Introduction
The body and mind are essential in a typical dance class, as they determine students’ preparedness. Although the body is central to cultural understanding and physical fitness for choreographers, the mind is more important. Focusing on students’ minds enhances their artistic expression, critical thinking, adaptability, body awareness, and emotional intelligence. By gaining these skills, dancers can better use their bodies in and out of class. This paper will examine the importance of educating the mind rather than the body in dance education.
Theoretical Approaches to Dance Teaching
Dance education focuses on enhancing students’ physical and cognitive fitness. Although dancing can be considered an artistic skill that requires various aspects of body motion, these aspects can be understood by attending class (Morris 84). Therefore, art education serves as a source of knowledge and a means of skill enhancement. In the quest to determine the central role of dance education, various theoretical approaches have been proposed. The theories help in understanding the aims and rationales for the various teaching techniques adopted in this field of cultural studies.
Structured Approach
As an educational pursuit, dance is both technical and artistic, involving mastery of skills and classical body movement forms. The structured approach to choreography teaching emphasizes technical skills and the mastery of classical forms as ways to express one’s culture and traditions (Barker and Jane 7). Moreover, the approach focuses on the development of proper technique and vocabulary among the dancing students.
Educators who apply the structured method often use a step-by-step approach to knowledge dissemination. Consequently, complex choreography and other dance moves are broken down into more straightforward steps that learners can quickly understand (Morris 89). Therefore, applying the structural approach to teach body movement classes enables learners to acquire complex skills associated with this form of cultural studies.
Creativity Approach
Dance is an art form that can express personal feelings and convey a community’s cultural understanding. Consequently, educators must allow their students to express themselves uniquely. Also known as an artistic expression, the creative approach to choreography education emphasizes learners identifying their voice and non-verbal expression (Barker and Jane 10). Improvisation of different movement styles is the basic teaching methodology used when creativity is essential (Barker and Jane 7). Contemporary and improvisational physical movement styles are examples of moves that are better taught using the creativity approach.
Somatic Theoretical Approach
Connecting the mind and the body when dancing is crucial in understanding the meaning of a particular move. Somatic theory is premised on an understanding that body awareness development, kinesthetic intelligence, and neuromuscular control can only be achieved when the mind and body are in sync (Morris 99). Therefore, the learners are encouraged to focus on the internal feeling of their moves rather than on what they look like from the outside (Barker and Jane 8). The somatic approach allows learners to pay attention and think critically as they engage in movement (Elin and Brodie 13). Dances such as yoga and other mindful practices emphasize grounding, centering, and alignment through a somatic approach.
Cultural Approach
Culture involves the different ways, including the arts and beliefs, of a particular community that are passed down from one generation to another. From its simple definition, culture seems to have a nexus with history. The cultural approach to physical movement education emphasizes the traditional context of a given move, its social significance, and artistic expression (Bourdieu 121). The approach shapes the body-and-mind debate in dance by fostering a strong body-mind connection. Cultural nuances are embodied, as the connection extends beyond physical movements, with the mind expressing cultural narratives.
Mind vs. Body in Dance Teaching
Following the different theoretical approaches to dance teaching, the mind and body are critical in achieving learning objectives. According to the somatic theory, the two must interconnect for one to make an inner meaning of their particular move (Barker and Jane 4). On the other hand, the cultural, structural, and creativity theories emphasize the retention of given styles, their history, and their social significance (Bruner 76). Therefore, the cognitive and physical aspects of dancing seem crucial in any learning environment. While the body is often emphasized in discussions of culture, the mind is central to any facet of dancing.
Body in Dance Teaching
The body plays two significant roles in dance and must be prioritized based on personal teaching practice. The different parts of the body act as instruments for creating dance. For example, in my teaching practice, body parts are associated with various gestures and meanings when dancing. Hands are often used to clap when a move is intended to cast out devils in various African settings (Hagan 23).
