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Why Grade Dance?
Ting-Yu Chen believes there is no one path to deserving an A in dance. Photo by N_Link_Photography
The challenges and rewards of grading college technique classes.
Bring up the subject of grading dance in higher education, and professors and students alike will sigh. What does a “B” tendu look like? How can you give a jumping combination an 83?
Grades and art do not get along well, as almost any dance professor will tell you. Still, at most colleges and universities, grades must be given, and so professors must find ways to quantify the unquantifiable.
Grading rubrics may appear straightforward, but they present challenges for both instructors, who grapple with how to define the art form’s inherent subjectivity, and students, who may focus more on scores than refining their skills. Each person has their own aesthetic biases, and there are many ways to dance well.
When Jillian Harris first joined the faculty at Temple University, she helped to create standards for modern technique, which took the form of a checklist where a “5” represents very proficient and confident and a “1” represents not proficient or confident. Temple’s standards for Level I modern include items such as “Overall movement efficiency and proper alignment” and “Using the plié and cushioning through the feet.” Level IV standards include “Ability to seek out and investigate new information as part of the learning process” and “Embodiment of a mature work ethic, consistent with that of a professional performer.”
Ting-Yu Chen, dance division chair and associate professor at Shenandoah Conservatory, looks at grading as a way of determining “how well students are mastering their own instrument.” She relies on a rubric that breaks down grades into Technique, Artistry, Accuracy (how clearly they perform the choreography), Body Maintenance (overall physical condition) and Professionalism. Each category weighs 20 percent of the “Dance” portion of the technique grade, which weighs 90 percent combined with 10 percent for written work.
Attendance is often a critical factor, since showing up for technique class is how the work gets done, unlike in a lecture course where students can catch up on reading and notes if they miss class. In many institutions, students are allowed a certain number of absences in technique over the course of a semester, and for each absence beyond that their final grade will be dropped by one step (for example, from a A to A-, or A- to B+).
Even with the most thorough standards, though, there is often cause to disregard them. “I don’t teach a codified technique, so there’s no exact way to do what I’m asking,” says Cornelius Carter, professor and director of the dance program at University of Alabama. “I just get totally ill when it comes to grading.” Carter teaches jazz and modern, in addition to composition courses, and feels his “job is to get students involved in questioning.”
He’s created a rubric that allows for open discussion and includes elements such as attendance, consistency and work habits. But, Carter notes, “quite often, the brilliant students don’t do anything on the rubric and, when teaching a combination, you are constantly surprised by the different ways students present their intelligence.”
Despite the difficulty of assigning grades, some benefits do emerge. Grades force professors to deeply consider what they are teaching and what results they seek in their students. Chen says, “It’s so much about us, the graders, searching inside ourselves. Every grade we assign, we’re putting out there our philosophy of what dance is.” She also notes that in an academic environment, grades “give you something to strive for. We assign students a grade that helps them know where they are.”
Drawbacks emerge when students—conditioned by endless standardized testing in K–12 education—focus too much on grades, often saying, “Tell me what I need to do to get an A.” There’s no one answer, and the path to an A in dance will not always seem easy, or even fair. Chen says, “Some students with raw talent and a gifted body type come in at a high level; others have to work really hard to get to the A range.” That’s why most grading rubrics take into account elements such as work habits and professionalism, since, as Carter says, “we’ve all seen students who can do anything you ask, but they’re asleep.”
Outside of academia, of course, grades have little meaning. An artistic director watching a dancer audition is not going to look at college transcripts to check the dancer’s technique grades. They’re going to watch how the dancer performs in front of them and interacts with others. “The grade that comes out at the end does not guarantee you a job,” Chen says.
This tension between the reality of the field and the expectations of academia cannot be erased by the perfect grading rubric. Students ultimately must accept that earning a degree in dance means dealing with grades, even though grades don’t mean much once they graduate. As Harris says, “All I can do is be honest with students about that tension. When you leave the university, no one is going to give you a rubric. You have to be self-motivated and create your own.”
The Pros of Self-Grading
To mitigate the impersonal nature of grades in technique classes, Cornelius Carter incorporates self-assessment into his grading process at University of Alabama. “In my process, the students get to propose their grades. We sit down one-on-one, go through their proposal and see how it matches up against mine.” This self-assessment follows the syllabus-grading breakdown exactly as Carter’s does. Most of his faculty adopted this marriage of self-assessment and instructor feedback. “Let’s come in and hash it out so we can both cry and fall on the floor and get it over with,” he says. It takes a bite out of students receiving electronic feedback and having no way to really engage or respond.
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)
Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?
SELF decided to find out.
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.
Many choreographers have been defeated by Stravinsky's Rite of Spring. However, one dancemaker whose stridency, rhythmic daring and sheer inventiveness could possibly match Stravinsky's is Wayne McGregor. For his first commission from American Ballet Theatre, McGregor has taken on this earth-cracking music in AFTERITE, to premiere at ABT's Spring Gala. Also on the May 21 gala program are excerpts from Alexei Ratmansky's restaging of the comic ballet Harlequinade, the full version of which will premiere next month, and a pièce d'occasion by tapper Michelle Dorrance. May 21–26. abt.org.
If diamonds are a girl's best friend, it's safe to say that faux-diamond earrings are a dancer's best friend. A fixture onstage at just about every competition weekend, these blinged-out baubles are also the surest sign that recital season is upon us again. And what better way to get into the sparkly spirit than by drooling over these 5 diamonds in the rough? (Sorry not sorry!)