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!


Dance Classroom Management: Make Compliance Visible

Hello dance friends!

Today’s behavior management technique modified for the dance classroom setting is called Make Compliance Visible. As always, this technique comes from Doug Lemov’s book Teach Like A Champion 2.0 (paid link), and it is part of most classroom teacher training programs today. As a former classroom teacher, as the founder and director of several dance programs, and as someone who hires and trains dance teachers to better prepare them to teach, I am happy to organize these techniques and make them accessible for you, the dance educator. My hope is that these brief, weekly tips will help dance educators who find this information have more successful classes with more engaged students.

So what does Make Compliance Visible mean? Here is the definition: “Ensure that students follow through on a request in an immediate and visible way by setting a standard that’s more demanding than marginal compliance. Be judicious in what you ask for, specifically because it will uphold the standard of compliance” (p. 393).

This technique is in the section called high behavioral expectations, which I think is so extremely important in the dance classroom, especially when we are working with children. We, as the educators in the room, set the standard for what will happen during our learning time.

The text explains, “As a rule of thumb, the more visible the action you ask students to execute, the easier it is for you to see what students do, and the more that students implicitly recognize that you can clearly see what they do. This makes them more likely to do what you’ve asked and makes it easier for you to hold them accountable” (p. 393).

We are given an example of a school principal who, in an effort to help a classroom teacher who struggled to keep students focused, recommended having 3 scripted points into the lesson plan when the teacher would intentionally bring the class “back to orderliness” (p. 393). The principal, David McBride, asked the teacher on his staff to do the following:

  • Given an observable direction
  • Use “Radar” (intentionally scan and strategically see whether something is done)
  • Narrate the follow-through of at least two students who have demonstrated the desired behavior (and correct at least one student if they did not comply, in order to set higher expectations)

It is important for us to use the Make Compliance Visible technique because when students see other students following directions, accountability is increased for all students in the class. Additionally, the normality of compliance is increased.

I talk about this a bit more and give additional examples in my audio clips in the Dance Classroom Management section of my website for dance educators and dance studio owners, Please go there to listen and learn more!

If you enjoyed this post, please be sure to share it so that it reaches more dance educators and helps improve more dance classrooms!

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: Every Minute Matters

I appreciate the opportunity to share behavior management tips with a focus on Doug Lemov’s Teach Like A Champion for a few reasons.

First, it gives me a sense of reward to feel that I am putting my best foot forward toward (hopefully) inspiring the coming generation of dance educators and aiding in putting good education practices into the ethosphere.

Second, I feel a sense of satisfaction to push myself to further my education outside of my current academic program. For years I have considered myself a “lifelong learner” and to dedicate my time to daily or weekly reading, synthesizing, and applying information gives me a strong sense of fulfillment.

Third, it gives me a chance to create. In re-purposing content to which I was originally introduced as a young educator myself and placing it in the lens of dance education is a creative endeavor for me. And, yeah, I consider myself a “creative.” This is one way that I got my jollies, if you will.

Finally, I feel that I’m providing a little bit of insight into the brain of the mama of Dance Daze, Inc. and Dance Daze in Schools programs. (That’s me. Founder and CEO all day, yo.)

With that, let’s dive into today’s Behavior Management Monday Tip. It’s Technique #31 in Teach Like A Champion 2.0, and it can be found under the larger category of Pacing. It’s called “Every Minute Matters.”

In short, when practicing Every Minute Matters, we are respecting the students’ time by making each minute as productive as possible.

When explaining this technique, Lemov says, “Time, I was reminded… is water in the desert. It is a teacher’s most precious resource — it is to be husbanded, guarded, and conserved. Every minute of it matters” (p. 225).

He goes on to explain in this chapter that if we let students “relax” for just the last 5 minutes of every class for 6 classes in each school year, we are giving up 75 hours of valuable instructional time.

One of my favorite parts in this chapter is as follows:

Mastering Every Minute Matters means spending time with the greatest possible productivity by attending to the everyday moments when time is often squandered. It means assuming that events will forever create new and unanticipated opportunities for downtime to occur, and therefore being prepared with “back-pocket” activities: a high-energy review of what your students have learned, or a challenge problem. It means keeping a series of short learning activities ready so that you’re prepared when downtime threatens . . . . You can, in short, always be teaching. (p. 226)

As someone who has directed summer camps, been a camp counselor, directed after school programs, been a teaching artist, been an elementary classroom teacher, worked as an internship coordinator, and who currently directs my own dance education organizations, I think that the above quote is so powerful and it is one of the skills that impresses me most when I am observing other teachers, both new and experienced. I think that having a “bag of tricks” is one of the most important skills for an educator to develop, and it is something that comes with time.

When I was first working as a teaching artist for Dance Daze in Schools in the Bay Area, I worked very hard to develop my bag of tricks because I quickly realized that the way I had been trained in dance wasn’t entirely working for teaching dance in schools for several hours per week. Back then, I was teaching dance for kids in kindergarten through sixth grades at multiple schools. I worked hard to find ways to blend my knowledge of dance classroom culture (really: dance studio and pre-professional dance training culture) with elementary school culture. One way in which I did this, and, therefore began developing my bag of tricks was reading. I read about different ways to engage students through movement and thus began my person deep dive into the world of dance education.

One of the books that helped me to teach dance in schools was Making Fun Out of Nothing at All: 101 Great Games That Need No Props. I loved this book because it was inexpensive, practical, and full of movement activities that would allow me to break up the monotony of my in-schools dance classes, keep my students engaged, and continue teaching fundamental elements of movement and dance-making in a way that resonated with my students–play. Oh, also, in case you didn’t catch it in the book title–NO PROPS are needed for any of these 101 activities. AWESOME.

So yes, this is one book I would highly recommend for adding to your bag of tricks as a dance educator, especially if you are teaching at a school, camp, or community center.

Be prepared to teach the art of dance in any environment. And be prepared with a deep and interesting bag of tricks so that you can make every minute of learning time impactful and productive for your students.