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: 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: Be Seen Looking

Hey everyone!

It seems that I took an unplanned break from blogging to focus on some other areas of my dance business! But, now I’m back with new ideas and newly inspired, ready to start writing here again.

A little earlier this evening, I was reading about teaching preschool dance classes, and the author recommended that we dance teachers use some behavioral management methods that I will talk about in further detail later–positive behavioral narration and specific public praise.

Behavioral narration and public praise are two techniques I absolutely love using to help manage my dance classroom. However, as I was considering these two methods, I couldn’t help but backward mapping and considering what newer dance teachers might have to do before feeling comfortable enough to use either of those tools.

I know that finding one’s “teacher voice” (and yes, dance teachers have a “teacher voice” also) can be difficult and take years to understand and develop. This made me think about all of the non-verbal cues that I’ve learned to use in my dance classroom space over the years, whether I’m teaching dance for my studio-based dance classes or for my dance programs in schools.

One simple, effective strategies I use is called “Be Seen Looking.” It is one of the short phrases that was drilled into my head (thankfully) during my intensive classroom teacher residency program. It is a tool I continue to use today to manage my dance classroom.

In Teach Like A Champion 2.0, Be Seen Looking is listed as High Behavioral Expectation Technique #51. This technique is described as a way to, “prevent nonproductive behavior by developing your ability to see it when it happens and by subtly reminding students that you are looking” (p. 387).

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When I was taught this technique, I remember being encouraged to do it overtly and with a flair of drama (which is typically my student when teaching). For example, in the dance classroom, after giving a clear direction or explanation such as, “I’ll know everyone is ready when you are all standing with your feet in first position and your arms in low fifth position (or en bas),” I might lift my chin just a little and simply wait, while checking the position of each student’s feet and arms.

I think this is a powerful technique for many reasons:

  1. It is quiet and doesn’t distract from your lesson.
  2. It gives the dance teacher an opportunity to develop their teacher presence and non-verbal teacher “voice”.
  3. It reminds the students that you care about what they’re doing during class time.
  4. It lets students know that they should be vigilant about listening to directions during class.
  5. It’s easy to remember and simple to implement.

The Be Seen Looking technique is part of a cycle that works to get 100% of students’ attention 100% of the time. Page 387 of Teach Like A Champion 2.0 states:

“Great teachers ensure that they have 100 percent of students with them for the teaching and learning; their expectation is 100 percent of students, 100 percent of the time, 100 percent of the way. Great classroom managers generally step in to address distractions earlier than other teachers, allowing their interventions to be almost imperceptible. The recipe implicit in their success is simple and powerful: catch it early and fix it noninvasively, without breaking the thread of instruction.”

That is my Management Monday tip for today, folks!

What techniques are you using or encouraging teachers at your studio to use manage student behavior and maintain atmospheres that are focused on learning in an engaging and artistic environment? Let me know in the comments!