Another example from my teaching practice is the use of the body as a medium for communicating a dance message. In ballet dance, arabesque is a leg movement that signifies elegance, while grand battement symbolizes power. The use of different body parts in dancing allows learners in my teaching practice to master and enhance their technical skills.
Another function of the body in dancing is that it serves as a medium through which a particular cultural or artistic message is conveyed. The audience is often required to interpret specific moves and make a meaning out of them. Consequently, the learners do not need to speak their message; they need only to show it.
For example, in Hawaii, Hula is a traditional dance through which artists narrate stories through gestures and other unique hand movements (Shay 229). The latter can refer to various aspects of the natural environment, such as the swaying of trees and rain. Given the two functions of the body in body movements, it has cultural significance in teaching.
Cultural Significance of the Body in Dance Teaching and Importance
Culture is integrated into teaching approaches to allow students to develop a sense of belonging and gain different worldviews of various ethnic communities. In dancing, the body presents cultural significance, given its two primary functions discussed above. Unique ethnic communities use the body to express emotions, stories, and traditions (Bourdieu et al. 56). Therefore, educators impart steps and cultural nuances embedded in body language (Pierre 21). As an expressive cultural language, the various human postures and moves have unique meanings in a given traditional and ethnic context.
Another way the body is integrated into dancing as cultural heritage is through rituals and traditions. For instance, in the traditional setting of Hawaiian rites of passage, religious ceremonies, and significant life events, each was marked by unique dances. Consequently, a given body movement can be associated with its ritual and cultural meaning (Foucault 162). When teaching dance, educators ought to critically investigate the culture and body movements associated with their learners (Bruner 86). The latter can be achieved by engaging with the learners and conducting research on the history of students’ traditions.
Mind in Dance Teaching
The human mind is structured to capture visual and auditory information articulated in body movements (Bourdieu et al. 78). Different physical movement styles and forms have unique historical and cultural backgrounds. Such information cannot be retained solely through training. Additionally, physical composition extends to art and traditional means of expression, requiring high levels of creativity and critical thinking. Interpretation and consequent improvisation of bodily movements require creativity and cognitive ability to represent the styles in new forms. Therefore, educating the mind should be prioritized in any given class.
Historical Perspective
The historical contexts under which dance has been studied and practiced are crucial in understanding the roots of various body movements. The connection between body motions and the human psyche is acknowledged differently among cultures (Barker and Jane 28). For example, in the ancient period, art was used for its therapeutic and spiritual benefits (Mills 51). Additionally, Sufi whirling among the Sufis originated in the 13th century, when it was used to achieve a deeper connection with their god.
Another personal example is the use of dance as a form of cultural expression, especially the square dance. Meanwhile, Indigenous communities such as Malays in Singapore integrated body compositions into their ceremonies. The association of physical composition with various events and mental states, such as meditation, led to the development of dance psychology.
Evolution of Dance as an Intellectual Pursuit
Dance psychology involves an understanding of how body movements express emotions and other important feelings. In various cultures, unique body movements were used to convey information and pass messages from one generation to another (Whatley 14). In the contemporary world, dance is used to convey messages, such as political criticism and appraisal. Moreover, some religions associate their practices with particular body movements (Meduri 223). Non-verbal body cues serve as a medium through which information can be passed across multiple generations. Therefore, dance can be viewed as a medium through which traditions and culture are passed from one generation to another.
Mind-Centric Teaching Techniques
Mind-centric and somatic approaches in dance are interconnected in various ways, underscoring the mind’s critical role in dance teaching. Teachers focus on the learners’ kinesthetic senses to enhance their body awareness and make them recognize their environments. The choreographers sense and feel their physical movements in different contexts. Consequently, they can help counter problems associated with their dance and enhance cognitive skills (Mills 34). For example, if one is performing before a bored audience, the dance can use movements to engage the audience and encourage them to pay more attention. Therefore, the mind-centric and somatic approaches can be combined to overcome attention problems among the audience.
