california state university, northridge dance ...steve jobs, the ceo of apple, went to reed college...
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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
DANCE IMPROVISATION IN DANCE EDUCATION:
ATTITUDES AND USES
A thesis submitted in partial fulfillment of the requirements
For the degree of Master of Science in
Kinesiology
By
Jacobi Lynn Mejia
May 2015
The thesis of Jacobi Lynn Mejia is approved:
________________________________ __________________ Shana Habel, M.A. Date
________________________________ __________________ Terry Sweeting, Ph.D. Date
________________________________ __________________ Konstantinos Vrongistinos, Ph.D., Chair Date
California State University, Northridge
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DEDICATION
I dedicate this thesis to the Holy Spirit for enabling me to get this far in education
and to become the first in my nuclear family to hold degrees in higher education.
I also dedicate this thesis to Albert Durstenfeld for helping me from the start of the
process to become a master’s student and being there for me throughout this journey.
I additionally dedicate this thesis to my mom for motivating me to go to college and
believing in me, Phyllis Grimmett, and to my recently-deceased Noel, Aunt Jeannine, and
Grandmother Grace, who persevered.
And lastly, I dedicate this thesis to all the great educators that have been involved in my
life that have paved my way to achieve this goal.
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TABLE OF CONTENTS
Signature page ii Dedication iii List of Tables vi Abstract vii CHAPTER I- INTRODUCTION 1
Background 1 Problem 5 Purpose 5 Hypotheses 5 Benefits 7
CHAPTER II- LITERATURE REVIEW 8
Teachers’ Views on Improvisation 8 Attitudes: Reasons to Use Improvisation 10 Value Versus Practice 12 Attitudes: Reasons Not to Use Improvisation 13 Methodological Processes 18 Conclusion 20
CHAPTER III: METHODS 22
Research Design and Material 22 Participants 23 The Data Collection Instrument 24 Pilot Study 25 Data Collection Procedure 26 Data Analysis Procedures 27
CHAPTER IV- RESULTS 29
Regarding the Instrument 29 The Amount of Improvisation Used Among Dance Teachers 34 Reasons Dance Teachers Use Improvisation 40 How Dance Teachers Use Dance Improvisation 45 Reasons Dance Teachers May Not Use Improvisation 49 Additional Beliefs and Attitudes 56
CHAPTER V- DISCUSSION 62
Aim 62 Key Findings 64 Limitations 70 Future Research 72
References 74 Appendix A 83
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Appendix B 91 Appendix C 94 Appendix D 112
LIST OF TABLES
Table 1. Categories and subcategories of the theme “survey reflection” 30 Table 2. Questions that resulted with primarily the same response 31 Table 3. Participants who avoided questions 33 Table 4. Statements that confirm uses and frequency of improvisation 34 Table 5. The amount of improvisation used within a lesson 36 Table 6. The kinds of improvisation experienced 37 Table 7. The kinds of improvisation used 37 Table 8. Those who received training in improvisation in education 39 Table 9. Categories and subcategories of the theme “benefits” 41 Table 10. Comparison of training on, and use of, improvisation 44 Table 11. Improvisation as performance 44 Table 12. Categories and subcategories of the theme “how to deliver” 45 Table 13. Categories and subcategories of the theme “what it entails” 46 Table 14. Categories and subcategories of the theme “different elements” 47 Table 15. Categories and subcategories of the theme “different activities” 48 Table 16. Categories and subcategories of the theme ‘student reluctance’ 51 Table 17. Categories and subcategories of the theme ‘negative remarks’ 52 Table 16. Difference in perspective of those who were classroom teachers 57 Table 17. Categories and subcategories of the theme “advantages” 60
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ABSTRACT
DANCE IMPROVISATION IN DANCE EDUCATION:
ATTITUDES AND USES
By
Jacobi Lynn Mejia
Master of Science in Kinesiology
Statistical (quantitative) research has not been done on dance educators’ beliefs
and attitudes towards dance improvisation. The purpose of this study was to fill that gap
and to examine dance educators’ uses of dance improvisation. A questionnaire was
developed from the literature review and input from the researcher’s committee. The
addition of several open-ended questions allowed for both quantitative and qualitative
analysis.
Twenty kindergarten through twelfth grade Los Angeles, California dance
educators participated in the survey through an online website. The survey went through
a pilot process based on a two week interval and then was quantitatively analyzed using
SPSS computer software, followed by qualitative investigation to discover emerging
themes. The questionnaire successfully gathered information on uses and attitudes
towards particular statements relating to dance improvisation. However, the findings also
demonstrated the need to modify some survey questions to better focus response and to
strengthen results.
A key finding revealed that elementary dance educators tend to use dance
improvisation more than secondary dance educators. Most secondary dance educators use
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improvisation sometimes or not at all and when they do use it, it is for 10% or less of
their lesson time. Possible causes for this limited use could relate to a feeling of lacking
time to incorporate improvisation into instruction, lacking the training to teach it, or they
did not experience training in dance improvisation in their own secondary education.
The dance educators were more likely to use dance improvisation in instruction if
they received training in improvisation in secondary education. The majority of dance
educators in their 30’s also claimed to have used most of their instructional time teaching
improvisation. Some dance educators, however, use improvisation only for specific
groups.
Positive attitudes appeared to exist towards dance improvisation overall, but
contact improvisation and dance improvisation for performance, specifically, appeared to
be used least by the dance educators. Participants who had been classroom teachers prior
to being full-time dance educators had higher regard for dance technique as compared to
dance improvisation.
CHAPTER 1
INTRODUCTION
Background
Dance improvisation is an integral part of the educational dance content standards
in California and is defined as, “Movement created spontaneously that ranges from free-
form to highly structured environments, always including an element of chance”
(California State Board of Education, 2001, p. 37). In a recent study by Biasutti (2013),
improvisation has been described as being, “spontaneous, creative, and non-planned
movement characterized by the expression of emotions and body feelings” (p. 7). In
literature it has also been described as being part of a creative process (McCutchen,
2006), and a technique (Schwartz, 2000), used to compose dance for either performance
or self-discovery of movement (Minton, 2007).
Dance improvisation is seen in many different cultures around the world. For
instance, Jewish solo dances in Eastern Europe are highly regarded because of the
dancers’ improvisational skills (Friedland, 1985). In Latin America, dances such as
Argentine tango, salsa, and samba depend highly on improvisation to execute social
ballroom movements (McMains, 2001). Improvisation is widely used in Africa to
demonstrate dancers’ skills when performing spiritual or ceremonial dance (Welsh,
2010). In Western America, improvisation is required to perform such styles as break
dancing (Shimizu & Okada, 2012), swing dancing (Gentry, Wall, Oakley, & Murray-
Smith, 2003), and modern dance (Minton, 2007).
The place of improvisation in American dance education has been greatly
influenced by a number of individuals. One of these individuals is Mary Wigman (1886-
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1973), who was a “leading figure in the concert art form known in prefascist Germany as
Ausdruckstanz, or dance of expression” (Wigman, 2003, p. ix). Thimey (2000), one of
Wigman’s students has recalled that, “Very much in contrast to the ballet, improvisation
was important in the Wigman School,” to gain sensitivity to space and the weight of
movement (p. 59). Another student of Wigman, Hanya Holm (1893-1992), who became
her successor and who “maintained a common language that united them” (p. xxv),
supported the idea of teaching improvisation to draw out movement from dancers and use
it to compose (Wigman, 2003, p. 165). Holm emigrated from Germany to New York in
1931 and opened an American branch of the Wigman School (Craine & Mackrell, 2010).
One of Holm’s students was Alwin Nikolais. According to Gitelman and Martin
(2007), he became a renowned American choreographer (p. 132) whose company, “In
November 1949… acquired the name the Playhouse Dance Company, sometimes the
Henry Street Playhouse Dance Company” (p. 249). Nikolais taught a “daily two-hour
technique class [which] was followed by an hour-long theory class four days a week.
Theory class usually, though not invariably, included improvisation. New students were
led through exercises to introduce them to the requirements of improvisation” (p.35). He
also became one of few male contributors to early dance education in America; according
to Wilson, Hagood, and Brennan (2006), “Dance in education has been a feminine
movement except for artist, teacher and philosopher Alwin Nikolais (p. 110). Thus,
improvisation has an important legacy in, and is a traditional aspect of, American dance
education.
Improvisation tends to be closely associated with the term “creative”. The
simplest definition of “creative” is, “to make or do something in a new way” (Inc. The
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McGraw-Hill Companies, 2010). “Creative” is also defined as using imagination,
problem solving, or aesthetic capabilities (Barron & Harrington, 1981). Furthermore,
according to Craft (2003), psychologist Abraham Maslow suggests that there is, “a more
widespread kind of creativeness,” which Craft describes as a form seen in “everyday life”
(p. 114).
Dance improvisation is beneficial to dancers since it allows them to create, invent,
and originate their own movement spontaneously as well as gain confidence. In fact,
research shows that students that learn through discovery, rather than being given
teacher-directed instruction, increase confidence skills (Leathers, 2002). A student in
Leathers’ study explains why they preferred learning from an environment of discovery
compared to an environment where direct instruction was given: “I got more confident
when I learned that I could solve things on my own” (p. 8). Since dance improvisation
focuses on the individual creating solutions on his/her own, the experience has the
potential to increase confidence.
The ability to express oneself is another capability dance improvisation has to
offer. According to Lockhart and Pease (1982), improvisation is not a “free-for-all,” to do
whatever one chooses, but rather a time where the dance teacher guides a dancer’s natural
artistic abilities to be drawn out from within them (p. 104). Improvisation enables the
dancer to express their own artistic potential.
Experience with dance improvisation can definitely cross over into other areas of
a person’s life. Steve Jobs, the CEO of Apple, went to Reed College and took a modern
dance class not knowing how this would carry over into his work with Atari (Von Oech,
1998).
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At Reed, most of the men took modern dance classes from a woman named Judy
Massee. We did it to meet the women. I didn't realize how much I learned about
movement and perception from the class until a few years later, when I worked
for Nolan Bushnell at Atari. I was able to relate how much resolution of
movement you need in terms of perceiving things for video games (p. 138).
In fact, companies rely on people who have improvisational skills and can collaborate
(Sawyer, 2006). People such as these are a necessity for companies interested in pursuing
innovative product development. For this reason, companies bring teams together to
improvise and form ideas that can be put into single products (Sawyer, 2006). Great
examples are, “the Apple mouse, the Palm handheld, the stand-up toothpaste tube, and
hundreds of other products,” which have all been created using group improvisation (p.
42).
A dance educator’s responsibility is to teach skills one can use for the future not
just skills that could be used in a dance class. Dance educators have the potential to play a
very important role in educating students to become college and career ready. However,
do dance educators currently use improvisation as a creative arts experience and tool in
dance education? Do they even perceive improvisation as being important? Do they
believe it is beneficial?
According to Ogott, Indoshi, and Okwara, (2011), attitude is defined as being, “a
mental predisposition towards people, objects, events, situations or ideas,” that could be
either positive or negative based upon personal beliefs (p. 1). Ideas and feelings are the
mechanism for obtaining positive values or responding negatively with prejudices.
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Problem
Much literature exists on teaching and learning dance improvisation (Biasutti,
2013), while a limited number of studies exist on teachers’ attitudes and beliefs (Biasutti,
2013; Koutsoupidou, 2005; Oreck, 2004; Pajares, 1992). Biasutti (2013) recently
investigated dance educators’ views and practices of dance improvisation qualitatively.
However, no one has investigated dance educators’ attitudes towards dance improvisation
quantitatively (Biasutti, 2013).
Purpose
This present study fills this absence by implementing both a quantitative and
qualitative analysis of dance educators’ attitudes and beliefs while also examining the
uses of dance improvisation in dance education. Its primary purpose is to develop and test
an instrument that investigates K-12 California dance educators’ attitudes towards, while
simultaneously examining their uses of, dance improvisation.
Hypotheses
Based on the review of literature (Chapter 2), several hypotheses for this study
include:
1. Older dance educators are also more likely to use dance improvisation than
younger ones.
2. Dance educators are less likely to use dance improvisation if they believe there is
not enough time to use improvisation in their lessons.
3. Since dance technique is seen as a priority (Leijen, Wildschut, Admiraal, &
Simons, 2006) in secondary dance education, Elementary dance educators are
more likely to use dance improvisation than secondary dance educators.
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4. Dance educators who feel they do not have enough training in dance
improvisation are less likely to use it.
Koutsoupidou’s (2005) study on music improvisation concentrates on questions
that demonstrate and confirm the uses of improvisation in primary education. Some
questions from that study were modified to address the current study:
1. What is the frequency of using dance improvisation in elementary and secondary
education?
2. Why and how do dance educators use or not use improvisation?
3. Do personal factors (age, professional qualifications, teaching experience, or
educational background) and different kinds of improvisation that dance
educators use, play a role in a teacher’s use of improvisation? (Kinds of
improvisation include structured improvisation, free form, contact improvisation,
group dance improvisation, and improvisational/exploratory activities based on
elements of movement, i.e., space, time, etc.).
4. What are the dance educators’ attitudes towards California State Standards in
Dance?
Some additional questions were also included:
1. What are the dance educators’ attitudes towards particular advantages and
disadvantages of dance improvisation?
2. What are dance educators’ attitudes towards dance technique in comparison to
dance improvisation?
3. Do dance educators with an elementary or secondary non-arts classroom teaching
background, henceforth referred to as “teachers who were classroom teachers”,
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differ in attitude towards dance improvisation compared to those with no teaching
experience in a non-arts classroom, henceforth referred to as “those who had
never been classroom teachers”?
Benefits
The benefits of this study include:
1. Providing quantitative data on current attitudes and beliefs of a representative
group of Los Angeles dance educators.
2. Revealing areas for potential improvement in instruction within the K-12 dance
class.
3. Revealing areas of need in the preparation of professional development for K-12
dance educators.
CHAPTER 2
LITERATURE REVIEW
The following relates to the current study and will review subject matter
concerning teachers’ views on improvisation, reasons why improvisation is used, values
versus practice, reasons why improvisation is not used, and methodological processes.
Teacher’s Views on Improvisation
Music Teacher’s Perception on Improvisation
Koutsoupidou’s (2005) study examines sixty-seven music teachers’ perceptions
and practices of teaching music improvisation in primary education. The study’s intention
is to discover attitudes towards, and reasons for, using or not using improvisation in
“primary classrooms” (p. 363). Personal factors that might influence views and practices
of teaching music improvisation -- teacher’s age, music and teaching qualifications, the
amount of teaching experience, and educational background -- are addressed. The ways
in which different types of music improvisation are used and how that correlates to music
teachers’ qualifications, as well as whether improvisation has any benefit for their
teaching, is also researched. The study specifically investigates the frequency of use,
subjects’ personal information, school and classroom conditions, which are, “available
time, children’s age, group size” (p. 366), and attitudes towards the National Curriculum
in England.
The five assumptions and several questions in Koutsoupidou’s (2005) study are
arranged into a questionnaire which is used through a pilot study process (test, re-test)
and tested with five music teachers. The final questionnaire consists of two parts: a
section addressing personal information and a section addressing attitudes towards
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teaching music improvisation. The questionnaire is given to sixty-seven participants, both
generalists and specialists, in various locations of England. After statistical analysis, the
results reveal that many music teachers have a positive view towards improvisation as
well as other intriguing information, which will be described in detail later in this chapter.
Dance Teachers’ Perception on Improvisation
Biasutti’s recent (2013) study is both similar to and different from
Koutsoupidou’s (2005) study. For instance, Biasutti’s (2013) study also focuses on views,
experiences, and attitudes towards improvisation, but the subjects are eleven dance
teachers instead of music teachers. Koutsoupidou’s (2005) study combines both
quantitative and qualitative research techniques with a questionnaire while Biasutti’s
(2013) research is completely qualitative with the participants having gone through an
interview process.
The results of Biasutti’s (2013) study show several common themes emerging
from the dance teachers’ descriptions. For instance, dance improvisation is defined as
expressing both “emotions and body feelings” (p.7). Other themes describe processes
relating to the body, space, time, and relationships, as well as to cognitive development.
Motor skills, awareness, perceptual/cognitive, non-verbal communication and emotional
portrayal are also included as themes that describe improvisation. In addition, the dance
teachers describe how they put improvisation into practice by using specific techniques,
such as acting as a facilitator, and they report the advantages and disadvantages of using
improvisation.
Biasutti (2013) summarizes how “dance teachers demonstrate a generally
favorable mental attitude in the use of meta-cognitive strategies, sharing a goal-oriented
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approach to dance improvisation teaching” (p. 18). Note that this conclusion is, again,
based on only eleven dance teachers. Regardless, these dance teachers do share common
ideas which describe dance improvisation. They also describe methods for teaching it,
their awareness of its potentials, and express a favorable attitude towards improvisation
overall.
Attitudes: Reasons to Use Improvisation
Research shows that dance teachers believe that improvisation has positive
benefits and outcomes (Biasutti, 2013; Schwartz, 2000), which implies a positive attitude.
According to Oreck’s (2004) coded themes, teachers can possess an attitude towards arts
instruction in the classroom for different reasons. Whether or not the teacher has a
positive attitude towards a particular kind of instruction, reasons for teaching it may
issues concerning the student, pedagogy, or relating to the teacher him/herself.
Teachers Value Improvisation for Their Students
Biasutti’s (2013) study reveals that dance teachers use improvisation because they
view it as having several advantages for their students. According to Biasutti,
“improvisation could be used in many contexts and with different participants’
characteristics and ages,” and, “facilitates participants to feel free to react and to express
themselves without any pressure or feelings of being judged” (p. 16). Another advantage
is that improvisation is adaptable to the “unknown” – other variables – such as
environment, people, and situations.
