Guest Teacher: Dicki Johnson Macy - Part I

 

 

I

Unit: Teaching

Theme:Movement Motifs

Introduction 

Dicki Johnson Macy, BC-DMT, M. Ed., L.M.H.C., third generation lineage holder in the Art/Technique of Isadora Duncan (having studied first as a child with Anita Zahn) and director of the “Boston Children's Foundation” is the creator and founder of Rainbow dance .

II

Learning Objectives

•  Understand the application of movement motifs
  
• Explain the benefits of creative dance and movement for children
  
• Gain awareness of the importance of creative dance and movement motifs as part of the methodology of teaching
• Experience the creation of a lesson using creative dance and movement through the application of movement motifs
  

 

III

 

Main Lesson

 

 1

CONTENT NOTES

Relationships

Developing relationships

understanding we must be in relationships.

It is biologically imperative we are connected, otherwise we die.

We have developed a relationship that is not with each other, but isolated.

In the work we do not establish a sense of safety. We need to be in relationship to achieve that sense of safety.

This is achieved by using our tone of voice, proximity, etc, which is not possible digitally.

 

This text based relationships are not reciprocal, but digital.

What we can do through the dance work is to keep the balance.

For instance, generalized aggression comes from the need to release energy.

In class, we can imagine the kids are seeds on the ground.

So, reciprocal relationships require us to develop relationships.

When done, we are always in an awe. This surprising element allows us to discover who we are in relationship to each other.

 

Variables

Isadora refers to the symbology of nature.

The Duncan work is more tri-dimensional.

There are several variables: the form (typical dance form and structure), the gaze ( how we connect), the feeling (what we put into the form).

We give the children a story that they can embrace and empowers them to express their emotion through the dance.

These stories come from different cultures. Isadora used Greek related stories.

 

Stories /  Motifs

When we dance we tell a story about Gaia and the love between the earth and the sky. It about what came before and after us.

We work with rituals to create safety.

For instance the Chrysalis ritual becomes a way for children to get engaged through a right of passage. They move from one phase to another.

Some of the motifs would come with the dances in relation to the cells. The beautiful gesture of open arms, open arms, like receiving what is outside of you.

The other motif is receiving, which makes your heart vulnerable, which leads to being trusting. The posture is quite powerful.

 

Isadora referenced the Greek figurines which were about walking, cooking, growing, making them part of what Johnson Macy calls Duncan's Tai chi.

Another idea is that of katharos, which means clean, pure. physically. purified by fire. in a similitude, like a vine cleansed by pruning and so fitted to bear fruit.

 

Images

Thus, the heart as the center of our movement, which is our emotional heart, the center of our breath. As soon as we open our wings there is a sense of freedom that comes, moving from the heart.

 

Images of wings, the flight are powerful examples of how the dance can teach these concepts.

There is also a sense of being in communion with the music.

Another gesture is the arms invoking the sun adoration. The concept of this is important to teach any age about the everyday opportunity to be new. Every day I am anew.

These can be extended to, for instance, connecting with the ancestors.

 

The other idea is chasing. This is part of who we are. The myth of Eros and Psyche is an example of chasing. In the dance they play the roles of the chaser and the chased.

 

 Ritual

At the beginning of every class there is a ritual circel and the connection with those in the group, what is above e and bellow us. The circle invites every body to be part of a whole.

Another elemental part of this work is that everything moves in waves (water, air, enenrgy). The spiral in nature, for instance, gives movement theis eternal element of the wave. There is also a calmness in the wave that stimulates relaxation, rest, stillness.

Pictures

So, to be able to actually be in nature and engage with it is the most desirable, however is not always possible. But, we can symbolically do that. Johnson Macy sometimes shares pictures with the students to give students the feeling. Helped by music the children can embody the element of nature addressed.

The beautiful sense of flow as they serpentine across the room, the move on the same path, the spiral together. Serpentining is the path that we choose to flow in . Another piece that is significant is the competitiveness children are put through regular education. So, we think that kids need to understand that leaders cannot be leaders unless they have followers, That allows them to keep together as a body.

