Dance Classroom Management: Least Invasive Intervention

Hello! Today’s Behavior Management Monday technique is called Least Invasive Intervention. It is part of a series of techniques used to create high behavioral expectations in the classroom. Of course, as a dance educator, as the founder and CEO of two dance education organizations, and as a dance educator coach, my primary current interest in behavior management techniques comes from a place of wanting to better support early career dance educators with having better student engagement, participation, and learning in their dance classroom.

If you’re interested in reading more about classroom behavior management for yourself, you can find all the tips that I post about write about in the book Teach Like A Champion 2.0 (#ad).

The goal of using the Least Invasive Intervention technique is to correct the undesired behavior of one student without disrupting the entire class. Often, when only one student is off task, we will give so much attention to that single student and that moment that we lose the attention and focus of every single other student in class. Then, we have a much larger task at hand–we will find that we need to reign in several students instead of giving a quick, barely noticeable correction to one student.

There are 6 specific ways that we can give minimally invasive interventions, but the goal, always, is to be as unnoticeable as possible to the rest of your class.

  1. Nonverbal Intervention: You can make corrections with hand gestures, facial expressions, or intentional modeling of the action you expect students to take while never stopping your teaching.
  2. Positive Group Correction: This is a quick, verbal reminder given to the entire group to take a specific action. Example, using call and response: Teacher says: “One, two, three, all eyes on me!” Students reply: “One, two, eyes on you!”
  3. Anonymous Individual Correction: This technique is similar to a positive group correction because it describes the solution, but it makes explicit that there are people (who remain anonymous) who have not yet met the expectation.
  4. Private Individual Correction (PIC): This correction allows you to take more time with one student, while the rest of the class works on something or allows you to correct the student’s behavior quickly, but privately and away from the rest of the class. A teacher might take a few seconds to whisper a correction to a student then return to teaching.
  5. Private Individual Precise Praise (PIPP): When you use PIPP, you are whispering positive feedback to a student instead of a critique. This is a way of balancing your corrections with praise. Also, if you are balancing the corrections you give your students with the praise you are giving your students, they will be more open and receptive when you are approaching them.
  6. Lightning Quick Public Correction: There will be times when you will need to make public corrections of individual students. Though this should be used as a last resort, when you must give a public correction, you should focus on limiting the amount of time the off-task student is “on stage,” focus on telling the student what to do that is right instead of what they are doing that is wrong, and normalizing the positive behavior of the majority of the class by directing everyone’s attention to productive behavior that is occurring.

For more behavior management tips, be sure to check out the Dance Classroom Management section of DanceEdStartup.com!

 

Dance Classroom Management: Double Plan

Happy Monday, Dance Friends!

Today’s dance classroom management tip, which comes from the book Teach Like A Champion 2.0 (paid link) is called Double Plan. To Double Plan is to plan both what you–the teacher–and the students will be doing at each point in class when you are writing out your lessons.

The text goes into detail about using a graphic organizer packet to guide the lesson and check for understanding in a traditional classroom setting. As a dance educator coach, I want to focus most on the idea of a T-chart that is mentioned. Using a T-chart lesson plan (i.e., get out a blank piece of paper and draw a huge T, so that there is a line going down the middle, creating two columns, and so that the top of the capital letter T allows you to label each column) allows us to write side-by-side what the students will be doing while we are saying or doing what we plan to do.

“It’s natural for teachers to write lessons that focus on what they will be doing: which key points they will cover, questions they will ask, activities that will facilitate, work they will assign, and so forth. Still, the most effective teachers I know Double Plan, that is, they plan at least as carefully what their students will be doing each step of the way” (p. 143).

Though not written in a T-chart style, you can see simple examples of Double Planning in the Dance Daze® Lesson Plans for Dance With Me and Ballet and Tap over at DanceEdStartup.com.

According to the text, “Double Planning forces you to consider how you will at each step hold students accountable for the content and quality of their work” (p. 149). I believe that Double Planning forces educators to consider the desired behavior that they want or expect during each part of their lesson.

For example, in your dance class, should students be copying your movements while you explain or should they be standing respectfully and observing as you demonstrate? If students will have props, how should they hold their props and when will they pick up their props? What should the rest of the class do while you are giving corrections to one student?

During my teaching residency program and during my years of working as a classroom teacher, I was taught and came to deeply understand that we must teach our students everything we want them to do. We should never assume that our students already know how we want them to behave or what we want them to understand unless we have explicitly taught them in many different ways, reviewed our expectations, and practiced desired behavior many times over the course of a session of classes or a dance year.

The next time you plan your dance lesson, remember to Double Plan so that you can be better prepared for a successful lesson with students behaving the way you want them to behave!

Dance Classroom Management: Warm/Strict

Today’s Behavior Management Monday Technique from the book Teach Like A Champion 2.0 (paid link) is one of my favorites. It is an extremely simple technique that I use regularly in my work as an educator, both in the traditional classroom and in the dance classroom.

This technique is under the larger category of building character and trust in your classroom. Using the Warm/Strict technique allows us to “send a message of high expectations, caring, and respect” (p. 438).

This is a short section in the book, but I really love the way that the technique is described:

We’re socialized to believe that warmth and strictness are opposites: if you’re more of one, it means being less of the other. I don’t know where this false conception comes from, but if you choose to believe in it, it will undercut your teaching. The fact is that the degree to which you are warm has no bearing on the degree to which you are strict, and vice versa. You should be neither only warm nor only strict. In fact, as the Warm/Strict technique shows, you must be both. You should be caring, funny, warm, concerned, and nurturing–but also strict, by the book, relentless, and sometimes inflexible.