Improvisation is additionally seen as a way to explore movement (Biasutti, 2013;
Gilbert, 2000; Lavender, 2006), invent movement (Carter, 2000; Lavender, 2006; Swartz,
2000), use creativity (Biasutti, 2013), and develop performance skills. This latter idea is
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believed by 71% of the music teachers in Koutsoupidou’s (2005) study. Additionally,
75% of the music teachers from that study believe that improvisation “promotes
children’s participation in the lesson” (p. 372). This implies that improvisation is
beneficial for both the learner and the educator by improving classroom control.
Teachers Value Improvisation as Part of Their Pedagogical Practice
In Koutsoupidou’s (2005) study, 8% of the music teachers claim to teach
improvisation as, “part of a specific method they use (Dalcroze, Kodaly, Orff, etc.)” (p.
369). Some teachers use improvisation as a result of their training. In fact, 26% of the
music teachers in Koutsoupidou’s study use improvisation because of “the way they were
musically trained in terms of experiencing improvisation or not” (p.369).
Improvisation may also be taught simply because it is a curriculum requirement.
In Koutsoupidou’s (2005) study, “half of the teachers report that being ‘obligatory in the
National Curriculum’ is an important or very important reason (rating 8-10) for using
improvisation” (p. 369). However, only about one fourth –24%– actually “follow its
suggestions [national standards] very often” (p. 372). So, although the National
Curriculum represents a significant reason for teachers to use improvisation, there are
many more teachers who do not follow curriculum design. Koutsoupidou (2005) suggests
that, “Curriculum designers should perhaps consider the reasons why teachers do not
follow the curriculum” (p. 374). Coincidentally, Oreck’s (2004) study on classroom
teachers’ attitudes towards teaching arts in the classroom, presents a comparable finding.
Oreck reports that, “The existence of national, state, or local standards in the arts was not
mentioned as a rationale for arts use” (p. 63).
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Teachers Value Improvisation for Themselves
Teachers may use certain arts instruction as a self-motivational tool. In Oreck’s
(2004) study, the results reveal that the classroom teachers “were motivated to use the
arts by a desire to increase their enjoyment in teaching (n= 25), and to enhance their own
creativity (n= 18)” (p. 63). In the same way, a dance teacher may decide to teach
improvisation to enjoy becoming more creative as a choreographer. Using an art form as
a motivational tool may relate to a teacher’s personal goals and satisfaction with teaching.
The classroom teachers in Oreck’s (2004) study are motivated by their personal
values towards the arts. Similarly, in Koutsoupidou’s (2005) study, “The high percentage
of teachers who use improvisation on their own initiative (76%) implies that they
understand the value of improvisation” (p. 373). Therefore, teachers’ personal values may
be the inspiration for teaching certain subject matter.
Value Versus Practice
Even if a teacher highly values improvisation it still may not be implemented. In
Koutsoupidou’s (2005) study, for instance, many music teachers are shown to value
improvisation, but not all teachers use it. As in Oreck’s (2004) study, many classroom
teachers value the significance of the arts, but many rarely use it in their teaching. Oreck
even states that, “It should be noted that these teachers say art is important, not
necessarily that they should be the ones teaching it” (p. 59). In short, just because
teachers value certain teaching content does not mean that they feel the need to teach it.
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Attitudes: Reasons Not to Use Improvisation
Lack of Value
In Koutsoupidou’s (2005) study, 8% of the music teachers, “…argue that
improvisation has no benefits for their teaching” (p. 370). Although it is a relatively small
percentage, this opinion represents a particular attitude that exists towards teaching
improvisation. Teachers may also have low regard for improvisation because it is their
perception that their students are unwilling to improvise. In Koutsoupidou’s study, 12%
of the music teachers declare that their students “are reluctant to improvise during the
lesson” (p. 372). Although not large, this percentage could still be a significant source of
negativity towards improvisation which could also be passed onto the student.
An instructor who lacks a particular interest in content may negatively influence
those they are teaching (Ogott et al., 2011). For instance, if a dance instructor is teaching
potential dance teachers and speaks negatively about improvisation, the student dance
teachers may be inclined to have the same negative perspective. “The manner in which
improvisation is taught affects how students ultimately perceive it” (Schwartz, 2000, p.
45). As an example, if the improvisational activity is not clearly explained or presented
well, the learner, who may be a potential teacher, may come away with a negative
impression of improvisation.
Teaching traditions may also negatively influence the likelihood of using dance
improvisation. Fortin and Siedentop (1995) state that, “Critics agree that dance teaching
relies heavily on tradition” (p. 5). This suggests that teachers may rely on the same
method of teaching in which they were trained. According to Koutsoupidou (2005), it
can be inferred that an instructor’s teaching practices are more likely to be based upon a
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particular method that they have previously experienced. Therefore, if an instructor has
had little or no experience with improvisation it is less likely that it will be included in his
or her instruction. So, dance teachers may not teach select practices of dance (such as
improvisation) because they may perceive it as being untraditional or unessential to
teaching dance.
There are aspects of improvisation which are regarded by some as negative. One
such “disadvantage” is that improvisation can become repetitive in nature so that it may
become bland and not sustain the interest of the dancer and the viewer (Biasutti, 2013;
Carter, 2000). In Biasutti’s (2013) study, there is also mention that, “Improvising too
much can make one feel empty” (p. 16.), and, “no revision is possible for improvisation
since it happens in real time and dancers can react, but they cannot cancel previous
actions or movements” (p. 16).
Lack of Control
A dance teacher may feel a lack of control during an improvisational activity.
According to Sawyer (2006), in order for improvisation to occur, the teacher has to be
willing to give up control which can be both, “stressful,” and, “frightening” (p. 46). That
is, a teacher may perceive giving up some control as losing classroom management. In
Koutsoupidou’s (2005) study, 62% of the music teachers believe that it is not important
to use improvisation because of its effects on classroom discipline. Teachers then may
feel that improvisation is too upsetting to work with when there is the perceived tendency
to lose control of the class.
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Levels of Experience
Two principal reasons for music teachers to not use improvisation are considered
by Koutsoupidou (2005). The first is that music teachers may lack personal experience
and practice with improvisation. The second reason will be discussed below. In
Koutsoupidou’s study, 77% of the music teachers do not actively practice improvisation
themselves which could be why they do not use it in their teaching. If teachers do not
practice improvisation themselves, they may not feel experienced enough to teach it.
Koutsoupidou (2005) also claims that teaching experience itself is a factor that
influences the use of improvisation. Although in the study “it was initially hypothesized
that younger teachers would be more likely to use improvisation than older ones, the
youngest age group (ages 18-26) proved, on the contrary, to use the least improvisation”
(p. 374). In fact, the older music teachers used improvisation more frequently.
Koutsoupidou believes that as teachers get older, and gain more teaching experience, they
feel freer to use more improvisation. Koutsoupidou concludes that:
Older teachers may feel freer to use any activities they want in the classroom,
younger teachers usually appear more thoughtful about the requirements of the
school and each lesson because they have not yet developed their own teaching
strategies and methods. (p. 374)
Thus, increased experience, simply due to greater number of teaching years, and
therefore greater age, could also have a positive influence on use of improvisation by
teachers.
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Lack of Knowledge
Koutsoupidou (2005) presents lack of familiarity as the second reason for not
using improvisation. Teachers tend not to teach content if they do not feel familiar
enough with it or have not had enough training in it (Koutsoupidou, 2005; Oreck, 2004).
In Koutsoupidou’s (2005) study, 69% of the music teachers report lack familiarity with
improvisation as the reason they do not use it. A dance teacher may not use it, for
example, because they may not know “how to evaluate the product” (Carter, 2000, p.
189).
Training in improvisation may take place at the college or university level or in
professional development workshops, and other professional trainings. Koutsoupidou’s
(2005) study reveals that the music teachers (in the study) who have teaching
qualifications are more likely to use improvisation as compared to the music teachers
with none.
Teaching qualifications included: (i) music teaching qualification (BA Music
Education, PGCE Music, MA Music Education, other programmes related to
music teaching), or (ii) other teaching qualifications (BA Education, PGCE other
than music, MA Education, other programmes related to non-music education).
Music qualifications included: (i) music diplomas (music theory, composition,
performance, etc.), or (ii) university degrees in music (e.g. BA Music) or other
music relevant subjects. (p. 369).
Although, “Teachers who hold a music qualification are more likely to use
movement/dance improvisation, whereas teachers whose higher education included
improvisation are more likely to use improvisation in general in their own practice than
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those who did not experience improvisation,” neither “effect” reached statistical
significance (p. 370).
With respect to professional development, Oreck’s (2004) data shows that
classroom teachers who have taken arts workshops within the previous twelve months
tend to use more arts instruction compared to those who have not taken arts workshops
during that time period. According to Ogott et al. (2011), researchers claim that teachers’
“attitudes are closely related to teachers' knowledge acquisition” (p. 949). It can then be
assumed that teachers who go without professional development in specific content may
be less likely to acquire attitudes towards teaching that content for lack of well-informed
experience.
Lack of Time
Another reason teachers may not use improvisation is because of lack of time.
54% of the music teachers in Koutsoupidou’s (2005) study report that there is not enough
available time to use improvisation in their lessons. According to Oreck (2004), several
different studies confirm that limited time “can further inhibit teachers’ efforts to use
artistic methods in classroom practice” (p. 57). Studies also show that certain concepts
may not be taught because teachers feel the need, or feel pressure, to fulfill many
requirements (Koutsoupidou, 2005; Oreck, 2004). Koutsoupidou (2005) states that, “By
trying to implement lesson plans that conform to all requirements, and given that the
music lesson in the primary school takes place only once a week, there is possibly no
time left for improvisatory activities” (p. 375). Thus, time limits can be a constraint to
teaching certain methods, especially when other content is considered to be more
essential.
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Methodological Processes
Pilot Studies
Two principle quantitative studies referenced in this paper are studies by
Koutsoupidou (2005) and Ogott et al. (2011) who demonstrate both similarities and
differences in their referenced pilot studies. For example, with regards to the sample size,
both pilot studies develop and implement a questionnaire that is initially piloted and then
re-piloted using less than thirteen teachers. In the pilot study by Ogott et al. (2011) on
language materials, the re-test uses the same number of teachers, but in Koutsoupidou’s
(2005) pilot study there is an increase of seven participants in the re-test. While Ogott et
al. (2011) states that the teachers involved “in the pilot study were not involved in the
final study” (p. 950), Koutsoupidou (2005) does not mention whether the pilot study
participants were used in the final study. So, while both studies create a survey and use a
pilot-re-pilot method, they differ in their participant enrollment for the re-test and, in
Koutsoupidou’s study, possibly re-engage the participants in the final study. It is not
known in either study if the samples are randomly selected, specifically selected, or if the
participants volunteered on their own.
An additional similarity relates to the test locations. Ogott et al. (2011) states that
the pilot study occurs in “6 ECDE [Early Childhood Development and Education]
centers” (p. 950) and Koutsoupidou’s (2005) study takes place “in primary schools in the
area of south-west London” (p. 367). While both studies are conducted with young
children in an educational setting, it is not clear how or why the locations were selected.
18
Methods in Final Studies
In analyzing the methodology used by Koutsoupidou (2005) and Ogott et al.
(2011) in their final studies, the method for a pilot study for the current research can be
established. For example, in terms of the instrument, both of the studies use a Likert
scale. Koutsoupidou’s (2005) scale ranges from 1 to 10, with 1 being, “not at all
important,” and 10 being, “very important” (p. 380). The scale by Ogott et al. (2011)
however, ranges from 1 to 5, with 5 representing “strongly agree” and 1 representing,
“strongly disagree” (p. 950). Besides using different ranges, distinct terms are used to
reference each study’s scale. However, it should be noted that Koutsoupidou’s final
section in the questionnaire does use similar terminology to that of Ogott et al. (2011) to
indicate the participant’s level of agreement or disagreement with particular statements.
For instance, 1 represents “strongly disagree” 5 represents “no opinion” and 10 represents
“strongly agree” (Koutsoupidou, p. 381, 2005).
Regarding data collection procedures, the study by Ogott et al. (2011) presents the
data collection procedures while there is no mention of data collection procedures in
Koutsoupidou’s (2005) study. However, with regard to the data analysis, both studies use
statistical analysis to determine frequency, percentages, and mean scores.
While Koutsoupidou (2005) states specific quantitative tests used for data
analysis, such as “A series of two-tailed chi-square tests” and “Some one-way analysis of
variance (ANOVA) tests” (p. 368), Ogott et al. (2011) does not give any information as
to which quantitative tests are used. In terms of qualitative analysis, Ogott et al. mentions
that the, “Qualitative data was categorized and reported in emergent themes,” (p. 950)
prior to being presented statistically. Koutsoupidou (2005), on the other hand, has just
19
one open-ended qualitative question in the survey which asks respondents “how [they]
use improvisation in the classroom” (p. 381). However, there is no mention of themes
being developed based on responses to this question. This overall comparison
demonstrates the presence, or lack, of clearly stated methods and/or processes in these
two studies.
Conclusion
In summary, studies by Biasutti (2013) and Koutsoupidou (2005) examine beliefs,
experiences, and attitudes towards improvisation; one relates to dance teachers and the
other relates to music teachers. Koutsoupidou distributes a questionnaire to music
teachers in London while Biasutti interviews dance teachers in Italy. Other differences
between the two studies include the way in which the instrument is used; Koutsoupidou’s
is a questionnaire which is almost entirely quantitative, while Biasutti’s is an interview
which uses qualitative analysis exclusively. Overall, both studies conclude that both
music and dance teachers in Europe have a positive perspective towards improvisation.
There are other studies that discuss why arts curriculum, such as improvisation, is
used or not used. Teachers may value teaching arts curriculum because of issues relating
to their students, their pedagogy, and themselves (Oreck, 2004). When relating dance
improvisation to students, benefits include being able to freely express oneself among
different environments, people, and/or situations as well as to explore and create
movement (Biasutti, 2013) and be encouraged to participate in a lesson (Koutsoupidou,
2005). Literature shows that all types of students are able to engage in a creative process
(Biasutti, 2013; Carter, 2000; Gilbert, 2000; Lavender, 2006). Teachers may use
improvisation if it is part of a pedagogical method that they use or because it is included
20
21
in a National Curriculum (Koutsoupidou, 2005). Finally, teachers may use arts
curriculum to increase their enjoyment and self-satisfaction with teaching (Oreck, 2004).
However, some teachers may not teach specific practices, such as improvisation,
even though they value it (Koutsoupidou, 2005; Oreck, 2004), perhaps because they feel
that it lacks any benefit for their students (Koutsoupidou, 2005). Other reasons for not
using improvisation are 1) they may have acquired negative perceptions based on how
they were taught (Schwartz, 2000), 2) they teach in the same way in which they were
taught (Fortin & Siedentop, 1995), and/or 3) they perceive it as having the potential to
have a negative effects on both viewer and dancer (Biasutti, 2013; Carter, 2000). Still
other reasons for not using improvisation could include loss of classroom control
(Koutsoupidou, 2005; Sawyer, 2006), lack of experience with improvisation and/or
teaching in general (Koutsoupidou, 2005), a lack of time [actual or perceptual] to teach it
(Koutsoupidou, 2005; Oreck, 2004), or a lack of knowing of how to evaluate it (Carter,
2000. This lack of knowledge of improvisation may correlate with not having a teaching
qualification (Koutsoupidou, 2005) or lack of professional development (Ogott et al.,
2011; Oreck, 2004).
Finally, there are some similarities and differences between Koutsoupidou (2005),
and Ogott et al. (2011) studies regarding methodological processes. They both test and
re-test a survey that uses a Likert scale on educators that showed positive attitudes
towards teaching improvisation and language materials (Koutsoupidou, 2005; Ogott et
al., 2011). However, the Likert scales differ in their range and how they present their
methods organization and research processes regarding qualitative data. Both studies
seemed to leave out certain procedures in the presentation of their methodologies.
CHAPTER 3
METHODS
Research Design and Material
The purpose of this research was to develop a sound instrument which could
gather data about dance teachers’ attitudes towards, and uses of, dance improvisation. To
gather data for the current study a questionnaire was piloted (it was tested and then re-
tested). Questionnaires are ideally used for educational purposes (Ogott et al., 2011;
Thomas, Nelson, & Silverman, 2005) and can be used to verify practices and attitudes
(Koutsoupidou, 2005; Ogott et al., 2011; Thomas et al., 2005). Questionnaires can also
facilitate the quantitative evaluation of a large sample of participants (Koutsoupidou,
2005). The survey developed for the current study was distributed to and intended to
precede distribution to a larger (statewide or even nationwide) participant base.
To determine dance teachers’ personal information, their use of, and attitudes
towards, dance improvisation, a questionnaire was created. Since no questionnaire on
attitudes towards and use of dance improvisation in K-12 was found, Koutsoupidou’s
(2005) survey which analyzed “attitudes and practices towards musical improvisation”
(p. 375) was used as a basis for the current study’s survey. Specifically, the questionnaire
was adapted from “Musical Improvisation in Primary Schools Questionnaire” (p. 367)
and was further developed using input from the researcher’s literature review and the
graduate thesis committee. A small (local) sampling of participants (n= 20) was used to
determine the validity and efficacy of the questions.
22
Participants
K-12 dance teachers in Los Angeles were asked to participate in the study. After
hearing an announcement at a dance educator gathering, seventeen elementary dance
teachers gave their e-mails to participate in the study. In addition, eight secondary dance
teachers received an e-mail from the researcher asking for their participation in the study.