The mind-centric dance teaching approach can be applied through various methodologies. For instance, using guided imagery, sensory experiences, and improvisation, teachers help their students enhance their kinesthetic senses. One of the significant applications of the technique is when dancers create mental images of their moves before practicing them physically (Elin and Brodie 13). This allows them to deliver performance that meets their audience’s expectations. The mind-centric approach can be applied to enhance the somatic perspective of dance education.
Therapeutic Importance
Dance can be an essential way to promote effective mental wellness and overall physical fitness. Cognitive behavioral therapy (CBT) is among the therapeutic approaches taken to help patients overcome mental illnesses such as depression (Lorin 192). CBT requires the acquisition of new skills that can be applied to stressful situations (Carr 50).
Dance is among the new skills that individuals can learn and apply to depressing situations. For instance, a student can decide to develop a dance move to help keep their mind occupied with tempting thoughts (Robin 25). The therapeutic importance of teaching the mind in a daring class has led to its application in psychology.
Dance/movement therapy (DMT) is another therapeutic application of body movement central to mental wellness. DMT involves therapists who encourage their clients to make meaning from particular dance styles (Abbs 89). Through the mirroring technique, DMT therapists help their patients copy others’ behaviors to remain happy in life.
By educating learners’ minds, they develop coping skills that are essential to their mental well-being. The therapeutic importance of teaching the mind allows students to develop self-esteem, avoid depression, and anxiety (Michel 201). Consequently, learners exhibit maximum concentration, encouraging understanding of the course content.
Social Connection
Learning is a social activity, and learners’ interests shape the learning environment. Educating dance students’ minds helps them develop crucial socialization skills. For instance, they are taught moves that are culturally accepted by their audience.
Additionally, teaching the mind equips choreographers with artistic skills that make their art more compelling than others’ (Robin 21). The practical social skills gained through mind-centric techniques are essential for embracing other people’s cultures and socializing with them easily. Therefore, learners benefit from socialization skills and knowledge learned in class.
Enhanced Creativity
Creative dancers can effectively communicate with their classmates and collaborate with them in different class settings. Mind-centric techniques, such as mental imagery, promote creativity among learners (Lorin 192). Moreover, the inclusion of approaches such as dance improvisation allows the students to think outside the box. Consequently, they can apply the skills and knowledge gained in and out of class to create compelling pieces of art.
The creativity inculcated in learners is essential for their other educational activities beyond dancing (Ball 231). For instance, excellent performance in technical subjects is associated with creativity and innovation. Dancers’ creativity enables them to excel in other studies they pursue.
Creativity gained from improvising dances and developing new styles is also associated with strong social and collaborative skills. Students with innovative minds can communicate their feelings and emotions through dance, and in a manner that is interesting to others (Pring 25). Additionally, they can touch sensitive issues within their communities without being profiled. Consequently, harmful cultural practices can be countered by enhancing learners’ creativity through mind-centric dance teaching approaches (Hagood). With improved innovativeness, choreographers can become problem-solvers within their communities.
Self-Expression
As a form of expression, dancing allows students to communicate their feelings and emotions without using words. Teaching mind over body enhances creative ways through which choreographers can express themselves (Ritenburg 84). When they are at risk of low self-esteem, they use innovative strategies that do not hurt their feelings.
Similarly, improved self-expression is vital in helping dancers operate in culturally hostile environments (Pring 30). Consequently, psychological downturns such as stigma and depression are eliminated. A study by Ulaboevich (41) shows that exemplary academic performance is positively correlated with effective self-expression techniques developed in dance classes. Therefore, educating students’ minds prepares them to handle crowds that may make it difficult for them to express themselves.