In fact, you should seek not only to be both warm and strict but often to be both at exactly the same time. When you are clear, consistent, and firm while being positive, enthusiastic, caring, and thoughtful, you send the message to students that having high expectations is part of caring for and respecting someone. (p. 438)

In reading the above paragraphs from the text, I am reminded that the idea of showing caring through high expectations is a core belief of mine. As a child training in dance, I remember complaining a few times to my mother that I was being “picked on” by my dance teachers. I remember my mother explaining to me that if the teachers didn’t care or think that I had potential, they wouldn’t correct me. She pointed out the some students never received corrections and got away with doing movements incorrectly, but the fact that teachers took the time to make sure I did things the right way shows that the believed in me and knew I was not giving my best effort. Those teachers wanted me to be my greatest self. Today, I realize from the way in which I communicate with my students and the lens through which I view parenting decisions is largely based in this belief: When you truly believe that someone can accomplish great things, as if it is an undeniable fact, you won’t have a problem with helping them see themselves in the same way and encouraging them to reveal the best part of themselves through their own work and effort. This is one of the qualities that I love most about the technique of Warm/Strict–it combines caring with high expectations and reminds us that high standards are good and should be sought and desired.

Dance Classroom Management: Change the Pace

Hello Dear Dance Educators!

Today’s dance classroom behavior management technique is called Change the Pace, and it is Technique #27 in Doug Lemov’s book Teach Like A Champion 2.0 (paid link). Performing this technique requires the educator in the room to “establish a productive pace” (p. 201) in the classroom, by changing activity speeds, types, or formats.

In the text we read that the engagement that we work to create may, unfortunately, leave quickly and student participation may become “tired and superficial” (p. 201). Often, this is because we educators have continued teaching with the same activity and pacing for too long.

As I mentioned in Episode 9 and in Episode 16 of The Happy Dance Podcast, it is important to incorporate a variety of activities–using different music, props, or movement elements–in order to avoid monotony in your dance classes. Though I mainly focus on crafting educational movement experiences through the art of dance for children ages 2 to 8 years, I believe that the dance classroom management techniques I discuss in my blog and podcast can be scaffolded to be relevant for all ages.

In the text we read (p. 203) that there are five general ways that we can use to help students to engage with material. These five ways are listed below. I want to challenge you, as you read these descriptions, to consider how activities might look if we are planning to incorporate them into a dance class:

  • Assimilating knowledge directly from sources such as the teacher or a text
  • Participating in guided practice or guided questioning structured by the teacher
  • Executing skills without teacher support, as in independent practice
  • Reflecting on an idea–thinking quietly and deeply
  • Discussing and developing ideas with classmates

By working to provide educational dance activities using the categories listed above as a guide, we will ensure that we are providing our students with a well-rounded “mental workout” (p. 203) and an exciting and interesting experience in their dance class.

Have a great week!

Dance Classroom Management: Joy Factor

Hello Dance Educator Friends!

Let’s dive in.

Last week, I wrote about using the behavior management technique called Every Minute Matters in the dance classroom space. When this technique is at the forefront of our mind, we are reminded how precious the tool of time is for ourselves and our students and that we can honor that valuable resource by filling each minute we have with our students with valuable educational experiences and instruction.

I like that technique. I believe in it. It is at the core of my educational philosophy.

However, I also believe in fun. I also believe in creating magic and intentionally inserting happiness into everything. Luckily my friends, that is where the Joy Factor has a place.

Technique #62 in Teach Like A Champion 2.0, Joy Factor, is essentially celebrating the work of learning.

Here is a description of Joy Factor from page 442 of Teach Like A Champion 2.0:

It turns out that finding joy in the work of learning — the Joy Factor — is a key driver of not just a happy classroom but a high-achieving classroom. People work harder when they enjoy working on something — not perhaps in every minute of every day, but when their work is punctuated regularly by moments of exultation and joy.

Five categories for incorporating Joy Factor into your teaching are listed and described as follows:

  1. Fun and Games: These activities draw on kids’ love for challenges, competitions, and play (p. 443).
  2. Us (and Them): Kids, like everybody else, take pleasure in belonging to a group. One of the key functions of cultures — those in the classroom and more broadly — is to make members feel that they belong to an important “us,” a vibrant and recognizable entity that only some people get to be part of. Through unique language, names, rituals, traditions, songs, and the like, cultures establish “us”-ness (p. 443).
  3. Drama, Song, and Dance: Acting things out and singing about them can be an exceptional way to remember information. To learn a song about something — especially one that’s a tad absurd or unusual or one you sing regularly — is, for many, to know it for life (p. 444).
  4. Humor: Laughter is one of the base conditions of happiness and fulfillment, making it a powerful tool for building an environment of happy and fulfilled students and teachers. A tool this powerful should be used (p. 444).
  5. Suspense and Surprise: Routines are powerful drivers of efficiency and predictability. They also make occasional variations all the more fun, silly, surprising, and inspiring. If harnessed judiciously, the unexpected can be powerful (p. 445).

There you have it, friends! Let me know how you’re using Joy Factor in your dance classroom space! Drop a comment on this post, or email me at saumirah@dancedaze.org.

Have a fantastic week!