Of these eight teachers, the six teachers who agreed to participate in the study responded
to the researcher via e-mail.
The pilot’s aim was to sample a minimum of seven dance teachers from the
elementary level and a minimum of five dance teachers from the secondary level. This is
similar to Koutsoupidou (2005) and Ogott et al. (2011) studies, which included twelve or
fewer participants in their pilot testing. As in Koutsoupidou’s (2005) study, gender, age,
and nationality were not critical in participant selection since the focus was to acquire a
sample population.
Consenting participants were informed about the study’s investigatory purpose,
and were notified that their personal data would not be used and that their identities
would be replaced with a numeric code. The participants also received information
regarding who would see their data, how the data would be stored, and when it would be
discarded. They were further advised that they could withdraw from the study at any
time. The participants remained anonymous (via assigned code) for their protection and
privacy, and only their coded data and questionnaire responses were used for the present
study.
23
The Data Collection Instrument
The “Dance Improvisation in Dance Education Questionnaire” was constructed to
gather data from the dance teachers concerning their attitudes towards, and uses of, dance
improvisation in their instruction. As in Koutsoupidou’s (2005), study, the present
questionnaire was divided into two sections: (A) personal information and, (B) beliefs
and attitudes towards using improvisation in dance instruction. Several questions were
adapted from Koutsoupidou’s study. The researcher’s assumptions and additional
questions (mentioned in the introduction) were also used to shape the survey.
Personal Information
The first section of the survey addressed the dance teachers’ age, gender,
education, professional dance background, teaching credentials, and number of years
teaching dance. There were also questions pertaining to the dance teachers’ job, training,
and experiences with dance improvisation, instructional practice, and professional
development.
Beliefs and Attitudes Towards Using Dance Improvisation in Instruction
In the second section, participants were asked how important he/she considered
statements to be that pertained to the following: use of improvisation in their instruction,
reasons he/she did or did not use dance improvisation in instruction, and their familiarity
with, and application of, the California State Standards in Dance. Final questions
addressed the level of agreement the participant felt towards particular statements which
were modified from Koutsoupidou’s (2005) study, and encompassed information from
the literature review.
24
Likert Scale
A Likert scale was utilized to investigate attitudes and beliefs as in prior studies
(Koutsoupidou, 2005; Ogott et al., 2011). According to Grim (1936), the Likert scale is
known to provide sound evidence by measuring “the expression of opinions” (p. 104), or
rather attitudes, on a scale of beliefs. The scale is traditionally ranged 1 to 5 (Grim, 1936;
Lavrakas, 2008; Ogott et al., 2011) with the high score determining a favorable attitude
(Ogott et al., 2011). However, some prefer an even number of choices over an odd
number to force the participant to express a positive or negative attitude (Lavrakas,
2008). Thus, the following scale was used for this study: 1) strongly agree, 2) agree, 3)
somewhat agree, 4) somewhat disagree, 5) disagree, and 6) strongly disagree.
Pilot Study
The questionnaire was examined by members of the graduate thesis committee
prior to and during the colloquium. The aim was to distribute and administer the survey,
wait a period of time, and then re-administer the same survey to confirm the validity and
reliability of the instrument, following the example of prior studies (Koutsoupidou, 2005;
Ogott et al., 2011). Since Chisholm, De Dombal, and Giles (1985) and Ogott et al. (2011)
administered questionnaires being tested and then re-tested after a two week interval, it
seemed reasonable to do the same. According to Ogott et al. (2011), re-testing will
“guard against the response set, distortion of data and subjectivity of responses” and it
assures that the statements are clearly understood by the teachers (p. 950). The same test,
retest scenario will be used in preparation for future studies that will incorporate larger
samples in a wider geographical area, i.e., statewide or nationwide.
25
Data Collection Procedure
The protocol submission process for this research was first completed and
approved by the California State University Northridge (CSUN) Human Subjects
Committee. Next, an oral presentation about the study was given by the researcher at her
colloquium to the graduate research committee.
An e-mail was later sent out to dance teachers reminding them to participate in the
study and to further inform them of the data collection process. The researcher later met
with many of the elementary dance teachers in person to have them sign the Human
Subject’s Adult Consent Form prior to being engaged in the research. The six secondary
participants were e-mailed the release form. The researcher met with secondary teachers
in person to collect the release. All release forms were received prior to sending the
questionnaire.
At the beginning of the following week, the researcher sent out the “Dance
Improvisation in Dance Education Questionnaire” through Survey Monkey, a data
collection website which was suggested by the researcher’s committee during the
colloquium. The participants were given an entire week to complete the questionnaire.
A few days into the first test completion week, the researcher was informed that
the Survey Monkey e-mail, with the questionnaire’s web link, may not have gone to
teachers’ e-mail inbox, but rather to their spam folders. In addition, one teacher made an
error which seems to have blocked participation in the survey. Due to these unexpected
issues, the researcher had to send out additional e-mails throughout the first test
completion week to resolve these matters. Additionally, reminder e-mails were sent out
three days prior to the last day, and on the last day, of the survey completion week, to1)
26
prompt non-respondents to fill out the questionnaire and 2) remind all participants of the
coming re-test.
The second test questionnaire was sent out exactly two weeks after the first. An e-
mail was sent three days prior to sending out the questionnaire to remind participants.
During the second test completion week, a few dance teachers informed the researcher
that they were not able to finish the questionnaire due to loss of internet connection or
Survey Monkey not allowing them to finish the survey. As in the first test completion
week, the researcher tried to resolve these issues and sent a reminder e-mail three days
prior to the last day, and on the last day, of the second test completion week.
After the completion week was over for the second questionnaire, an additional
week was given to all the participants since one of the questions was not included in the
second questionnaire. Participants were also given the option to give feedback on their
experience taking the surveys and to help the researcher improve the questionnaire.
Data Analysis Procedures
After both survey test weeks were over and data had been fully collected, the data
had to undergo several actions in order to comply with the SPSS data analysis computer
software. The reason for this was that the data, which was downloaded from Survey
Monkey, was not formatted for use with SPSS (but rather for Microsoft® Excel™). After
the issue was understood by the committee chair, the un-coded data could be coded for
analysis. The analyzed data provided descriptive statistics revealing the frequencies,
means, and percentages of each variable for both the first and second surveys.
Data that was qualitative in nature was also represented quantitatively in a table
presenting the data in frequencies, percentages, valid percentages, and cumulative
27
28
percentages. The qualitative data was further coded according to Wendy E.A. Ruona’s
(2005) method in “Research in Organizations: Foundations and Methods in Inquiry” (p.
233). The method required that the data go through a three stage process, described
below, to sort information and collect emerging themes.
The first stage of Ruona’s (2005) process involved preparing tables with at least
six columns (using Microsoft® Word™) to organize the data. These columns included the
following: the code, participant identification number, the number of the question, a
statement that stood out (Line), the data itself, and personal notes that gave hunches,
insights, merges, or links (p. 235). The second stage entailed entering the data into the
columns to familiarize oneself with the data and identify, “meanings,” and, “themes” (p.
236) to make memos. Finally, the third stage focused on discovering trends in the data,
sorting into categories/themes, and labeling each category with a code number (Ruona,
2005, p. 255). Although Ruona’s method suggests using coded numbers, the researcher
used terms instead for more clarity, as did Biasutti (2013).
The final procedure for data analysis consisted of alternating between the
categorized qualitative data and the quantitative data. This method was used to combine,
compare and contrast, and evaluate responses from the two types of data.
The proportion method was used as well to solve percentage issues relating to
some of the data. For instance, the researcher combined both tests and used the
proportion method to solve issues relating to the beliefs and attitude statements.
CHAPTER 4
RESULTS
Originally, there were twenty- three dance teachers who showed interest in
participating in the study and who gave their consent by signing a release form. Out of
those twenty-three dance teachers, twenty took the first questionnaire, and nineteen of the
original twenty, took the second questionnaire.
Of the twenty dance teachers who participated, fourteen were elementary teachers
and six were secondary teachers. Of these six, more specifically, one teacher was a
middle school dance teacher and five were high school dance teachers. The dance
teachers’ gender consisted of three males and seventeen females, with ages ranging from
twenty-two to sixty-nine years old.
As mentioned previously, there were some complications with the Survey
Monkey web site which affected some dance teachers’ completion of some survey
questions (Appendix A). Even so, some dance teachers reported at the end of the second
survey their thoughts and experiences. Specific categories and subcategories are reported
in Table 1.
Regarding the Instrument
Validity of Instrument
Some of the questions did not gather specific enough information. Examples of
this would be age, length of years teaching dance as a teacher, or how often
improvisation was used in lessons. Additionally, the question which asked if the
participant felt comfortable using improvisation in their dance technique was
misunderstood by at least two dance teachers. Two such responses were, ‘‘I feel more
29
comfortable using the word: guided improvisation”, and, “is the question supposed to
read "dance teaching"?” These comments underline the fact that the reader either wants
the inquiry to be read differently and/or is unclear about what is being asked.
Table 1.
Categories and subcategories of the theme “survey reflection”.
Theme Categories Subcategories
Survey reflection Easy mostly easy to complete
Important this area of investigation is an important one
Enjoyed I enjoyed being a part of this survey
I enjoyed it. That's all I've got.
Survey covers many aspects
presents many interesting facets of teaching improvisation as to
when and why and how to use as well as how much to use it in any
given situation.
Curious about
improvisation
makes me more curious about improvisation
How to improve
survey
I feel the question if "I use Improvisation in my teaching" could be
more differentiated by Grade levels and students' prior knowledge.
I think it is important to take into consideration the grade level
and experience as well as willingness of the students to improvise.
There was a check box left out for other types of masters degrees- as
dance educators often have diverse backgrounds
Some questions were challenging to analyze since they combined two possible
ideas into one, such as, “training” and “experience”, or, “the process of improvisation”
and “the performance of improvisation”. It was also evident that a couple of open-ended
questions unintentionally prompted answers for most individuals. A few questions that
30
either allowed for open-ended responses with the multiple-choice, or allowed the
respondent to choose, “not sure,” became difficult to analyze. One question was modified
for the second survey since it did not include the term “improvisation,” after the word
“dance.” Lastly, there were eleven yes-no questions to which almost all of the
participants responded the same; responses lacked differentiation. The complete list of
these questions, with their main responses, is reported in Table 2.
Table 2.
Questions that resulted with primarily the same response.
Question Frequent Response
Are you fully credentialed to teach dance K-12 in your state? Yes
Are you a full-time dance educator? Yes
Have you ever seen quality examples of someone teaching dance education? Yes
Do you feel very familiar with dance improvisation? Yes
Based on the style(s) of dance which you teach, is improvisation in your dance
vocabulary?
Yes
Do you use dance improvisation in your lessons? Yes
Do feel comfortable using improvisation in your dance technique? Yes
Has anyone ever told you anything negative about dance improvisation? No
If given the opportunity, would you participate in professional development in dance
improvisation?
Yes
Are you afraid to teach improvisation as a technique not knowing the end result? No
Are you afraid to teach improvisation as a technique not knowing the time it takes? No
Reliability of the Instrument
The consistency of the survey answers, that is, the reliability of the questions, was
high. The question with the most varied responses related to the information on the dance
31
teachers’ educational background. In fact, thirteen out of nineteen dance teachers (68%)
modified their responses from first test to second test on this question. In this please-
mark-all-that-apply question, most forgot to include a category in the second survey that
had been included in the first. For example, on the first survey they marked that they had
a dance credential while on the second survey the selection was left blank. Otherwise, the
participant added a category on the second survey which was not there on the first, or the
participants completely changed or partially changed their response on the second survey.
Other Observations
Some dance teachers did not respond to some of the questions or statements on
the first survey, the second survey, or both. In addition, more participants skipped some
questions over others, and although three participants did not complete the second survey,
more questions were not answered on the first survey. The complete list, of questions
which were skipped, is reported in Table 3.
Some of the inquiries were found to have no bearing on the research. Such
inquiries related to gender, whether one was a professional dancer prior to being an
educator, or whether they were fully credentialed to teach dance K-12 in their state. Other
irrelevant inquiries related to being a full-time dance educator, the number of classes
taught per day or week, the number of students in a class, and lastly, whether the term
improvisation was used in their vocabulary. Some questions, as it turns out, could have
been used to confirm whether the dance teacher was a full-time educator, or if they taught
dance improvisation.
32
Table 3.
Participants who avoided questions.
Participant # Q # of Survey 1 ID # Q # of Survey 2
8, 11, 18 CM /32 6, 7, 8, 17, 18 CM /32
8, 9, 16 BD /20 9, 17 BD /20
21, 23 CI/28 23 CI /28
10 CT/39 10 CT /39
10 CW/32 10 CW/ 32
10 CX/ 33 10 CX /33
10 CY/ 34 16 (participant stopped
taking the survey here)
CY /34
23 (participant stopped
taking the survey here)
CK/ 30
17 (participant stopped
taking the survey here)
CQ /36
6 CG/26
10 CU/ 30
10 CV/ 31
10 DG/ 52
4 DE/50
4 DK/56
9 CJ /29
12 AV/13
14 U /7
23 CH/ 27
33
The Amount of Improvisation Used Among Dance Teachers
All but one dance teacher (95%) claimed, in the quantitative responses, to use
dance improvisation in their lessons. However, the qualitative data gave more specific
information relating to the frequency of use of improvisation in lessons being taught. Out
of those who claimed to use improvisation in the quantitative questions, three of the
dance teachers, through qualitative responses, confirmed using it regularly in their
lessons, six used it sometimes, and two have not been using it. The complete list, of those
who use improvisation based on frequency, is reported in Table 4.
Table 4.
Statements that confirm uses and frequency of improvisation in instruction.
Uses/Frequency Background ID # Age Response
Uses Classroom
teacher
1 50-59 I use Improvisation as a tool for my students
4 30-39 I use it because students need the opportunity
5 30-39 I use improvisation in teaching
8 50-59 Students I teach are always eager to improvise, they
participate fully
10 60-69 I use improvisation as an instructional tool
12 30-39 enhances the creativity of dance lessons
23 40-49 Improv is a great tool for allowing the students to freely
explore space, time, energy/force.
Regularly 7 50-59 I use improvisation for students to explore their
creativity in the middle of my lesson.
Classroom
teacher
14 30-39 My students improvise all the time
I use it as often as I can in my instruction
17 50-59 Improvisation is fully integrated into every lesson
34
Table 4. continued
Statements that confirm uses and frequency of improvisation in instruction.
Uses/Frequency Background ID # Age Response
Sometimes Classroom
teacher
6 40-49 Sometimes if we are choreographing I allow for
structured improvisation opportunities.
Classroom
teacher
13 40-49 I try to use improvisation often, but many time
constraints, student extreme misbehavior limit my
ability to do it regularly.
Classroom
teacher
16 40-49 I use it as a tool to get students to take risks, but
sparingly
Classroom
teacher
18 30-39 this year I am mostly teaching beginning so we have
only introduced it at the end of the year.
19 50-59 I don't use it that often
I choose to use dance improvisation sparingly because
my students don't always respond well to improvisation
20 20-29 I use it as needed and when it seems appropriate.
Do not use 21 30-39 I have not used it.
I don't really use it as I would like to.
Classroom
teacher
22 40-49 I don't have time to include it (case in point, I did not
get to improv this year).
Uncertain Classroom
teacher
9 60-69 Survey 1- Need more training and lesson examples for
K-6
Survey 2- to encourage students' creativity and freedom
to express while moving
11 60-69 I use improvisation to get ideas to choreograph
it unlocks the key to creativity
35
The Amount of Improvisation Used Within a Dance Lesson
When comparing age to the percentage of improvisation used within a lesson, it
appears that participants in their 30’s claimed to use most of their lesson time to teach
dance improvisation. Between ages 40-69 there is a progressive increase between 0-30%
of improvisation used in a lesson, and one respondent even claimed a possible 50% on
the first survey. The complete list, of the amount of improvisation used within a lesson, is
reported in Table 5.
Table 5.
The amount of improvisation used within a lesson.
ID # Age Survey 1
% used
Survey 2
% used
Want training
ID # Age Survey 1
% used
Survey 2
% used
Want
training
19 50-59 0-10% 0-10% Yes 18 30-39 21-30% 21-30% Yes
22 40-49 0-10% 0-10% No 1 50-59 21-30% 21-30% Yes
13 40-49 11-20% 0-10% Yes 7 50-59 21-30% 21-30% Yes
23 40-49 11-20% 0-10% Yes 10 60-69 21-30% 21-30% No
16 40-49 0-10% 11-20% No 9 60-69 21-30% 31-40% Yes
11 60-69 41-50% 21-30% No
20 22-29 21-30% 11-20% Yes
8 50-59 11-20% 21-30% No 12 30-39 51-60% 31-40% No
17 50-59 11-20% 31-40% No 14 30-39 41-50% 41-50% Yes
4 30-39 51-60% 61-70% No
5 30-39 71-80% 71-80% Yes
Amount of Improvisational Styles Used
Although the dance teachers may have experienced different kinds of dance
improvisation, they may not be incorporating certain kinds of improvisation in their
36
teaching. The complete list of the kinds of improvisation experienced is reported in
Tables 6, and the complete list of the kinds of improvisation used is reported in Table 7.
Table 6.
The kinds of improvisation experienced.
Kinds of dance
improvisation
experienced
Responses out of
total # of teachers-
Survey 1
# of teachers who
answered to
Survey 2
+
Proportion Method
Percentage
Improvisational/
Exploratory
19/20 18/19 37/39 95%
Structured 18/20 17/19 35/39 90%
Group dance 17/20 16/19 33/39 85%
Free form 18/20 15/19 33/39 85%
Contact 14/20 12/19 26/39 67%
Table 7.
