Elizabeth Rhodes

Professor, Stephen F. Austin State University, Nacogdoches, TX
Field: U.S. Studies—Dance
Host: Center for the Training of Teachers of Dance and Music—Normandy (CEFEDEM), France
Grant Dates: February 1 – March 12, 2006

They Danced

Elizabeth Rhodes with jazz dance students at the Center for the Training of Teachers of Dance and Music in Bordeaux, France.

After teaching at six institutions of dance in France and learning about the French approach to dance pedagogy, I returned to the United States pumped about the level of technique and quality of education I had observed. I started rethinking my own teaching methodology even before my Fulbright Senior Specialist award ended, especially when it came to dance technique classes, the physical training ground for dancers.

Feeling bogged down with the responsibility to impart theory and history within the precious time period of an activity class, I decided to concentrate on just dancing.

Jazz pose Rouen

Teaching in France was an affirmation that this was the right approach as the dancers were hungry to move and learn an American style of jazz dance. Each morning began with a lengthy technique class culminating in a short piece of choreography or musical theater repertory. On occasion I was fortunate enough to work with a live percussionist. It proved to be a delightful challenge to integrate his talents into the class.

Elizabeth Rhodes coaches a dance student from Toulouse.

By the time I arrived at my final workshop in Paris, I was better prepared to face the 10-hour weekend workshop than I had been for my first workshop in Lyon. A gracious staff member introduced me, and two technicians hooked up my body mic as the workshop was to be filmed. Making sure I had a clear sight line to the drummer with his full trap set enhanced with piano and other hand-held percussion instruments, I began slow reaches into the air as I had done in so many jazz dance classes both as a student and later as a teacher.

National Center of Dance

The dancers, comprised of professionals as well as pedagogy students from the National Center of Dance, joined in immediately with full performance energy, not even waiting for me to complete the demonstration. After focusing on alignment exercises, we made our way to more complex coordinations and rhythms. At one point, students lined up in groups of five and crossed the expansive floor with jazz walks, hip isolations, angular arm variations and sharp head changes. The drummer was as attentive as a jet pilot, starting smoothly with a gradual dynamic crescendo. He not only provided a musical base for the class, but created a rich atmosphere of sound inviting the dancers to become a part of the beat rather than merely moving on top of it.

National Center of Dance

The energy became more and more intense, and when we finally stopped, the students whooped and gasped for breath. The drummer beamed. The film crew remained cool and professional, but with subtle smiles. This experience allowed my teaching spirit to soar and reminded me of two essential things. One is that what happened that morning had been inspired by the collective experience of everyone in the studio. For me, that meant bringing to class embodied information that I had learned from my teachers. And two is that when people work together and really focus, the effort becomes a joyous and satisfying experience.