Cultural Understanding
Although the human body is essential for cultural expression, the mind is vital for understanding traditions over time. Cultural understanding among choreographers allows them to interact with people from different ethnic backgrounds and ways of life. Educating the mind fosters an understanding of a culture’s historical knowledge and its strengths over time (Ritenburg 74). Additionally, the mind, after continued exposure, is necessary for coming up with new ways to explain and understand a particular tradition through different body movements (Thomas). The consequent advantage of such a technique is that dancers develop a sense of belonging to their communities and can act as their ambassadors in various settings.
Memory Improvement
Involvement in multiple learning and personal activities can be mentally challenging for learners. Unlike other arts, most dancers do it as a hobby and devote much of their time to other professional activities. Mind-centric dance teaching promotes knowledge retention and boosts memory capacity (Hagood).
Creative and cognitive teaching methods improve learners’ memory development. Dance moves, such as yoga, help learners be mindful of their environment and become more creative in class. The continued education of the mind encumbers memory loss, which can be detrimental to other educational and professional activities. The use of mind-centric dance education approaches enhances memory and knowledge retention, helping students succeed in the classroom and in their careers.
Emotional Intelligence
As the labor market becomes competitive, there is a high demand for emotionally intelligent employees. The latter refers to an individual’s ability to manage their emotions and understand others’ emotions (Shay 229). Self-awareness, self-regulation, and social skills are the main characteristics of emotionally intelligent people.
Mind-centric techniques, such as creativity approaches, allow individuals to make meaning from their dance moves (Duffy 9). The interconnection between the mind and the body is primal for self-awareness (Shapiro 111). Dancers with educated minds understand their emotional distress and needs, and those of people around them. Improved emotional intelligence makes students more competitive in the job market and in the classroom.
Personal Professional Practice and Mind-Centric Approaches
From a personal perspective, it is better to educate dancers’ minds than their bodies, given the mind-centric advantages discussed above. However, there are various challenges that one can encounter when applying the methods in a professional setting (Thomas). Resistance from students, time-consuming nature, and cultural complexities are among the barriers to educating the mind over the body (Duffy 10).
Another problem with the method is the lack of mind-body integration. Separating the mind from the body during classes can lead to a lack of mind-body connection. As a result, choreographers and dancers may have difficulties understanding the connection between their body movements and intellect. Educators can take various actions to counter the challenges associated with mind-centric dance teaching.
Recommendations
Integration of mind-body awareness exercises, creation of a supportive learning environment, research, and cultural sensitivity programs can help address problems with mind-centered dance education methods grounded in personal experience. Learners can be subjected to intense mindfulness dancing forms such as yoga. During every class, a short mind-body awareness exercise should be conducted, and students should be allowed to express what they have learned and understood during the exercises (Shapiro 201). The latter will create a conditioned response in which learners associate mindfulness and meditation with dancing classes.
Creating a supportive learning environment is another recommendation to counter the challenges of mind-centric dance teaching in a professional setting. The action involves in-depth research that allows one to understand learners’ needs and their culture. Additionally, continuous engagement to address educational shortcomings, such as the ability to solve complex problems, bolsters creativity and innovation in class.
Cultural sensitivity programs, such as anthropology and dance history classes, can further enhance memory development (Shapiro 110). Equipping students with the necessary cultural information motivates them to find ways to communicate it without hurting anyone. Adopting the highlighted recommendations is key to educating dancers in a given professional setting.
Conclusion
Both the mind and body are central to a successful dance class and the achievement of the desired learning outcome. The body has cultural significance in dance, serving as an instrument and a medium for expressing ethnic beliefs and practices. However, the mind is beneficial in understanding the culture and creatively expressing it.
Emotional intelligence, memory development, cultural understanding, enhanced creativity, social connection, and self-expression are the benefits of educating dancers’ minds. Contrasted with the body, which is focused on physical fitness, the mind sometimes plays therapeutic roles among learners, releasing the stress, depression, and anxiety associated with their routine activities. Therefore, it is more important to educate the mind than the body in a professional dance education setting.
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