The kinds of improvisation used.
Kinds of dance
improvisation
used
# of teachers who
answered to
Survey 1
# of teachers who
answered to
Survey 2
+
Proportion Method
Percentage
Improvisational/
Exploratory
18/20 18/19 36/39 92%
Structured 18/20 17 /19 35/39 90%
Group dance 13/20 15/19 28/39 72%
Free form 12/20 8/19 20/39 51%
Contact 4/20 7/19 11/39 28%
37
Personal Factors
Teaching experience could appear to play a role in using dance improvisation.
The dance teachers expressed agreement that they “use improvisation because of [their]
own training and/or experience in improvisation” ( = 4.81). Since there are two
independent issues being addressed in the prior statement (training and experience), these
results may not be reliable. One teacher remarked, “I don't use it that often because I
don't feel I have the experience.” This statement clearly points out that improvisation is
not used due to feelings of inexperience. However, it cannot be determined if this dance
teacher is relating to teaching experience or personal experience with dance
improvisation.
Educational background could also play a role in using or, not using, dance
improvisation. The majority of dance teachers who use improvisation were trained in
improvisation in secondary school. In addition, the majority of them, and those who use it
regularly, were also trained in professional workshops/training. The complete list of those
who received training in improvisation in their education is reported in Table 8.
External Factor
The external factor of whether one teaches in primary or secondary education also
appeared to influence the use of improvisation in instruction. The fourteen participants
with identification numbers (#ID) 1 through 17 all happen to be elementary dance
teachers. Those with identification numbers 18 through 23 are all secondary dance
teachers. Out of the six secondary dance teachers, three (50%) use improvisation
minimally and two (33.33%) have not used it at all. Thus, the majority of secondary
dance teachers use improvisation either sometimes or not at all, and one secondary
38
39
teacher claims to use it. The majority of elementary dance teachers claim to use
improvisation (n= 6), with some using improvisation perhaps regularly (n= 3), or
sometimes (n=3), and two are unknown.
Table 8.
Those who received training in improvisation in education.
Uses/Frequency ID # Educational background
Uses 1 Undergraduate
school
4 Post-
graduate
school
Professional
workshops/training
5 Secondary
School
Undergraduate
school
Professional
workshops/training
8 Secondary
School
Undergraduate
school
Professional
workshops/training
10 Secondary
School
Undergraduate
school
Professional
workshops/training
12 Secondary
School
Undergraduate
school
Professional
workshops/training
23 Undergraduate
school
Regularly 7 No training
14 Secondary
School
Post-
graduate
school
Professional
workshops/training
Table 8. continued
Those who received training on improvisation in education. Uses/Frequency ID # Educational background
Regularly 17 Undergraduate
school
Professional
workshops/training
Sometimes 6 Undergraduate
school
Graduate
school
Professional
workshops/training
13 Professional
workshops/training
16 Undergraduate
school
18 Undergraduate
school
Graduate
school
19 No training
20 Secondary
School
Undergraduate
school
Do not use 22 Undergraduate
school
Professional
workshops/training
Unsure 9 No training
11 Graduate
school
Reasons Dance Teachers Use Improvisation
Value its Importance
Several respondents described dance improvisation as being an important
concept: “Dance improvisation is an important factor in dance”; “I find it is meaningful
for my students”; “Also important - is to see it's value in dance”; “I believe improv is an
40
important part of a dancers life”. These statements show that improvisation is believed to
be an important concept. The dance teachers also happened to disagree that, “dance
improvisation [does not have] any benefits for [their] teaching” ( = 1.28).
For Their Students’ Benefit
The dance teachers agreed that “improvisation is a valuable teaching tool for
students of all ages” ( = 5.04) and that it “increases student creativity” ( =4.865). They
also somewhat agreed that “dance improvisation promotes student participation in the
lesson” ( = 4.295) and “promotes the development of technical skills” ( = 4.19). Some
responses also described students’ perception of dance improvisation: “Students
comment that they like making up their own dances”; “they participate fully and look
forward to it”; “students feel inspired by the movement discoveries through
improvisation”. These comments reveal that it is believed that students enjoy, and want to
improvise, and are encouraged by their own discoveries. Other benefits from
improvisation were also described by the dance teachers. Specific categories and
subcategories are reported in Table 9.
Table 9.
Categories and subcategories of the theme “benefits”.
Theme Categories Subcategories
Benefits Cognitive
Skills
learn from each other by sharing ideas
get inspiration by seeing others improvise
helps the students be the thinkers and do some of their own learning
problem solving skills
enhance my students' problem skills
given choices in movement rather than me just teaching only steps
utilize skills that have been learned
41
42
Table 9. continued
Categories and subcategories of the theme “benefits”.
Theme Categories Subcategories
Benefits Cognitive
Skills
increases their ability to think on their feet, so to speak.
helps students to recall prior knowledge
understand dance not just as a dancer but as a choreographer as well and
the challenges that come with both sides.
Creativity for exploring creativity
develops creativity
increases student creativity
opportunities to use their creativity
explore their creativity
the only way students can access the creativity that is inside themselves
encourage students' creativity
gain creativity
force students into creativity
Exploration enhance the students' ability for movement.
allows students to organically use their bodies in new ways
I want my students to explore within a structure
explore and directly experience various elements of dance.
helps to encourage more movement
allowing the students to freely explore space, time, energy/force
Expressivity express themselves
freedom to express while moving.
express themselves in a unique way.
have a sense of freedom
Table 9. continued
Categories and subcategories of the theme “benefits”.
Theme Categories Subcategories
Benefits Expressivity gives them a voice in their movement choices
Risk Taking students need the opportunity to take risks and not simply be spoon-fed
to make them take risks in their movements
students learn how to begin to take risks.
Confidence gain confidence
helps reduce the fear of being on stage
helps them to feel more confident in what they are doing
It allows for more successes for the not so coordinated
Technique increases student creativity and dance technique
Creative
process
a brilliant and exciting way for students to learn about the creative
process- both individually and in small group work.
to see what sequences and form they can come up with
Dance Career They will experience improv throughout their entire career and in
auditions
For Pedagogy
The dance teachers agreed that “improvisation aligns with [their] teaching
philosophy and pedagogy” ( = 5.11) and also agreed that they “use improvisation
because of [their] own training and/or experience in improvisation” ( = 4.81). However,
as stated previously, training and experience are two separate issues. Nonetheless, twenty
dance teachers quantitatively expressed how their training included dance improvisation
and described qualitatively how they use it. The complete list of training as compared to
use is reported in Table 10.
43
Table 10.
Comparison of training on, and use of, improvisation.
Training Quantitative Qualitative Use
Learning Process 14 14 Instructional Purposes
Choreographic Process 16 15 Choreographic reason
Performance art 10 4 For performance
It was also somewhat agreed that “dance improvisation promotes the development
of performance skills” ( = 4.58). Yet, only four individuals stated using improvisation
for performance on both surveys (the complete list of teachers, who use improvisation as
performance, is reported in Table 11).
Table 11.
Improvisation as performance.
ID # Training Response
1 Audience response varied. too unstructured for a performance experience.
7 When students perform, it gives the audience a chance to view creative choices.
14 Performance art I don't feel successful when they do their in class performance.
18 performing for the annual show.
choreographic improv for a performance.
For Themselves
The dance teachers somewhat agreed that improvisation is used “to increase
[their] enjoyment in teaching” ( = 4.505) and somewhat agreed that it is used “in
instruction to enhance [their] own creativity” ( = 4.56). Dance teachers also described
using improvisation for themselves, as in the following examples: “I use improvisation to
get ideas to choreograph”; “I am currently using it to build a choreographed group
44
45
dance”; “It is a great tool when students or I am stuck choreographically to get some
movement out”. These statements point out that improvisation is used to choreograph for
personal use. Other responses reflected the dance teachers’ interests in their students’
capabilities. Some examples are: “I want to see what students can naturally do”; “I
choose to use dance improvisation in my lessons because I can see what each student can
do movement wise”; “to see what students are capable of. Sometimes I am surprised by
what the students create on their own”. These remarks point out dance teachers’ interests
in knowing students’ potentials.
For the Audience
Last, improvisation is used to allow the audience to view choice making. When
being asked why improvisation was used, one participant stated that, “it gives the
audience a chance to view creative choices.”
How dance Teachers Use Dance Improvisation
How to deliver dance improvisation and what it entails was described by several
dance teachers. Specific categories and subcategories are reported in Table 12 and 13.
Table 12.
Categories and subcategories of the theme “how to deliver”.
Theme Categories Subcategories
How to
deliver
to start I give the students certain guidelines such as specific dance elements I want
included etc and then let them explore the movement within those guidelines
Provide guidelines and goals at the beginning
Give students a concept or idea, say "go"
give the students a problem to solve with criteria
Table 12. continued
Categories and subcategories of the theme “how to deliver”.
Theme Categories Subcategories
How to
deliver
to present I try not to force improv or make it a bigger deal then it needs to be.
to create a
comfortable
environment
I usually start everyone together on the floor with eyes closed and let them
get in their own world rather than going across the floor and being put on
display
I usually start them out in groups to help the people who are
uncomfortable with improv start to loosen up usually using structure or
material based improv
Its all in the approach. Anything can be made accessible if the teacher
creates a safe instructional environment to try hard or new ideas.
Table 13.
Categories and subcategories of the theme “What it entails”.
Theme Categories Subcategories
What it
entails
contain a
problem
give the students a problem to solve with criteria, then let the
students piece it together on the spot.
use imagery I ask a student to give me one concept they learned in another
class. After the student breifly explains the concept I throw on
some music and that is our structure for the improv. We've
improved The Great Gatsby, Electro Magnetic Wave Currents,
The 2nd Amendment amongst many other things
I use familiar themes such as movies, cartoons, video games
and scenarios to engage students to create their own movement
46
Dance improvisation was described using concepts that relate to different dance
elements. Specific categories and subcategories are reported in Table 14. Dance
improvisation was also described as relating to different activities. Specific categories
and subcategories are reported in Table 15.
Table 14.
Categories and subcategories of the theme “different elements”.
Theme Categories Subcategories
Different
elements
Elements Begin with specific elements of dance (space, time, form).
Generally, I begin with space/time/level exercises
Body
Students are asked for example to add individual arm gestures to a locomotor
movement
allow students to have "free" arms in a particular footwork phrase.
Space
(ex: use several different directional moves in this section) and letting the
students create.
A dance improvisation example would be: Part A: Move through the space
using curved pathways and directional changes and all three levels- high-
middle and low- Part B- when the music stops- create curved shapes with a
choice of level.
Time musical structure, tempo
explore movements at different tempi
Energy energy
The criteria could be to move smoothly or sharply using their own moves to
the music.
Relationship Depending on dance element it can be group or individual
I may take a dance element and allow for improvisation with a partner or in
small groups.
47
Table 14. continued
Categories and subcategories of the theme “different elements”.
Theme Categories Subcategories
Different
elements
Relationship Will teach them a combination and ask them to get into a group inprovise
after the combination ends.
From there, build on partner improvs. From there, group exercises,
including props & environmental
Then I generally move to group exercises. I then move to interacting
with a prop (chair, length of rope, ball, etc.). When possible, I like to
use environmental interactions as well (chain link fence, bleachers,
benches, etc.)
Table 15.
Categories and subcategories of the theme “different activities”.
Theme Categories Subcategories
Different
activities
Warm-up or
cool-down
We use improv to warm up, to cool down, to explore a concept, to play!
Integrated I also LOVE to use improvisation to connect concepts from other classes.
curriculum I ask a student to give me one concept they learned in another class. After
the student breifly explains the concept I throw on some music and that is
our structure for the improv. We've improved The Great Gatsby, Electro
Magnetic Wave Currents, The 2nd Amendment amongst many other things.
48
The manner in which dance improvisation is presented may differ for certain
groups of students. Here are two example quotes: “There are many strategies and
methodologies that can be utilized- depending on the grade and ages of the students”;
its different for each level (beginning, Int. and advanced) Beginning example:
Will teach them a combination and ask them to get into a group inprovise after the
combination ends. Intermediate example: same as above but ask them to
improvise on their own. Also use different forms of improve other than free
These remarks reveal that depending on the students’ grade, age, or experience, different
strategies, methods, and kinds of improvisation could be used.
Also expressed were thoughts on how to guide the students during the
improvisational process, and how to conclude the process, as follows: “Cue and prompt
as needed during”; “If you realize you are repeating a movement, mess with it, switch it
up, change it around”; “I act as the facilitator”. These comments point out that the
instructor acts as a guide to continually help the students solve movement problems they
may encounter. Other statements include: “let them know when to finish”; “lead
discussion after”. These comments indicate that the students need to know when to come
to an end with their experience, and to conclude by engaging in a follow-up discussion.
Reasons Dance Teachers May Not Use Improvisation
Student behaviors
One teacher stated that, “student extreme misbehavior limit my ability to do it
regularly”. This comment reveals that behavioral misconduct determines whether
improvisation is used. A dance teacher presented other reasons for not using
improvisation: “I choose to use dance improvisation sparingly because my students don't
49
always respond well to improvisation. They want me to give them the “moves." They feel
embarrassed to come up with their own movement on the spot.” This statement reveals
this teacher’s perspective regarding their students’ reaction to improvisation, their desire
to be given choreography, and the instructor’s assumption of what the students are
feeling. These factors may pressure the teacher to not use improvisation. Another dance
teacher expressed additional reasons for not using improvisation:
When I don't [use improvisation it] may be because the group of students Is
showing little effort, little interest, feels very self conscious, has limited English,
is not supported by their classroom teacher. Students with poor attitudes and no
interest in creative dance are usually the most difficult to use improvisation. I
may use it much less in my instruction.
This prior quote points out that students’ lack of interest, effort, or attitude,
illustrate behavioral challenges for the dance teacher, as well as their perception of how
their students feel. The statement also makes reference to the dance teacher not using
improvisation when their students lack knowledge of English. Lastly, the dance teacher is
not inclined to use improvisation due to lack of support from the classroom teacher.
Despite the remarks above regarding student behavior, the dance teachers
somewhat disagreed with survey statements, “dance improvisation can reduce classroom
discipline” ( = 2.585) and “students [seeming] reluctant to improvise during the dance
lesson” ( =3.145). However, several dance teachers suggested reasons why students
become reluctant to improvise. Specific categories and subcategories are reported in
Table 16. In addition, some dance teachers claimed to have heard negative remarks from
others about dance improvisation. Specific categories and are reported in Table 17.
50
Table 16.
Categories and subcategories of the theme “student reluctance”.
Theme Categories Subcategories
Student reluctance Vulnerable Students are reluctant to expose themselves
students can be reluctant to improvise because some are not use to
dancing in front of people
It makes them feel very vulnerable.
Needs
confidence
Typically, students with little dance training do not have the
movement vocabulary, self-esteem, or confidence to improvise.
dont feel like they have enough knowledge or confedience to
improv. leaving them reluctant to improv duting the lesson
Knowledge improvisation requires a certain level of dance knowledge
Shyness many of students are shy and don't participate openly
many students are just too shy to successfully engage in
improvisation
Want more
structure
the students are very reluctant to move without being given
specific choreography.
Some students feel reluctant and intimidated to dance freely, even
within a structured improvisation
Want to be
correct
Some students are looking for a model for right or wrong.
Especially (those) if they have very little experience with dance
and are self-conscience the idea of being right or wrong can keep
students from participating. They don't understand that improvise
has no wrong.
Behavior They seem reluctant because they have a hard time following
instructions or controlling their impulses to play around.
Age/experience depends on the age level and students prior experience with
movement
51
Table 17.
Categories and subcategories of the theme “negative remarks”.
Theme Categories Subcategories
Negative
remarks
Discomfort I mostly hear negative comments about improv from nervous/scared
students who feel uncomfortable and put on the spot with improve
Not comfortable with it, Not con0fedent, dont know enough technique,
It makes them feel uncomfortable
Not comfortable with it
Students both in my classes as well as in classes I have taken
have expressed discomfort while improving and an overwhelming since of
embarrasment some thought it was weird.
Lacks
structure
In reality, improvisation is difficult for some dancers that were used to be
given certain movements and counts rather than create their own.
It's too hard because there are no steps
it's too unstructured
I prefer set dance pieces that are more in unison
Difficult It's difficult to get middle schoolers to improvise
could not think of anything to do.
In general students do not respond to improvisation
Students
immature
Depending on the maturity of the students, many don't "get" it, and don't take
it seriously
Some liked it, some thought it was weird. A few really got into it, and many
didn't really get it or take it seriously, especially at first.
Self-
conscious
Froze because they were worried about what people would think
52
Specific Groups
Evidence shows that some dance teachers are only using improvisation for
specific groups of students. “In my group of select students we use it more for learning
and choreography”; “especially upper grades”; “I use improvisation in my inter./adv.
classes and this year I am mostly teaching beginning”; “especially in my composition
class to allow students to play with a compositional devices”. These comments point out
that some teachers use improvisation for teacher-selected groups, higher level grades,
those who obtain certain levels of dance experience, or those who are taking a
composition class.
Pedagogical Requirements: Other Demands
Secondary dance teachers reported how their practice of teaching has affected
their use of improvisation: “But with so many other demands on a teacher's schedule,
sometimes other priorities (technique, show rehearsal, fitnessgrams, etc.) take
precedence”; “I have not used it. There is so much that I want to teach technically that I
often forget to incorporate it”; “However, often, due to other performances, projects, or
technique training, I don't have time to include it (case in point, I did not get to improv
this year)”. These statements highlight that the need to accomplish other requirements are
taking priority over dance improvisation.
