It is activities like these that  help enhance a critical cognitive system in the brain called Executive Function.  Executive Function plays a roll in memory and problem solving, as well as enhances self-regulation — the ability for kids to control their emotions and behavior, exert self-control and discipline.  Creative movement is an exceptional tool that affects all aspects of the growing child, and continued dance training assists in making the connections that contribute to the development of the whole child.  For more on Executive Function go to

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10 things to look for

in a quality creative movement class.

In my 20-plus years of teaching I’ve seen it all – from the best teaching conditions and practices to the most mediocre.  The following is a list of things to look for when searching for a quality dance studio and education for your impressionable little creative dancer.

#1 Teacher/student interaction
Is the teacher welcoming?  Is there a connection between teacher and student before, during and after class?  Are the children excited to come to class?

The answers to these questions are self-evident, and when the environment is positive and nurturing, this most likely indicates a quality teacher with extensive training and experience.  Which leads to my second criteria for quality instruction:

#2 Teacher qualifications
Sometimes you’ll find dance studios that put their older students-in-training or most inexperienced teachers in charge of the ‘little ones.’  This should be a red flag, an indication that their priority is not their children’s program.  It often points to a general misunderstanding of children’s dance as just ‘getting the wiggles out’ or children’s dance as simply mimicking grownups.  In this scenario there is a lot of running around as the teacher presents watered down dance routines to canned music and calls it creative movement.

An instructor with knowledge or a background in early childhood education is an indicator of a quality program. In the case where a young or new teacher is in charge, find out how much time they have spent in a creative movement setting, either in training as an apprentice, or as a teacher’s assistant.  At Ballet Austin it is required that all prospective creative movement teachers have some experience in early childhood education and complete a 6-week teacher training intensive, followed by observation and evaluations that continue throughout the year.

#3 A positive learning environment
Are the children eager to learn?  Does the teacher command respect?  Do the children listen and follow directions?

How the children are instructed, engaged and redirected is of utmost importance.  An experienced teacher will know how to motivate her students to want to learn without frustration or a raised voice. They should know how to use their positive power to get children to respond and engage.

#4 Observation
Are you allowed to observe a dance class with your child before you register?  This is important for knowing what you are about to get into. When observing class take note of the following:

The classes appear cohesive and in control, and the children are engaged. The dancing is focused and there isn’t a lot of chatter. While natural inquisitiveness should be encouraged, a noisy classroom is not conducive to learning.  Are the children made to ‘wait their turn’ to dance for an excessive amount of time?  If a teacher uses sitting and waiting as a means to control the class, then look elsewhere.

#5  Separation anxiety
This happens on occasion in my 3-year-old classes as children often have trouble separating from their parent for the first time.  It can be traumatic to be apart from a parent but an experienced teacher will know what to do.  I have seen situations where teachers carry the crying child into the classroom with the hope that they will acclimate.  I’ve also seen parents get angry and force their child into class.  Neither scenario is acceptable.  While there is no one correct response in dealing with this situation, there are several things a teacher can do to ease the transition.  1) Have the child sit near the teacher.  2) Have a cute puppet to divert their attention and engage them.  3) Suggest they arrive early to help set up the classroom.  4) As a last resort, invite the parent to come into the classroom, and even dance with the child if necessary.  It is amazing how soon a child will be ready to have their parent transition out of the classroom once they’ve gained the teacher’s trust.

#6 Class size
Class size should follow these guidelines:  Creative movement for 3-year-olds – 10 students max.

Creative movement for 4 and 5-year-olds – no more than 12 students.  An assistant is often helpful for teachers but not absolutely necessary.

#7  Performing
Are the teachers spending a month or more of classes on a dance recital?

My take on recitals is somewhat controversial, and many may not agree but I have a sound reason why children this age should not be drilling in preparation for a performance.  For the 3, 4, and young 5, sequential memorization is an emergent skill. It is not until age 5 or 6 that they want to learn and perform dances in front of an audience, or have the capacity to easily retain simple combinations.  Parents want to see what their child has learned, and they love to see their child perform.  But keep in mind that performing in front of a large group of people can be very stressful.  Dancing at this age is about personal self-expression and joy in learning and should be treated as such.  I invite parents to three observation days a year.  We may rehearse a small combination, of which I spend only a small portion of two classes on.  I also dance along side them, and the choreography occurs naturally within the theme or story for that day.  And in regards to the ‘ever-popular’ recital with its sequined and costly costumes, I suggest playing dress-up at home, have them create their own playbill and tickets, and let them put on a show for parents and grandparents.  They’ll know exactly what to do and do it with style.

#8 Combo classes, jazz and hip-hop
I say avoid them altogether. As far as combo classes go, consider that the attention span for concentrated dance time for this age group is about 40 minutes.  Now consider the amount of time it takes to take shoes off and on, and you have whittled your child’s dance time down to about 25 minutes.  Tap is a developmental skill, like memorizing choreography, that involves specialized and coordinated movements that children this young are just not ready for.  The more basic concepts of tap and ballet can be easily and successfully incorporated into a creative movement class.

Jazz and hip-hop styles were created by adults, for adults, and really have no practical application for young children.  A good creative movement class engages children physically, socially and cognitively.  It’s imaginative, interactive, child centered and playful.  These are the developmental experiences we should be providing for our children.

#9  Parent feedback
Is the teacher accessible and open to suggestions and constructive criticism? Is the administrative staff welcoming and helpful?

Parents should feel that they are in the loop when it comes to what their children are learning.  A quality program should welcome and encourage questions and/or suggestions from parents.  Sometimes parents share insights about their child that helps the teacher be more effective, making a real difference in their overall dance experience.

#10 Facilities
Are the facilities professional, child friendly and welcoming?

An ideal dance space has high ceilings, good lighting, an excellent sound system and mirrors.  The floor should be a ‘sprung’ wooden floor covered in smooth wood or a Marley floor covering. Is the facility meeting all safety regulations?  All exits should be clearly marked with a plan in place in the event of an emergency.