Exploring the supportive relationship between Ballet and Modern techniques in training adolescent dancers.

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.