The Need for Technique
These prior comments also show that dance technique is more of a concern than
incorporating dance improvisation into instruction. Yet, quantitative output revealed that
the dance teachers somewhat disagree that “dance technique is a priority as compared to
53
dance improvisation” ( = 2.91). The dance teachers also disagreed with the statement
that “teaching dance improvisation is an untraditional way of teaching dance” ( =2.23).
Lack of Time
The dance teachers’ remarks above also reveal that there is a strong perception
of insufficient time to incorporate improvisation into lessons. In fact, other statements
also expressed not having time to include dance improvisation: “I try to use
improvisation often, but many time constraints, student extreme misbehavior limit my
ability to do it regularly”; “It is simply a matter of prioritizing the time that I have have
with all of the information I want to give them”. These two quotes describe that time is
either limited (due to student behavior in the case quoted above) or the lesson plan needs
to include the time for improvisation. Yet, contradictory to these perceptions, the
quantitative analysis showed that dance teachers somewhat disagreed that “the time
available for the lesson [was] too limited to incorporate dance improvisation” ( = 2.705).
Lack of Experience
The majority of dance teachers disagreed with the statement regarding not having
“enough personal experience with dance improvisation” ( =2.175). In fact, most of the
dance teachers who accomplished both surveys indicated that they had experienced at
least three out of five forms of improvisation (structured improvisation; free form;
contact improvisation; group; or improvisational/exploratory activities based on elements
of movement). A couple of quotes, however, showed otherwise: “don't use it that often
because I don't feel I have the experience”; “Because of my lack of experience with
dance improvisation”. These quotes reveal that improvisation may not be used due to the
individual sensing that they need more experience with improvisation. The dance
54
teachers also somewhat disagreed that they “have participated in improvisational
experiences, but struggle with teaching improvisation” ( =2.435). It cannot be
determined which of the two factors queried in this statement is the primary focus. That
is, are they disagreeing that have participated in improvisational experiences or that they
struggle to teach improvisation?
Lack of Training
When asked why improvisation is used or not used, lack of training was given as
one reason for not using it, as demonstrated in this quote: “Need more training and lesson
examples for K-6”. The teacher’s comment above clearly points out the need for training
and instructional support. In fact, several dance teachers (including participant 21, who
only took the first survey) felt that they needed training. The complete list, of those who
want training, can be seen in Table 5. Furthermore, eighteen out of twenty (90%) of the
dance teachers indicated that they would be willing to participate in professional
development in dance improvisation. Ten out of those nineteen (53%) already attended
professional workshops/training (as seen in Table 8).
Lack of Knowledge
The quantitative output revealed that 90% of the dance teachers felt familiar with
dance improvisation. The qualitative data, however, made it apparent that not all dance
teachers were familiar with all kinds of improvisation. For example, “Not too sure what
contact improv is,” and, “Free form, group, and structured, are probably the areas I would
want to know more about.” These statements, plainly disclose that the different types of
dance improvisation may not be known. When the dance teachers described what support
they needed to increase their knowledge, dance teachers mentioned receiving input from
55
other dance professionals, and other forms of professional growth and development. For
instance, the dance teachers’ statements indicated observing, learning from, or
collaborating with other experienced individuals who are willing to share. Such
professionals include other dance teachers, administrators, or those who, “work the
stage,” on how to use improvisation. Additional forms of professional growth and
development included experiencing lesson studies and attending a variety of workshops,
conferences, or training classes, with a series of sessions that have clear objectives.
Learning materials, such as books and websites, were also mentioned as a way to gain
knowledge about dance improvisation.
The dance teachers also recorded what they specifically needed assistance with.
For instance, watching model lessons, receiving improvisational experiences, learning
how to develop improvisational structures, and gaining ideas and concepts for
improvisation were emphasized. Other needs included learning how to incorporate
improvisation into lessons, discussing strategies and methods, tools to teach techniques,
and learning ways to increase student willingness. Practicing different forms of dance
improvisation with others and learning different types of improvisation such as group,
free, and contact were also mentioned along with learning the Barbara Mettler approach.
Additional Beliefs and Attitudes
Classroom teaching backgrounds
There were interesting findings when comparing the dance teachers who had
classroom teaching backgrounds to those with no classroom teaching backgrounds. The
two groups were within a 10% difference in perspective when responding to most of the
belief and attitude statements. However, there was a considerable difference of more than
56
10% for seven statements. For instance, averaging both surveys, 72% of the dance
teachers who were classroom teachers, showed a level of agreement that dance technique
is a priority compared to dance improvisation. Conversely, of those who had never been
classroom teachers, only 9% average across tests, viewed dance technique as a priority; a
difference of 63%. The complete list of differences in perspective is reported in Table 18.
Table 18.
Difference in perspective of those who were classroom teachers.
Background of
dance teacher
Statement 1st
survey
2nd
survey
Average Difference
Was a classroom
teacher
Dance technique is a priority as
compared to dance improvisation.
87.5%
agree
57.14%
agree
72.32%
agree
Never was a
classroom teacher
Dance technique is a priority as
compared to dance improvisation.
18.18%
agree
0%
agree
9.09%
agree
63%
Was a classroom
teacher
Students seem reluctant to improvise
during the dance lesson.
75%
agree
71.43%
agree
73.22%
agree
Never was a
classroom teacher
Students seem reluctant to improvise
during the dance lesson.
41.67%
agree
44.44%
agree
43.06%
agree
30%
Was a classroom
teacher
I have participated in improvisational
experiences, but struggle with
teaching improvisation.
25%
agree
57.14%
agree
41.07%
agree
Never was a
classroom teacher
I have participated in improvisational
experiences, but struggle with
teaching improvisation.
18.18%
agree
22.22%
agree
20.2%
agree
21%
57
Table 18. continued
Difference in perspective of those who were classroom teachers.
Background of
dance teacher
Statement 1st
survey
2nd
survey
Average Difference
Was a classroom
teacher
Dance improvisation can leave the
students feeling empty and unsatisfied
because they have not really "danced.
62.5%
disagree
57.14
disagree
59.82%
disagree
Never was a
classroom teacher
Dance improvisation can leave the
students feeling empty and unsatisfied
because they have not really "danced.
75%
disagree
77.78%
disagree
76.39%
disagree
17%
Was a classroom
teacher
Dance improvisation promotes the
development of technical skills.
75%
agree
85.71%
agree
80.36%
agree
Never was a
classroom teacher
Dance improvisation promotes the
development of technical skills.
100%
agree
88.89%
agree
94.45%
agree
14%
Was a classroom
teacher
Teaching dance improvisation is an
untraditional way of teaching dance.
87.5%
disagree
54.14%
disagree
72.32%
disagree
Never was a
classroom teacher
Teaching dance improvisation is an
untraditional way of teaching dance.
72.73%
disagree
100%
disagree
86.37%
disagree
14%
Was a classroom
teacher
I have not had enough personal
experience with dance improvisation
myself.
75%
disagree
62.5%
disagree
68.75%
disagree
Never was a
classroom teacher
I have not had enough personal
experience with dance improvisation
myself.
72.73%
disagree
87.5%
disagree
80.12%
disagree
11%
58
Relating to Biasutti’s (2013) Research
Questions were also used to confirm Biasutti’s (2013) research by asking the
dance teachers to define dance improvisation and to respond to quantitative questions on
advantages and disadvantages as proposed by Biasutti’s research. The dance teachers
gave several descriptions and examples to clearly define improvisation.
Dance improvisation was described largely as being unplanned, creative
movement that expressed original ideas, based on a given structure to guide the dancer to
create dance. For example: “It happens as an instantaneous result of some type of stimuli,
(internal or external), such as a sound, a visual image, n idea, or a feeling”; “You can use
music or rhythm instruments or spoken word or it can be done in silence. You could also
use an idea or a feeling to inspire the improvisation”; “follow the feelings of the
moment”. These comments reveal that internal or external stimuli are used to structure
improvisation, including using an emotion.
A few dance teachers also indicated some advantages of dance improvisation
when describing it. Specific categories and subcategories are reported in Table 19. In
addition, a few of the belief and attitude statements were used to support Biasutti’s
(2013) research. The dance teachers somewhat agreed with the belief that “dance
improvisation gives the performer the ability to openly share and react without feeling
pressured or judged” ( = 4.365).
The survey originally included a statement about dance improvisation “leaving
the students feeling empty” along with, “not being able to cancel previous actions or
movements”. However, this statement was modified to say that “dance improvisation can
59
leave the students feeling empty and unsatisfied because they have not really "danced."”
The dance teachers somewhat disagreed with this statement ( =2.545).
Table 19.
Categories and subcategories of the theme “advantages”.
Theme Categories Subcategories
Advantages Exploration and discovery It allows the dancers to explore individualized movements
exploring
movement discovery
Relates to any grade level,
age, and experience
geared toward any grade level and level of experience.
for all ages!!
Used for different
groupings
done in different groupings, i.e. solo, duet, trio, big group
You could also do contact improvisation or with certain
groupings of dancers.
Can be facilitated can be prompted by a teacher
It canbe verbally led by a facilitator or not.
Choreographic process it can be part of the choreographic process leading to set
movements
it is part of the creative process
Incorporates elements important to include dance elements such as space, time
and energy/force.
Choice making make one's own movement choices
Non-judgmental and ideally non-judgmental movement.
Another statement which was modified mentioned that “both the process of
improvisation and the performance of improvisation can become boring and repetitive.”
60
The dance teachers disagreed with this statement ( = 2.23) and somewhat disagreed that
“Improvised movement can become boring and repetitive” ( =2.525). In one response to
a qualitative question it was additionally reported, “Although it CAN get boring and
repetitive I try to constantly challenge myself and my students to not let it get boring. If
you realize you are repeating a movement, mess with it, switch it up, change it around.”
This response points out ways to overcome repetitive movement so that dance
improvisation does not become mundane.
Relating to Koutsoupidou’s (2005) Research
Statements were also used to investigate the attitudes towards state and national
standards in instruction. Overall, the dance teachers agreed that “dance improvisation is a
part of both the state and the national standards for dance” ( =4.605) and that they are
“familiar with the California state standards in dance” ( = 4.63). They only somewhat
agreed that it is “important to use improvisation because [it is] in the standards”
( = 4.445) and, again, they only somewhat agreed that they “use the California state
standards when designing [their] lessons” ( = 4.115). Overall, the means show that the
dance teachers’ attitudes towards standards relating to improvisation and instruction are
relatively positive (Appendix B).
.
61
CHAPTER 5
DISCUSSION
The questionnaire successfully provided information on the use of, and attitudes
and beliefs towards, dance improvisation in the field of dance education in Los Angeles,
California. In addition, the survey’s responses exposed areas for improvement in the
instrument.
Aim
The pilot study’s instrument was developed to have the capability of discovering
the attitudes and beliefs towards dance improvisation while additionally investigating
how improvisation is used. The questionnaire was designed and dispensed to form a
“perspective on several aspects involved in improvisation in dance education” (Biasutti,
2013, p.19, and to align with similar research on attitudes and uses (Koutsoupidou, 2005).
To achieve this, a combination of quantitative (Likert scale) questions and qualitative
(open-ended response) questions were used in the analysis. The participants expressed
positive feedback regarding the survey and interest in how dance improvisation is used,
but the questionnaire will require some revision for future testing.
Some questions in the instrument will need to be re-worked for improved
specificity and clarity. Other questions unintentionally addressed more than one issue and
will also need to be reworded to elicit more relevant and valid responses. More
particularly, questions may have to explicitly address frequency (e.g., how often…), or be
reworded to avoid prompting the respondent. The questions which resulted in highly
consistent responses (all “yes” or all “no”) could imply that the questions lack
discrimination and need to be closely examined (Thomas et al., 2005 ). Conversely, an
62
inquiry’s lack of consistency could be due to the respondent trying to quickly complete
the questionnaire and not notice what is being asked, or it could indicate a problem with
the question itself.
Much research shows that the “yes/no” format results in a higher number of
responses as compared to the “mark all that apply” format. In fact a recent study strongly
advises against using the “mark all that apply” format (Nicolaas, Campanelli, Hope,
Jäckle, & Lynn, 2011). In this format, items may be misunderstood or left unnoticed, or
may not apply to the respondent, and could take more time to comprehend and respond to
(Nicolaas et al., 2011). Shorter questions are easier to understand (Thomas et al., 2005).
Some responses were not provided, were overly provided (responses to qualitative
questions giving too much irrelevant information), or were not useful for the goals of the
research. For these, the questions need to be assessed as to whether it is appropriately
phrased or even necessary. An inquiry that uses negative wording can cause the
respondent to feel sensitive and avoid the question entirely, or intentionally reply in the
opposite way (Thomas et al., 2005). Therefore, avoiding questions could suggest that the
participant is more sensitive towards certain inquiries.
It could also be that the participant feels that the survey is too long or questions
are too difficult. Participants commit more to shorter surveys rather than longer ones and
tend to complete surveys with simple questions, especially in the beginning (Thomas et
al., 2005).
Open-ended questions may also be problematic. These may require extra thinking
by the participant and may cause some to stray from what was being asked. These
63
questions may also require additional time, and the respondent may feel that their time is
being encroached upon (Thomas et al., 2005).
Key Findings
By analyzing the participants’ information via their identification numbers, there
appears to be an interesting trend: most elementary dance teachers use improvisation, and
perhaps regularly, compared to secondary teachers who use improvisation sometimes or
not at all. It appears that more than half of the secondary dance teachers use
improvisation between 0-10% of their lesson time as compared to the elementary teachers
who tend to use more than 10% of their time in improvisation. Therefore, this could
suggest, as hypothesized, that elementary dance teachers are more likely to use
improvisation than secondary dance teachers. However, it is unclear how often the
elementary dance teachers who use improvisation, use it for instruction.
In the quantitative research, the dance teachers showed a somewhat negative
attitude towards the statement that the time available for the lesson was too limited to
incorporate dance improvisation. However, two of the secondary dance teachers who do
not use improvisation did remark (in qualitative responses) that there is not enough time
to incorporate improvisation into instruction due to other demands. This agrees with
Koutsoupidou’s (2005) research and confirms the hypothesis that dance teachers are less
likely to use dance improvisation if they believe there is not enough time to use it in their
lessons.
The dance teachers also demonstrated a somewhat negative attitude towards the
statement that dance technique is a priority as compared to dance improvisation.
However, the qualitative remarks verified what was mentioned in the literature review
64
that the need to fulfill other obligations (Koutsoupidou, 2005; Oreck, 2004), could take
precedence over improvisation.
When responding to the question about why improvisation is or is not used, one
individual responded that training was needed. It can be inferred that improvisation was
not being used by this participant. Therefore, the hypothesis was also proven true that
dance teachers are less likely to use dance improvisation if they do not feel that they have
enough training in improvisation. In fact, of the six secondary teachers all but one wants
training. This could indicate a need for training for some secondary dance teachers in Los
Angeles.
Secondary dance teachers may also not be using dance improvisation since the
majority of them were not trained in improvisation in their own secondary education.
Moreover, it was interesting to notice that most dance teachers who were taught
improvisation during their secondary education are using dance improvisation. This
could suggest that a dance educator is more likely to use improvisation if they have
received training in improvisation in secondary education.
It could also be assumed that dance teachers who were trained in improvisation
during their secondary education had more daily opportunities to experience
improvisation. Those who learned about improvisation in higher education may have
received training less frequently (e.g., one college course once or twice a week for one
semester). This could be the case for the one teacher who received training on
improvisation in undergraduate school and does not use improvisation. Or, it could relate
to the four dance teachers who were trained in undergraduate school (with two of them
receiving training in graduate school as well) who use improvisation only sometimes.
65
This is in contrast to the four of the seven dance teachers who were trained in
improvisation in both secondary education and graduate school and who stated that they
do use improvisation. This could indicate that learning about dance improvisation during
secondary education has a positive impact on future teaching.
The same could be implied for dance teachers who experienced training in
improvisation in professional workshops/training. Seven of the dance teachers who
experienced improvisation in professional training/workshops use improvisation, and
perhaps regularly, while three who were trained in improvisation in professional
training/workshops use improvisation sometimes or not at all. It could be inferred that
learning about improvisation in professional training/workshops gives a higher likelihood
of using improvisation in instruction.
The data was too vague to determine which age group used improvisation more
often than others because all participants except one quantitatively responded “yes” to
using improvisation. It was hypothesized that older dance teachers are more likely to use
dance improvisation than younger ones. However, the problem, comparing older teachers
to younger ones, relates to the hypothesis itself since it was not specific enough; it should
have mentioned teachers “older than” or “younger than” with a specific age.
Nonetheless, age group 30-39 did use more of their lesson time to teach dance
improvisation compared to ages 40-69. Three out of the four dance teachers from the 30-
39 year old group stated that they used between 51-80% of their lesson time to teach
improvisation. This high usage of improvisation could be a result of their training. These
same teachers were trained in improvisation in both secondary education and professional
workshops/training.
66
Moreover, the dance teachers exhibited a positive attitude towards the statement
that they use improvisation because of their own training and/or experience in
improvisation. Therefore, it could be suggested that the dance teachers use a great
amount of their lesson time teaching improvisation if they were similarly taught. This
would consequently confirm what is found in the literature about teachers teaching in the
same way that they were taught (Fortin & Siedentop, 1995; Koutsoupidou, 2005).