We have a heart that keeps us alive. However, everything has a heart. So we connected to the world through out heart. One theme we use is that of the butterfly and its migration. Thus, the process involves, seating, collecting, etc.

 

2

Myths

Gaia & Uranus

Sacred and profane

as Unity

One of the dances connected with that myth is Isadora's scarf dance. They move between the sea and the land. Beauty in this work is seen as a value. In terms of renewal she (Aphrodite) has to return to the sea for renewal. The girls play the 3 graces as they engage with each other, making eye contact...

Primrose Fairy

She is the queen because she is kind. She makes eye contact with everyone in the circle and moves with them out of kindness.

 

Apollo and Daphne

He chases, and chases. It is a free style dance. They stop and freeze,

 

The Heroic Titans

We play with the myth of the titans to create fiery heroic dances. 

Second century Greece shows a sculpture that emphasizes the tri-dimentionality of freedom, unity and heroic acts.

3

Takeaway

So, what are we passing on to the children?

That we all need each other. That diversity in nature is the norm. So, by using music, natural elements, we can generate the right answers. We all have this mission to shift what is happening in the world. So, this digital relationships makes us attached to our phone. Children are not learning to to relate to each other through digital means. What we can do is to emphasize digital learning as a way to respond to each other, move and dance with themes that encourage community building.

Some schools are now adopting some instances in which kids have to be creative during the day. When your brain gets tired, just go outside, take a break to look at something that is outside. WE have a huge job ahead of us, those of us who work with children, need to engage.

4

 Questions & Comments

Nicole Peterson

Starting simple to then advance, I like how they are met where they are to then go more advance.

Dicki

The come with some anticipation, but they are encourage to passively participate. They come in when they are ready. As long as they are looking and listening they get the same physiological benefits. They kids will connect on some level. They learn more than dance steps. The child needs to feel empowered.

Ambi Pu

Agree that we need to create a positive relationship when teaching kids. So movement helps to create that positive relationship with the students.

Dicki

The experience of making connection through the gaze, allows us to make the story as we dance. If we keep them in the moment as the story happens there are more chances to keep them feeling safe. That is how the relationship begins, We move from having individual focus to have collective focus. So, children do not feel judged. So from judging to witnessing. These pieces, though simple, allow the children to feel trustful. 

Kayla Humphrey

It was interesting how you relate relationship with dance and motifs

Dicky.

Any of the indigenous cultures have stories related to nature. The Greeks myths are what Isadora brought, but we include all cultures.... 

Isabel Collado

It was great to hear you talk about building a relationship with you. I just wonder what would happen if when a new student joins?

Dicky

What I find is that the group is becoming solid, the group has the tendency to welcome the newbie in. The groups are not created by our design, but if we create a curriculum that has  a continuation, we can design groups that welcome new kids. Some kids are disruptive, but we try to work with a team. Their tendency us to care for those who are more needy. An image is that of the baby bird and thus, they care for each other by returning to a place where we practice that again.

Gabie Marinich

What is the biggest difference between working with little kids and those who are a little older.

Dicky.

The work is about developing a relationships no matter the age. So, in all it brings a feeling of inclusion.We do the different animals and then the ritual. So the structure is the same. It becomes more sophisticated with the older ones. we play with the patterning from very simple to more complex (dyads, tryadsm quartets). We make it developmentally appropriate,

IV

A Note to Remember

For the past 30 years, Dicki Johnson Macy, in her career as a dance therapist, she has created international healing rituals for children isolated by developmental and neurological disorders and exposure to conflict and natural disaster. She continues to guide children, caregivers, and dancers of all ages with her Isadora inspired workshops and trainings.

V

 Case Study

“Guardians of Isadora”

Dicki Johnson Macy's Isadora Duncan performance group “Guardians of Isadora” is a community of children, mothers, dancers, therapists and others inspired by Duncan’s profound pedagogy.

 

VI

Activity

 

VII

Journaling

VIII

Glossary

IX

Sources

X

Students' Work