Unexpected Findings
One of the most surprising discoveries is that dance teachers use improvisation for
specific groups. It is possible that choosing to teach “select” groups (e.g., “higher grade
levels” or “advanced learners”) could imply that the teacher is being influenced by
certain beliefs and/or views.
The kind of dance improvisation experienced (free, contact, group, etc.) could
also be a factor in whether it is used. As examples, in the case of “improvisational/
exploratory” activities, 95% of the dance teachers experienced it while 92% of them use
that type, 85% of the dance teachers experienced “free form” while 51% use that type,
and 67% experienced contact improvisation while only 28% of them use that type. This
evidence indicates that some types of dance improvisation are used more than others in
instruction.
The dance teachers displayed a somewhat positive attitude towards the statement
that improvisation promotes the development of performance skills. Plus, 50% of the
dance teachers marked that their own training included improvisation as a performance
art. However, another unexpected find was that only four (20%) of the participants
remarked that they use improvisation as performance in instruction. It could therefore be
67
assumed that there is a reason which is causing some to not feel as strongly about using
improvisation for performance. For instance, one dance teacher expressed feeling
unsuccessful when their students improvise for a class performance. This could
demonstrate feelings of failure when utilizing improvisation for a performance.
Another unexpected finding was that three out of the four participants who
indicated that their training did not include improvisation as performance, indicated that
they are using improvisation for performance. This suggests that dance improvisation is
valued as performance by some dance educators (and those who are using improvisation
as performance are progressing in the field of dance education).
A surprising factor that may have an effect on dance teachers’ attitudes towards
dance improvisation is whether or not they have a classroom teaching background. A
high percentage (72.32%) of dance teachers who had previously been classroom teachers
agreed that dance technique is a priority. Coincidentally, this group of teachers may also
be likely to view students as being reluctant to improvise since over 41% of these
teachers (previously classroom teachers) agreed to the statement that students seem
reluctant to improvise. This could imply a positive attitude and belief towards this
statement, which agrees with Koutsoupidou’s (2005) study regarding teachers believing
that students are reluctant to improvise.
Unlike Oreck’s (2004) research in which teachers used arts instruction for
“students-issues”, “pedagogical issues”, or “self- issues”, a participant in this study
surprisingly included a comment about the concern for the audience. Interest in the
audience is an important factor as it relates to performing arts. However, literature reports
that, “Unexpected responses may indicate that the questions are poorly worded” (Thomas
68
et al., 2005, p. 274). Thus, the question which elicited this unexpected reply may have to
be reworded since it included an unexpected response.
Other Findings
Although it was argued by some music teachers in Koutsoupidou’s (2005) study
that improvisation has no benefit for teaching, the dance teachers in this research
demonstrated a negative attitude towards this particular statement. This indicates that the
dance teachers do view improvisation as having benefits for teaching. In the qualitative
responses, some dance teachers remarked how dance improvisation is important. This
would concur with what is found in the literature regarding valuing improvisation
(Biasutti, 2013; Koutsoupidou, 2005). Moreover, the dance teachers demonstrated a fairly
positive attitude towards dance improvisation overall with both surveys.
The dance teachers also showed somewhat positive attitudes towards the
statements that they use improvisation to enhance their own creativity and increase their
enjoyment in teaching. Therefore, this study is in agreement with Oreck’s (2004) study
about using an art form to motivate the educator with their personal goals and
contentment with teaching. Dance teachers expressing that they use improvisation to
discover students’ capabilities and potentials also signifies that the dance teachers are
looking to increase their knowledge in instruction for their own benefit.
While the data described how dance improvisation was delivered and used in a
variety of ways, it did not confirm if the dance teachers were using improvisation either
presently or regularly. For instance, participant 22 gave an example of how to use
improvisation; however, the same individual commented that improvisation had not been
used all school year. This could suggest that the questions relating to how dance
69
improvisation is used reveal only the experience dance teachers have had with
improvisation, not necessarily that they are currently using it.
The dance teachers also exhibited a somewhat positive attitude towards the
statement that improvisation was important to teach because it is part of the California
state standards. Because of the “somewhat agree” response, it also demonstrates that
standards are not the total rational for using dance improvisation, which agrees with
Oreck’s (2004) study. It also suggests, as noted in Koutsoupidou’s (2005) research, that
curriculum developers need to be concerned with why some curriculum may not be used
in instruction (p. 374).
Some of the results and comments the dance teachers gave were similar to
information revealed in Biasutti’s (2013) research. For instance, the current study’s
qualitative responses described improvisation as being expressive and relating to both
dance elements and cognitive processes. In addition, the dance teachers in this study
displayed a positive attitude towards the statement that dance improvisation is a valuable
teaching tool for students of all ages. They also expressed a somewhat negative attitude
towards the statement that dance improvisation can become boring and repetitive. Yet,
since it was qualitatively stated that, “it CAN get boring and repetitive,” it may indicate
that it is believed that improvisation does have the potential to become boring and
repetitive.
Limitations
The processes for conducting “The Dance Improvisation in Dance Education
Questionnaire” study presented some challenges. For example, it was reported that the
Survey Monkey e-mail notifications arrived in some participants’ spam folders rather
70
than their inbox. Participants also reported being kicked out of the survey before
completion.
One setback seen with surveys, a form of self-report study, is that participants
may respond based on their biases (Koutsoupidou, 2005). Respondents may write in such
a way so as to feel socially desirable (Ley, Bennett, & Coleman, 2009; Robertshaw,
2007) resulting in fabricated responses. Based on this observation, it raises the possibility
that responses in this study may be subject to dishonesty. It also leads to the possibility
that the reported negative experience with Survey Monkey may have been untruthful.
Consistent avoidance of certain questions is another issue. The problem with
avoiding questions is that it can cause the questionnaire to have sampling errors (Groves,
Fowler, Couper, Lepkowski, Singer, & Tourangeau, 2013; Thomas et al., 2005) causing
statistical analysis to be inaccurate. Furthermore, the lack of responses in the second
survey weakened some arguments, especially when relating to potential attitudes and
beliefs. On the other hand, the questionnaire may have also encountered outliers
(exaggerated responses) since some of the data may have appeared unusual or extreme
(Thomas et al., 2005).
Although the responses to open-ended questions would seem more reliable
compared to the quantitative questions, it was sometimes difficult to compare these
written responses with responses given on the Likert scales. These written responses also
were sometimes difficult to analyze. Research confirms that open-ended questions are
more difficult to interpret if the participant “strays from the question” (Thomas et al.,
2005, p. 272).
71
Some of the survey questions themselves also had limitations. The question with
the biggest limitation was the one that asked whether the dance educator used dance
improvisation in their lessons, requiring a “yes” or “no” response. Although it worked
well for Koutsoupidou’s (2005) research, it was too vague of a response for this current
study. A more specific reply may have come from a question inquiring how often the
dance teachers use improvisation (i.e. always, sometimes, never, etc.).
Other difficult questions to analyze were the ones relating to age, and ones
relating to percentage of time used towards improvisation in a lesson. For the first issue,
the ten year age range was not specific enough. For the same reason, in the second issue,
the 10-point percentage ranges made it impossible to know who taught 0% of
improvisation compared to someone who may have used at least 10%.
And lastly, although the survey was primarily intended to do quantitative
research, it became more qualitative in nature; people’s opinions are based on perspective
rather than fact. Plus, some results in the study may be uncertain because it has been
interpreted by the researcher’s own opinion (Dusharme, 2007).
Future Research
The goal of this pilot study was to develop an instrument for future research that
can investigate a mass quantity of dance teachers’ attitudes, beliefs, and uses of
improvisation nationwide. As in much research, the best investigations come from those
which are piloted first (Koutsoupidou, 2005; Ogott et al., 2011). Therefore, the first
suggestion for this study is to modify the questions of the current survey, do not use
open-ended questions, and then re-pilot the instrument.
72
73
While going through the process of analysis, new questions emerged from the
researcher, which could be used for future research: What is the stereotypical thinking of
what dance is supposed to look like, not relating to gender, but relating to movement?
How does society pressure dance into becoming what it wants it to be? If current
secondary dance teachers are not using improvisation, as much as those in the past, what
could this potentially mean for students today learning about dance improvisation?
Investigation of why Los Angeles dance teachers have certain perspectives,
related to the current investigation, could also be considered for examination.
Observation analysis might more accurately determine the uses of improvisation in
practice, and verbal interviews would help discover dance teachers attitudes towards
dance improvisation.
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APPENDIX A
Dance Improvisation in Dance Education Questionnaire
Part A: Personal information J/1. Gender a. Male b. Female K/2. Age a. 22-29 b. 30-39 c. 40-49 d. 50-59 e. d. 60-69 L/3. Education (Please mark all that apply) a. Undergraduate degree in dance/dance education (BA/BS) b. Graduate degree in dance (MA/MS/PHD) c. Undergraduate degree in subjects other than dance d. Dance credential e. Other qualifying credential/authorization to teach dance f. Other professional training (i.e. LOD, LMA, RAD, etc.) R/4. Did you dance professionally prior to becoming a dance educator? a. Yes b. No S/5. Are you fully credentialed to teach dance K-12 in your state? a. Yes b. No T/6. How long have you been teaching dance in the K-12 classroom? a. 0-10 years b. 11-20 years c. 21-30 years d. 31-40 years U/7. Are you a full- time dance educator? a. Yes b. No V/8. Were you a classroom teacher before becoming a full-time dance educator? a. Yes b. No
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W/9. What grade(s) do you teach? (Please mark all that apply) a. K d. 3 g. 6 j. 9 m. 12 b. 1 e. 4 h.7 k.10 c. 2 f. 5 i. 8 l. 11 AJ/10. How many classes on average do you teach per day? 1 2 3 4 5 6 7+ AQ/11. How many classes do you teach per week? a. 1 e. 5 i. 9 m. 13 q. 17 u. 21 y. 25 b. 2 f. 6 j. 10 n. 14 r. 18 v. 22 z. 26+ c. 3 g. 7 k. 11 o. 15 s. 19. w. 23 d. 4 h. 8 l. 12 p. 16 t. 20 x. 24 AR/12. How many students, on average, are in a class? a. 1-9 b. 10-20 c. 21-30 d. more than 30 AV/13. Have you ever seen quality examples of someone teaching dance education? a. Yes b. No AW/14. Do you feel very familiar with dance improvisation? a. Yes b. No AX/15. Based on your style of dance which you teach or are engage in, is improvisation in your dance vocabulary? (Please mark all that apply) a. Yes b. No AY/16. Do you use dance improvisation in your lessons? a. Yes b. No AZ/17. Do you feel comfortable using improvisation in your dance technique? a. Yes b. No BB/18. Have you ever had a negative experience with an improvisational dance activity? a. Yes b. No
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BC/19. Has someone ever told you anything negative about dance improvisation? a. Yes b. No BD/20. What do you recall people saying about dance improvisation, negative or
positive? Open-response____________________________________________________________ BE/21.Did your training in dance include dance improvisation? a. Yes b. No BF/22. Did you receive dance training in: (Please mark all that apply) a. Elementary school b. Secondary school c. Undergraduate d. Graduate school e. Post-graduate f. Professional workshops/training g. Other (please specify) ____________________ BN/23. Did your dance training include improvisation as: (Please mark all that apply) a. a choreographic process d. I received no training in improvisation b. a learning process c. performance art BS/24. What kind(s) of dance improvisation have you experienced? (Please mark all that
apply) a. Structured improvisation e. Improvisational/exploratory activities based on b. Free form elements of movement- (i.e. space, time, etc.) c. Contact improvisation f. Other Please list _________________ d. Group dance improvisation ________________________________________ BZ/25. What kinds of dance improvisations do you use? (Please mark all that apply) a. Structured improvisation e. Improvisational/exploratory activities based on b. Free form elements of movement- (i.e. space, time, etc.) c. Contact improvisation f. Other Please list _______________________ d. Group dance improvisation _______________________________________ CG/26. If you use improvisation in your lessons, what is the percentage, time-wise on
average, do you use in your lessons? a. 0-10% b. 11-20% c. 21-30% d. 31-40% e. 41-50% f. 51-60% g. 61-70% h. 71-80% i. 81-90% j. 91-100%
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If you do use improvisation please answer the following: CH/27. In what manner are you using improvisation? (i.e. instructional, choreography, etc.) Open-response____________________________________________________________ CI/28. What is your teaching strategy and/or methodology for incorporating improvisation? Open-response____________________________________________________________ CJ/29. Do you feel that you need more training in using dance improvisation in your
instruction? a. Yes b. No CK/30. In your community or school district, do you have professional development
opportunities in dance improvisation? a. Yes b. No CL/31. If given the opportunity, would you participate in professional development or in
additional professional development in dance improvisation? a. Yes b. No CM/32. What support system(s) do you feel you would need to increase your knowledge
and use of dance improvisation? Open-response____________________________________________________________ Part B: Beliefs and attitudes towards dance improvisation in instruction How important do you think the following statements are in the context of your instruction? (1= Strongly agree, 2= Agree, 3= Somewhat agree, 4= Somewhat disagree, 5= Disagree strongly, 6= Disagree) CN/33. Dance improvisation is a part of both the state and the national standards
for dance.
1 2 3 4 5 6 CO/34. It’s important to use improvisation because it’s in the standards.
1 2 3 4 5 6
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CP/35. Improvisation aligns with my teaching philosophy and pedagogy as a
dance educator.
1 2 3 4 5 6 CQ/36. I use improvisation because of my own training and/or experience in
improvisation.
1 2 3 4 5 6 CR/37. I use improvisation to increase my enjoyment in teaching?
1 2 3 4 5 6
CS/38. I use improvisation in instruction to enhance my own creativity?
1 2 3 4 5 6 Please respond to the following reasons for not using dance improvisation in your instruction. (1= Strongly agree, 2= Agree, 3= Somewhat agree, 4= Somewhat disagree, 5= Disagree strongly, 6= Disagree) CT/39. I have not had enough personal experience with dance improvisation
myself.
1 2 3 4 5 6
CU/40. I have participated in improvisational experiences, but struggle with teaching improvisation.
1 2 3 4 5 6
CV/41. I don’t believe dance improvisation has any benefits for my teaching.
1 2 3 4 5 6
CW/42. The time available for the lesson is too limited to incorporate dance
improvisation. 1 2 3 4 5 6
CX/43. Dance improvisation can reduce classroom discipline.
1 2 3 4 5 6
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CY/44. Teaching dance improvisation is an untraditional way of teaching dance.
1 2 3 4 5 6 Please indicate your familiarity with connection to the California state standards. (1= Strongly agree, 2= Agree, 3= Somewhat agree, 4= Somewhat disagree, 5= Disagree strongly, 6= Disagree) CZ/45. I am familiar with the California state standards in dance?
1 2 3 4 5 6 DA/46. I always use the California state standards when designing my lessons?
1 2 3 4 5 6
Please indicate your level of agreement or disagreement with the following statements. (1= Strongly agree, 2= Agree, 3= Somewhat agree, 4= Somewhat disagree, 5= Disagree strongly, 6= Disagree) DB/47. Dance improvisation promotes student participation in the lesson.
1 2 3 4 5 6
DC/48. Participation in improvisational activities increases student creativity.
1 2 3 4 5 6
DD/49. Students seem reluctant to improvise during the dance lesson.
1 2 3 4 5 6
DE/50. Dance improvisation promotes the development of performance skills.
1 2 3 4 5 6
DF/51. Dance improvisation promotes the development of technical skills.
1 2 3 4 5 6
DG/52. Dance technique is a priority as compared to dance improvisation.
1 2 3 4 5 6
DH/53. Dance improvisation is a valuable teaching tool for students of all ages.
1 2 3 4 5 6
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DI/54. Dance improvisation gives the performer the ability to openly share and
react without feeling pressured or judged.
1 2 3 4 5 6 DJ/55. Improvised movement can become boring and repetitive.
1 2 3 4 5 6
DK/56. Both the process of improvisation and the performance of improvisation
can become boring and repetitive.
1 2 3 4 5 6 DL/57. Dance improvisation can leave the students feeling empty and unsatisfied
because they have not really “danced.”
1 2 3 4 5 6 DM/58. Why are you choosing to use or not use improvisation? Open-response______________________________________________________ DN/59. Are you afraid to teach improvisation as a technique not knowing the end result? a. Yes b. No DO/60. Are you afraid to teach improvisation as a technique not knowing the time it
takes. a. Yes b. No Survey 2: Modified and added questions BF-2. Did you receive dance improvisation training in: (Please mark all that apply) a. Elementary school b. Secondary school c. Undergraduate d. Graduate school e. Post-graduate f. Professional workshops/training g. Other (please specify) ____________________ DG-2. Please explain why you responded the way that you did to the question, "Students
seem reluctant to improvise during the dance lesson." Open-response____________________________________________________________
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Additional Questions for Survey 2 IJ-2. In your own words, please describe: What is dance improvisation, and can you
give some examples to support your knowledge of it? Open-response____________________________________________________________ 2K-2. If you would like to give feedback on your experience taking the surveys, please
feel free to do so below. It is not required but only if you want to, to help the researcher improve the survey for future use.
Open-response____________________________________________________________
APPENDIX B
Mean: 1-3.45= Negative attitude towards statement (Disagree)
Mean: 3.46-6.9= Positive attitude towards statement (Agree)
Mean: 1- 1.15 Strongly disagree, 1.16-2.3 Disagree, 2.4-3.45 Somewhat disagree
Mean: 3.46- 4.60 Somewhat agree, 4.61-5.75 Agree, 5.76- 6.9 Strongly agree
Question Mean Survey 1
Std. Deviation
Mean Survey 2
Std. Deviation
Mean Average
Dance improvisation is a part of both the state and the national standards for dance
4.85 Agree
1.040 4.76 Agree
.831 4.605 Agree
It's important to use improvisation because it's in the standards.
4.30 Somewhat
agree
1.418 4.59 Somewhat
agree
1.417 4.445 Somewhat
agree Improvisation aligns with my teaching philosophy and pedagogy as a dance educator.
5.05 Agree
.826 5.17 Agree
.707 5.11 Agree
I use improvisation because of my own training and/or experience in improvisation.
4.80 Agree
1.240 4.82 Agree
1.286 4.81 Agree
I use improvisation to increase my enjoyment in teaching?
4.45 Somewhat
agree
1.317 4.56 Somewhat
agree
1.199 4.505 Somewhat
agree I use improvisation in instruction to enhance my own creativity.
4.65 Agree
1.424 4.47 Somewhat
agree
1.645 4.56 Somewhat
agree I have not had enough personal experience with dance improvisation myself.
2.40 Somewhat disagree
1.465 1.95 Disagree
1.508 2.175 Disagree
I have participated in improvisational experiences, but struggle with teaching improvisation.
2.45 Somewhat disagree
1.317 2.42 Somewhat disagree
1.539 2.435 Somewhat disagree
I don't believe dance improvisation has any benefits for my teaching.
1.40 Disagree
.754 1.16 Disagree
.765 1.28 Disagree
The time available for the lesson is too limited to incorporate dance improvisation.
2.47 Somewhat disagree
1.307 2.94 Somewhat disagree
1.389 2.705 Somewhat disagree
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Question Mean Survey 1
Std. Deviation
Mean Survey 2
Std. Deviation
Mean Average
Dance improvisation can reduce classroom discipline.
2.85 Somewhat disagree
1.496 2.32 Disagree
1.493 2.585 Somewhat disagree
Teaching dance improvisation is an untraditional way of teaching dance.
2.30 Disagree
1.342 2.16 Disagree
1.425 2.23 Disagree
I am familiar with the California state standards in dance.
5.10 Agree
.641 4.16 Somewhat agree
2.062 4.63 Agree
I always use the California state standards when designing my lessons.
4.55 Somewhat agree
1.191 3.68 Somewhat agree
1.945 4.115 Somewhat agree
Dance improvisation promotes student participation in the lesson.
4.80 Agree
.894 3.79 Somewhat agree
2.016 4.295 Somewhat agree
Participation in improvisational activities increases student creativity.
5.20 Agree
.768 4.53 Somewhat agree
2.118 4.865 Agree
Students seem reluctant to improvise during the dance lesson.
3.45 Somewhat disagree
1.669 2.84 Somewhatdisagree
1.803 3.145 Somewhat disagree
Dance improvisation promotes the development of performance skills.
5.00 Agree
1.451 4.16 Somewhat agree
2.267 4.58 Somewhat agree
Dance improvisation promotes the development of technical skills.
4.70 Agree
.979 3.68 Somewhat agree
1.974 4.19 Somewhat agree
Dance technique is a priority as compared to dance improvisation.
3.40 Somewhat disagree
1.392 2.42 Somewhat disagree
1.895 2.91 Somewhat disagree
Dance improvisation is a valuable teaching tool for students of all ages.
5.55 Agree
.605 4.53 Somewhat agree
2.118 5.04 Agree
Dance improvisation gives the performer the ability to openly share and react without feeling pressured or judged.
5.20 Agree
.834 3.53 Somewhat agree
1.775 4.365 Somewhat agree
Improvised movement can become boring and repetitive.
3.05 Somewhat disagree
1.317 2.00 1.333 2.525 Disagree Somewhat
disagree
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Question Mean
Survey 1Std.
DeviationMean
Survey 2Std.
Deviation Mean
Average Both the process of improvisation and the performance of improvisation can become boring and repetitive.
2.35 Disagree
1.089 2.11 Disagree
1.370 2.23 Disagree
Dance improvisation can leave the students feeling empty and unsatisfied because they have not really "danced."
2.65 Somewhat disagree
1.226 2.44 Somewhat disagree
1.459 2.545 Somewhat disagree
APPENDIX C
Open-Ended Responses
Q# ID# Survey 1 Survey 2 AZ/17 8 is the question supposed to
read "dance teaching"?
9 I feel more comfortable using the word: guided improvisation
14 My students improvise all the time but I don't feel successful when they do their in class performance.
19 I don't use it that often because I don't feel I have the experience and my students don't respond that we'll to improvisation
21 I have not used it. There is so much that I want to teach technically that I often forget to incorporate it
BD/20 1 Audience response varied. For
some improvisation was an interesting dance experience for others it was too unstructured for a performance experience.
Most teachers and students feel inspired by the movement discoveries through improvisation.
4 Students comment that they like making up their own dances.
I've never seen it taught like that, it was good.
5 I believe that people need to know what dance improvisation is before even having a say so on the topic itself. In the professional dance world especially in performances and showcases improvisation is often ignored. Some choreographers want dancers to dance a certain way. In reality, improvisation is difficult for some dancers that were used to be given certain
Dance improvisation is an important factor in dance. Depending on an area where I teach dance my experience with improvisation has been so far positive. It's rare for me to hear a negative response to about dance improvisation. My students so far have a blast with improvisation because they are given choices in movement rather than me just teaching only steps.
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movements and counts rather than create their own. If dancers were given a chance to explore in order to create then dancers would a stronger skill in dance improvisation.
6 Positive experiences for dancers
Positive feedback
7 I don't understand it. I prefer set dance pieces that are more in unison.
In general students do not respond to improvisation. Ingeneral teachers do not understand the importance.
8 Students I teach are always eager to improvise, they participate fully and look forward to it
10 When dance improvisation is presented in an educational setting and also using the history of jazz improvisation in music as another art form that uses improvisation- the outcome is very positive-
People love the freedom to create that improvisation gives us.
11 positive it's great- it's too unstructured 12 positive creativity positive 13 It's a good way to utilize skills
that have been learned Some teachers don't understand why the children are allowed to move on their own...
14 It's too hard because there are no steps.
positive, exciting, different everytime
16 I recall hearing that it allows dancers to develop risk taking skills.
17 That it is a great way to explore movement.
18 Negitive: Froze because they were worried about what people would think or could not think of anything to do. They would try to hide in the back or try and get out of it... "bathroom time" It makes them feel uncomfortable. Postive: Enjoyed freely dancing and expressing themselves. Or started out with negative thoughts and after it was done said they really enjoyed and didnt think it was
Not comfortable with it, Not con0fedent,dont know enough technique,
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that bad. They enjoy choreographing and doing their own style.
19 It's fun, creative, freeing. Opens you up to knew possibilities for choreography, great for problem solving and working together as a group
It's a good method to use for choreography. It's difficult to get middle schoolers to improvise.
20 I took an entire semester of improv in college and learned many useful techniques for improv. I mostly hear negative comments about improv from nervous/scared students who feel uncomfortable and put on the spot with improv
Students both in my classes as well as in classes I have taken have expressed discomfort while improving and an overwhelming since of embarrasment
21 How necessary it is to develop a whole, well-rounded artist who can not only take direction but think for themselves and develop their own artistic sensibilities
22 Depending on the maturity of the students, many don't "get" it, and don't take it seriously.
Some liked it, some thought it was weird. A few really got into it, and many didn't really get it or take it seriously, especially at first.
23 "I love doing dance improvisation as a way to warm up the body and/or explore an idea or concept." "I feel so free when I move."
"I love doing improv it is so liberating" "Let's do it again"
BF-2 1 Improvisation was part of a Modern
Dance approach by Alwin Nikolais in his studio.
10 Post undergraduate 16 Dance class as a child outside of school CH/27 1 I use Improvisation as a tool
for my students to explore elements of Dance, movement vocabulary etc.
I use improvisation as an exploration of dance elements, as well as a tool for students to create their own dance phrases.
4 Both instructionally and choreographically.
instructional and choreographic
5 I use dance improvisation for both choreographic and
I use improvisation in teaching the both instructional and choreographic setting.
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instructional lessons. When I do this I want to see what students can naturally do to prove a point that dance is very universal and useful for any type of occasion such as parties, events, therapy, sports etc.
Improvisation gives students an opportunity to see what sequences and form they can come up with.
6 Sometimes if we are choreographing I allow for structured improvisation opportunities. I find it is meaningful for my students.
I use structured improvisation instructional exploration
7 I use improvisation for students to explore their creativity in the middle of my lesson.
8 instructional Both instructional and as a step of the choreographic process
9 Choreographic Exploration and Choreographic 10 Improvisation is a creative tool
to assist in exploring the elements of space, time and energy. I also use it as a choreographic focus in teaching students creative movement.
I use improvisation as an instructional tool for space-time and energy concepts. I also use it as choreographic tool- especially upper grades.
11 instructional/ choreographic
choreographic/ instructional
12 exploration, choreographic instructional, choreographic 13 instructional and
choreographic instructional, to review dance concepts
14 Instructional, choreographic, structured
InstrUCTIONAL, learning process. In my group of select students we use it more for learning and choreography....then it may become a performance.
16 Instructional for guided practice of a concept
I use it for problem solving and critical thinking.
17 I use improvisation to explore elements of space, time, energy and creativity in general.
Dance exercises - instructional. Choreography - educational.
18 I use improvisation in my inter./adv. classes and this year I am mostly teaching
Both instructional and choreographic
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beginning so we have only introduced it at the end of the year. I use improvisation in the class through instruction and in choreographing and performing for the annual show.
19 I use it when teaching elements of dance and building small movement phrases. With my dance production class I am currently using it to build a choreographed group dance.
Instructional and choreographic
20 I use improvisation instructionally, especially in my composition class to allow students to play with a compositional devices. We use improv to warm up, to cool down, to explore a concept, to play!
both choreographically as well as instructionally
21 I don't really use it as I would like to.
22 Exploritory When I do use it, it is generally exploratory. I do often use it in Hip Hop routines, when I give a "free style" section or allow students to have "free" arms in a particular footwork phrase.
23 ok..test CI/28 1 Students are asked for example
to add individual arm gestures to a locomotor movement, or explore movements at different tempi.
My strategy are based on dance vocabulary development, musical structure, tempo and energy.
4 Providing a solid foundation of dance movement vocabulary toallow students to have a starting point for improvisation.
Students are given a structure and a strong base of movement vocabulary and given the opportunity to create.
5 When dance improvisation I use familiar themes such as movies, cartoons, video games and scenarios to engage students to create their own movement. I teach my
I use familiar themes, prior taught elements and form of structure to teach improvisation for students. A phrase would be a pre-requisite to the principles of design. In phrase the theme is given and demonstrated by the dance teacher as
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own phrase dance lesson first before students have a chance to create their own dance structure fitting the theme. After students create a phrase lesson I challenge my classes especially upper grades from 4th grade to 6th grade to create their own movement, structure and formation.
a demo to help students putting movement together but they have create their own movement in a different way.
6 I may take a dance element and allow for improvisation with a partner or in small groups.
We explore and improvise. Depending on dance element it can be group or individual
7 First I give guided instruction to build background knowledge. After that, I give students time to apply content being taught. Then I organize student work to be performed.
First the methodology is guided then students are encouraged to play and improvise lastly structured improvisation
8 Give students a concept or idea, say "go", guide them through with cues, prompts, and observations, and let them know when to finish
Provide guidelines and goals at the beginning, cue and prompt as needed during, lead discussion after
9 Provide structure Allow children to change/improvise within the structure
allow students to explore/improvise and include in choreography
10 There are many strategies and methodologies that can be utilized- depending on the grade and ages of the students. Most inmportant- students need guided structure for improvisation to be successful. Also important - is to see it's value in dance.
Exploration and improvisation is part of the built in structure of the creative movement class. Improvisation can even be used as a tool in teaching fold dance and creative folk dance.
11 teaching the elements of dance through improvization
teaching the elements through improvisation
12 exploration, creative process, choreography
new ideas exploration choreography
13 Anne Green Gilbert's model I use improvisation after explorations. 14 Exploration and skills (some
basics) are needed before improv can occur ( for elementary age children who
learning process, exploration, performance art
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have never had dance, nor seen a modern dance performance. It allows for more successes for the not so coordinated.
16 I act as the facilitator I use it as a tool to get students to take risks, but sparingly, because I do not want my students to get out of control.
17 It's too big of a question to easily explain.
Improvisation is fully integrated into every lesson I teach.
18 I usually start them out in groups to help the people who are uncomfortable with improv start to loosen up usually using structure or material based improv. Then I will move to in class individual improv, where free form is introduced, to testing using different structures of improv., then moving on to choreographic improv for a performance.
its different for each level (beginning, Int. and advanced) Beginning example: Will teach them a combination and ask them to get into a group inprovise after the combination ends. Intermediate example: same as above but ask them to improvise on their own. Also use different forms of improve other than free Adv.: Will have them
19 Structured improvisation. I give the students certain guidelines such as specific dance elements I want included etc and then let them explore the movement within those guidelines
Structured-mostly using dance elements
20 I use it as needed and when it seems appropriate. It is a great tool when students or I am stuck choreographically to get some movement out. I try not to force improv or make it a bigger deal then it needs to be. I usually start everyone together on the floor with eyes closed and let them get in their own world rather than going across the floor and being put on display. I admit, I do put them on the spot on purpose at times to create a pressurized environment so they can experience a "free style"
to help students establish their own artistic voice, to build confidence, and to force students into creativity
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moment as well as lovely abstract improvisation. I also LOVE to use improvisation to connect concepts from other classes. I ask a student to give me one concept they learned in another class. After the student breifly explains the concept I throw on some music and that is our structure for the improv. We've improved The Great Gatsby, Electro Magnetic Wave Currents, The 2nd Amendment amongst many other things. :)
21 N/a 22 Begin with specific elements
of dance (space, time, form). From there, build on partner improvs. From there, group exercises, including props & environmental
Generally, I begin with space/time/level exercises, to build and remind them of movement options. Then I generally move to group exercises. I then move to interacting with a prop (chair, length of rope, ball, etc.). When possible, I like to use environmental interactions as well (chain link fence, bleachers, benches, etc.) I have found that if just say, "Move!", they will freeze up. In the beginning, they seem to need some form of guiding structure, which gradually gets lessened as time moves on and they gain more experience, movement vocabulary, and confidence.
23 ok...test CM/32 1 A series of sessions with clear
objectives. Collaborative sessions with Dance teachers, to develop specific structures to best serve Elementary Dance students.
4 Consistent collaboration with other experienced dance instructors.
Collaboration with other dance teachers.
5 The support system I would like to have on dance improvisation would be to do lesson studies, peer teaching/peer coaching and attend conferences/professional
It would be best if other dance teachers would share their input on how they teach improvisation. There should be a workshop specifically on improvisation for those that want to apply improvisation in their dance lessons.
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development. this will give me personally a better on how dance improvisation is presented or taught.
6 Definitely, sharing and collaborating with colleagues
7 Always need more professional training and tools to teach improvisation.
9 observation of model lessons and model use of improvisation techniques.
Workshops observations
10 The best support system is working with other knowledgable colleagues and having the opportunity to try out and share ideas.
The support of the administrators and colleagues- both are important.
11 more Barbara Mettler approach 12 more pd useful watching dance lessons 13 professional development
through my place of work... financially accessible workshops.
training
14 Funding for professional development during work time. Family responsibilities.
more experience with other dancers on how to use it based on the different objectives. Free form, group, and structured, are probably the areas I would want to know more about.
16 A variety of workshops I guess greater exposure and more experiences with it would be helpful.
17 None. 19 Logistically, my principal
would have to release me from regular school PD's so that I could attend instructional workshops- this is not an option currently. Otherwise, I would need to be able to practice different forms of dance improvisation with other dance teachers led by someone who is very well versed in dance improvisation and then be given the opportunity to discuss strategies and methods of
I need my administration to allow me to go to dance professional development workshops
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teaching it with peers and other professionals.
20 I'd love to learn various techniques of improv specifically ways to increase students willingness to try improv willingly
21 coaching in ways to incorporate it into my lessons
22 Ideas and concepts that non-professional dance students can still relate to
This really depends on how large the unit would be on improv. If it were only a week or two, I feel I have enough support. If it were to be extended, I would need more support. I'd refer to improve books to gain ideas for different ways to structure improv exercises. Classes are nice too, but since I already have a fairly strong personal background in it, I think books and/or websites would probably be sufficient material to draw from.
23 I would like to work directly with someone who has had several years experience with working
DM/58 1 I use improvisation as a tool
for exploring creativity and students' individual movement experience.
I want to enhance the students' ability for movement.
4 I use it because students need the opportunity to take risks and not simply be spoon-fed every time when being taught any subject especially dance. Improvisation is a way to see if the students can take dance tools and use those tools creatively to express themselves and solve problems.
yes because it helps the students be the thinkers and do some of their own learning.
5 I choose to use dance improvisation in my lessons because I can see what each student can do movement wise. Improvisation increases student creativity and dance
Improvisation develops creativity in dance.
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technique. Some students learn in a linear way. Some students learn backwards. Meaning every student has a different way of learning either picking up choreographed routines quickly or improvising with no problem no matter the style of dance.
6 I choose to use it for the positive outcomes and experiences shared
I choose to use it because I believe it is part of creative process in dance
7 I use improvisation to give students the opportunity to practice using problem solving skills and to give students the many opportunities to use their creativity. When students perform, it gives the audience a chance to view creative choices.
i use improvisation to explore their creativity.
8 I feel it is an essential part of the creative process in dance, and allows students to organically use their bodies in new ways
I feel it is the only way students can access the creativity that is inside themselves.
9 Need more training and lesson examples for K-6
to encourage students' creativity and freedom to express while moving.
10 I use improvisation because it is a brilliant and exciting way for students to learn about the creative process- both individually and in small group work.
The basis for creative movement is exploration and improvisation leading into composition. It is an organic part of the process.
11 I use improvisation to get ideas to choreograph
it unlocks the key to creativity and choreography
12 it is part of the creative process in dance
enhances the creativity of dance lessons
13 I use improvisation because I want my students to explore within a structure
I try to use improvisation often, but many time constraints, student extreme misbehavior limit my ability to do it regularly.
14 I use it as often as I can in my instruction about 70 percent of my students love it and do
There are usually more positives than negatives. Students can be scaffolded first. Improvisation can be used to see
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well. When I don't may be because the group of students Is showing little effort, little interest, feels very self conscious, has limited English, is not supported by their classroom teacher. Students with poor attitudes and no interest in creative dance are usually the most difficult to use improvisation. I may use it much less in my instruction.
what students are capable of. Sometimes I am surprised by what the students create on their own. They learn from each other by sharing ideas or get inspiration by seeing others improvise movements.
16 I use improvisation to enhance my students' problem skills and to make them take risks in their movements.
17 It gives the students a chance to express themselves in a unique way.
18 I use improv in my classroom because i think it helps students to recall prior knowledge, gain confidence, helps reduce the fear of being on stage, gain creativity, have a sense of freedom, and understand dance not just as a dancer but as a choreographer as well and the challenges that come with both sides.
I believe improv is an important part of a dancers life. They will experience improv throughout their entire career and in auditions.
19 I choose to use dance improvisation sparingly because my students don't always respond well to improvisation. They want me to give them the "moves." They feel embarrassed to come up with their own movement on the spot. I have had more success with my dance production class using a more structured dance improvisation format to build choreography but I feel that is because they are more focused and more
Because of my lack of experience with dance improvisation and the student's reluctance to participate. This is a very general statement of course, because some students respond very well to improvisation.
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interested in dancing as a whole.
20 Although it CAN get boring and repetitive I try to constantly challenge myself and my students to not let it get boring. If you realize you are repeating a movement, mess with it, switch it up, change it around. I love using improvisation in my classes.
I love improv I think its a wonderful tool for self discovery
21 It is simply a matter of prioritizing the time that I have have with all of the information I want to give them
22 I enjoy improv quite a bit, and I do like how it allows students to explore and directly experience various elements of dance. It also increases their ability to think on their feet, so to speak. It's also a nice change of pace from technique. But with so many other demands on a teacher's schedule, sometimes other priorities (technique, show rehearsal, fitnessgrams, etc.) take precedence.
Whenever I can, I spend 1-2 weeks on improv. However, often, due to other performances, projects, or technique training, I don't have time to include it (case in point, I did not get to improv this year).
23 Improv is a great tool for allowing the students to freely explore space, time, energy/force. This process gives them a voice in their movement choices and helps them to feel more confident in what they are doing. It helps to encourage more movement and students learn how to begin to take risks.
1 Dance improvisation requires a certain
level of dance knowledge. Some students feel reluctant and intimidated to
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dance freely, even within a structured improvisation.
4 Its all in the approach. Anything can be made accessible if the teacher creates a safe instructional environment to try hard or new ideas.
5 Depending on the area I teach dance students can be reluctant to improvise because some are not use to dancing in front of people. While some students improvise without even realizing it. Some students just naturally move with no hesitation. Students that dance with no hesitation have no problem improvising. For instance both male and female Breakdancers have no problem with improvisation.
6 I find students may be hesitant sometimes but once they are given this freedom, it becomes a discovery and creative experience
7 Students are reluctant to expose themselves.
8 Because they don't 9 depends on the age level and students
prior experience with movement 10 Most students respond beautifully to well
crafted improvisations. Using improvisation as a teaching skill is a real art.
11 many students are just too shy to successfully engage in improvisation
12 some students have a hard time impovising
13 They seem reluctant because they have a hard time following instructions or controlling their impulses to play around
14 Some students are looking for a model for right or wrong. Especially (those) if they have very little experience with dance and are self-conscience the idea of being right or wrong can keep students from participating. They don't understand that improvise has no wrong.
18 I am mostly teaching beginners this year and those students are just being
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introduced to the dance style and dont feel like they have enough knowledge or confedience to improv. leaving them reluctant to improv duting the lesson
19 I teach middle school and the students are very reluctant to move without being given specific choreography. It makes them feel very vulnerable.
20 many of students are shy and don't participate openly
22 Typically, students with little dance training do not have the movement vocabulary, self-esteem, or confidence to improvise.
Additional Questions for Survey 2 IJ-2 1 Improvisation, as I understand it, is the
process of movement discovery with a given structure. It allows the dancers to explore individualized movements. Improvisation can be done in different groupings, i.e. solo, duet, trio, big group.
4 Dance improvisation is allowing students to create a dance without strict rules. If there are any rules it is simply to guide them. Dance improvisation can be prompted by a teacher. At its basic level an example of dance improvisation would be to tell students to make up a dance move on the spot without anything else said. Of course this is limiting so giving a focus or structure can allow kids more freedom to explore sometimes.
5 Dance improvisation is creative movement without any prior thought or plan. Example would be breakdance (media made of this term; real term for this particular dance style is Breakin') When a dancer battles his/her opponent on the dance floor there are no particular counts nor set music for a dancer to dance to. In a Breakin' battle, a disc jockey (Dj) would play any random song for a dancer to improvise during a battle. Dancer feels the beat and the rhythm when they improvise. Another would be free writing in which a writer would just
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write random words or sentences without thought on paper.
6 Improvisation is when you move to your own creative expression.
7 Improvisation dance in elementary is about the student coming up with their own ideas movement on the spot. Ex: give the students a problem to solve with criteria, then let the students piece it together on the spot. The criteria could be to move smoothly or sharply using their own moves to the music.
8 The act of creating original, expressive movements on the spur of the moment. It happens as an instantaneous result of some type of stimuli, (internal or external), such as a sound, a visual image, n idea, or a feeling.
10 Dance improvisation is the ability to make one's own movement choices with in a structured movement environment- using space, time and energy concepts as guidelines. A dance improvisation example would be: Part A: Move through the space using curved pathways and directional changes and all three levels- high- middle and low- Part B- when the music stops- create curved shapes with a choice of level. This improvisation gives plenty of conceptual structure- but there is also plenty of room for artistic choices-creativity and technique. Improvisations can be geared toward any grade level and level of experience. Sometimes the most simple structures are the most powerful- for all ages!!
12 creating, exploring, creating movements moment to moment. new possibilities, new outcomes
13 Dance improvisation is to choreograph as you go, follow the feelings of the moment.
14 DI can be a range of move created by a dancer with little some or a lot of structure. The steps are not choreographed
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however it can be part of the choreographic process leading to set movements. It can also be different with every attempt.
17 Dance improvisation is dance without every step choreographed. The way I include improvisation in my classes is by giving students some structure (ex: use several different directional moves in this section) and letting the students create. I've done a fair bit of improvisation, myself, in contact improve dance classes. My favorite use of improvisation, though, is as a tool to create choreography.
19 In short, improvisational dance is dance that has not been previously choreographed-thinking and moving on your feet. You can use music or rhythm instruments or spoken word or it can be done in silence. You could also use an idea or a feeling to inspire the improvisation. It canbe verbally led by a facilitator or not. You could also do contact improvisation or with certain groupings of dancers. If is important to include dance elements such as space, time and energy/force.
20 Dance improvisation is live action choreography we improv in class and create various structures. I myself learned from a variety of teachers on ways to improv and structure improv.
22 Without going to a textbook definition, to me, dance improvisation is a spontaneous, generally unplanned, organic, and ideally non-judgmental movement. To be honest, I'm not certain how I can demonstrate examples to support my knowledge of it aside from listing some improvisation exercises, as I already have in prior questions.
2K-2 1 The survey was mostly easy to complete,
I feel the question if "I use Improvisation in my teaching" could be more
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differentiated by Grade levels and students' prior knowledge.
5 My feedback doing this survey makes me more curious about improvisation while answering questions on the survey. I even wonder myself on how other dance teachers present improvisation to their students.
10 I enjoyed being a part of this survey- especially to support a respected colleague. I feel this area of investigation is an important one in arts education. The more we can further the inquiry and understanding of the awesome power of imporvisation the better. There was a check box left out for other types of masters degrees- as dance educators often have diverse backgrounds- which totally feed in to making interesting and intriguing art! Thanks for all your work on this project!
17 I enjoyed it. That's all I've got. 19 This survey presents many interesting
facets of teaching improvisation as to when and why and how to use as well as how much to use it in any given situation. I think it is important to take into consideration the grade level and experience as well as willingness of the students to improvise.
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APPENDIX D
Percentages
Gender Survey 1 Survey 2 Female n
85.00% 17
84.21% 16
Male n
15.00% 3
15.79% 3
Total 20 19 Age Survey 1 Survey 2 22-29 n
5.00% 1
5.26% 1
30-39 n
30.00% 6
26.32% 5
40-49 n
25.00% 5
26.32% 5
50-59 n
25.00% 5
26.32% 5
60-69 n
15.00% 3
15.79% 3
Total 20 19 Education Survey 1 Survey 2Undergraduate degree in dance/dance education (BA/BS) n
55.00% 11
47.37% 9
Graduate degree in dance (MA/MS/PHD) n
20.00% 4
21.05% 4
Undergraduate degree in subjects other than dance n
30.00% 6
36.84% 7
Dance credential n
15.00% 3
10.53% 2
Other qualifying credential/authorization to teach dance n
70.00% 14
68.42% 13
Other professional training (i.e. LOD, LMA, RAD, etc.) n
35.00% 7
26.32% 5
Total Respondents 20 19 Danced professionally prior to becoming a dance educator Survey 1 Survey 2Yes n
75.00% 15
78.95% 15
No n
25.00% 5
21.05% 4
Total 20 19
Fully Credentialed to teach dance K-12 in their state
Survey 1 Survey 2
Yes n
90.00% 18
84.21% 16
No n
10.00% 2
15.79% 3
Total 20 19 How long the teacher has taught dance in the K-12 classroom
Survey 1 Survey 2
0-10 years n
65.00% 13
52.63% 10
11-20 years n
30.00% 6
42.11% 8
21-30 years 0.00% 0
5.26% 1
31-40 years n
5.00% 1
0.00% 0
Total 20 19 Full time dance educator Survey 1 Survey 2Yes n
100.00% 19
100.00% 19
No n
0.00% 0
0.00% 0
Total 19 19 Classroom teacher before being a full time dance educator
Survey 1 Survey 2
Yes n
40.00% 8
42.11% 8
No n
60.00% 12
57.89% 11
Total 20 19
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Grades taught Survey 1 Survey 2 Grades taught Survey 1 Survey 2 K n
60.00% 12
68.42% 13
7 n
10.00% 2
10.53% 2
1 n
70.00% 14
73.68% 14
8 n
10.00% 2
10.53% 2
2 n
70.00% 14
73.68% 14
9 n
30.00% 6
26.32% 5
3 n
65.00% 13
68.42% 13
10 n
30.00% 6
26.32% 5
4 n
60.00% 12
63.16% 12
11 n
30.00% 6
26.32% 5
5 n
60.00% 12
68.42% 13
12 n
30.00% 6
26.32% 5
6 n
55.00% 57.89% 11
11
Survey 1 Total 20 Survey 2 Total 19
Classes taught per day Survey 1 Survey 21 n
0.00% 0
0.00% 0
2 n
0.00% 0
0.00% 0
3 10.00% 2
10.53% 2
n
4 n
20.00% 4
15.79% 3
5 n
80.00% 16
78.95% 15
6 10.00% 2
5.79% 3
n
7+ 5.26% n
10.00% 2 1
Total Respondents 20 19
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Classes taught per week
Survey 1 Survey 2 Classes taught per week
Survey 1 Survey 2
1 n
0.00% 0
0.00% 0
14 n
0.00% 0
0.00% 0
2 n
0.00% 0
0.00% 0
15 n
5.26% 1
0.00% 0
3 n
0.00% 0
0.00% 0
16 n
0.00% 0
0.00% 0
4 n
0.00% 0
0.00% 0
17 n
0.00% 0
0.00% 0
5 n
0.00% 0
5.26% 1
18 n
5.26% 1
0.00% 0
6 n
0.00% 0
0.00% 0
19 n
0.00% 0
0.00% 0
7 n
0.00% 0
0.00% 0
20 n
5.26% 1
5.26% 1
8 n
0.00% 0
0.00% 0
21 n
0.00% 0
0.00% 0
9 n
0.00% 0
0.00% 0
22 n
10.53% 2
5.26% 1
10 n
0.00% 0
0.00% 0
23 n
0.00% 0
0.00% 0
11 n
0.00% 0
0.00% 0
24 n
36.84% 7
31.58% 6
12 n
0.00% 0
0.00% 0
25 n
36.84% 7
31.58% 6
13 n
0.00% 0
0.00% 0
26+ n
0.00% 0
21.05% 4
Survey 1 Total 19 Survey 2 Total 19
Students on average in a class Survey 1 Survey 21-9 n
0.00% 0
5.26% 1
10-20 n
10.00% 2
10.53% 2
21-30 65.00% 13
73.68% 14
n
30+ 36.84% n
45.00% 9 7
Total Respondents 20 19
115
Seen quality examples of someone teaching dance
Survey 1 Survey 2
Yes N
94.74% 18
100.00% 19
No 0.00% n
5.26% 1 0
Total 19 19
Feels familiar with dance improvisation
Survey 1 Survey 2
Yes n
90.00% 18
94.74% 18
No 5.26% n
10.00% 2 1
Total 20 19
Improvisation is in vocabulary
Survey 1 Survey 2
Yes n
85.00% 17
84.21% 16
No n
15.00% 3
15.79% 3
Total 20 19
Use improvisation
Survey 1 Survey 2
Yes n
95.00% 19
100.00% 19
No n
5.00% 1
0.00% 0
Total 20 19
116
Comfortable using improvisation as technique
Survey 1 Survey 2
Yes 75.00% 15
84.21% 16
No 0.00% 0
15.79% 3
I'm not sure 25.00% 5
Total 20 19
Had a negative experience with an improvisational dance activity
Survey 1 Survey 2
Yes n
45.00% 9
42.11% 8
No n
55.00% 11
57.89% 11
Total 20 19
Has been told something negative about dance improvisation
Survey 1 Survey 2
Yes n
20.00% 4
26.32% 5
No n
80.00% 16
73.68% 14
Total 20 19
Training in dance included improvisation
Survey 1 Survey 2
Yes n
80.00% 16
84.21% 16
No n
20.00% 4
15.79% 3
Total 20 19
117
118
Received dance training in
Survey 1
Received dance improvisation training in
Survey 2
Elementary School n
31.25% 5
0.00% 0
Secondary School n
68.75% 11
37.50% 6
Undergraduate school n
93.75% 15
75.00% 12
Graduate school n
37.50% 6
18.75% 3
Post-graduate school n
25.00% 4
12.50% 2
Professional workshops/training n
68.75% 11
62.50% 10
None of these n
0.00% 0
6.25% 1
Total Respondents: 16 16
Dance training included improvisation as Survey 1 Survey 2 A choreographic process n
81.25% 13
100.00% 16
A learning process n
81.25% 13
81.25% 13
A performance art n
56.25% 9
56.25% 9
None of these n
0.00% 0
0.00% 0
Total Respondents: 16 16
Kinds of dance improvisation experienced Survey 1 Survey 2 Structure improvisation n
90.00% 18
89.47% 17
Free form n
90.00% 18
78.95% 15
Contact improvisation n
70.00% 14
63.16% 12
Group dance improvisation n
85.00% 17
84.21% 16
Improvisational/exploratory activities based on elements of movement- (i.e. space, time, etc.) n
95.00% 19
94.74% 18
None n
0.00% 0
0.00% 0
Total Respondents 20 19
Kinds of dance improvisation taught
Survey 1 Survey 2
Structured improvisation n
90.00% 18
89.47% 17
Free form n
60.00% 12
42.11% 8
Contact Improvisation n
20.00% 4
36.84% 7
Group dance improvisation n
65.00% 13
78.95% 15
Improvisational/exploratory activities based on elements of movement- (i.e. space, time, etc.) n
90.00% 18
94.74% 18
None n
5.00% 0.00% 1 0
Total Respondents: 20 19
Percentage time wise, used in lessons Survey 1 Survey 2 0-10% n
20.00% 4
22.22% 4
11-20% n
20.00% 4
11.11% 2
21-30% n
35.00% 7
33.33% 6
31-40% n
0.00% 0
16.67% 3
41-50% n
10.00% 2
5.56% 1
51-60% n
10.00% 2
0.00% 0
61-70% n
0.00% 0
5.56% 1
71-80% n
5.00% 1
5.56% 1
81-90% n
0.00% 0
0.00% 0
91-100% n
0.00% 0.00% 0 0
Total 20 18
119
120
Feels they need more training on dance improvisation in instruction
Survey 1 Survey 2
Yes n
47.37% 9
50.00% 9
No n
52.63% 10
50.00% 9
Total 19 18
Do they have opportunities in professional development in dance improvisation
Survey 1 Survey 2
Yes n
57.89% 11
55.56% 10
No n
31.58% 6
33.33% 6
I'm not sure n
10.53% 2
11.11% 2
Total 19 18
If given the opportunity, would they participate in dance improvisation professional development
Survey 1 Survey 2
Yes n
90.00% 18
100.00% 18
No n
10.00% 2
0.00% 0
Total 20 18