As a dance major at Loyola University Chicago I have learned the value of learning different dance techniques, foundational knowledge of technical elements of dance and kinesthetic information about proper dance technique and injury prevention. Graham technique has emotion and meaning behind it. It is the demonstration of vulnerability, and you must be vulnerable to dance. Humphrey technique has helped me understand the significance and beauty of letting go. While Graham finds value in the show of effort, Humphrey finds value in the showing of freedom and succumbing to gravity. Studying modern dance while studying ballet technique has been beneficial because I find connections between different movement styles, helping further my artistry and technique. I am finding connections between breath and focus and discovering the importance of maintaining movement integrity through all styles. Learning the mechanics of lighting, sound, set design and costuming during my Crafts for the Stage class provided the basic knowledge of technical theatre. These are also skills that will benefit my professional career. During my study of dance kinesiology, I learned the best practices for approaching dance technique, anatomical and kinesthetic performance and function of movement. I now have a better understanding of my psoas, abduction and adduction, and movement efficiency overall.
My time at Loyola has given me a broader, more educated understanding of dance history. I am now aware of the cultural appropriation in many classical works and how ballets have been, and still can be, white-washed. I gained a greater awareness of the lack of representation for people of color in dance companies currently and throughout history. However, I am also educated on the history and works of many dancers and dance influencers including Catherine de Medici, Martha Graham, Alvin Ailey, and Ohad Naharin. With my knowledge from Dance History, I can confidently assert that dance can be used as a weapon for social justice. Learning about and seeing Charles Weidman’s Lynchtown (1936) was a great example of how dance can be an outlet for uncomfortable and dark topics that are difficult to discuss. To be a dance citizen means to advocate for equality and equity for all people and dancers. Dance citizenry involves advocating for and actively seeking social justice. Through studying dance history, I have been exposed to the elitist nature of professional dance and have also seen platforms that and professionals who reject this elitist hierarchy actively seek methods and opportunities to bring dance to all.
Taking technique classes for ballet and pointe has given me the opportunity to take a step back and re-compose what I value in dance and dance technique. It helps me understand the importance of movement integrity and illustrates the concept of valuing the process of movement over the product. I am learning not only class etiquette but how to approach classes with the appropriate attitude about my work and abilities. I strive to execute movements and other things in life perfectly—which is impossible. In turn, I can become frustrated when I am, in fact, imperfect in my execution. Instead, I should use these flawed moments as research rather than taking them personally. Technique classes have helped me further research movement efficiency and understand how my body performs and executes movement. For example, ballet has helped me find my true turn out and helped me research body alignment and weight distribution. In post-modern I am learning about the head-tail connection and how it can be used for movement efficiency. I am beginning to find myself as a dancer and learn how I like to move.
I am a person who has a difficult time with change and pushing myself to do things outside my comfort zone. Therefore, a substantial and beneficial emotional risk for myself was researching dance in Rome with Mandala Dance Company. It pushed me to leave the country for the first time and research dance in an environment where I had to be vulnerable. I can also be very hard on myself (expecting perfection), so dancing with professionals who were able to move in ways I am not yet skilled was humbling and allowed me to find ways to be more accepting of my strengths and weaknesses. I take physical risks by going for and attacking movement in an efficient way. Beginning to take more risks in my movement gives me the opportunity to understand my limits and find the ways of moving that work for me. I have built confidence and a sense-of-self because I have pushed myself in my dance courses. Traveling to Rome, having the opportunity to write for the dance blog and The Loyola Phoenix, and being pushed outside my comfort zone by performing part of a ballet have been extremely transformative because they required that I take risks and also provided information to my interests and abilities as a dancer. Another transformative experience was attending the Midwest Convening for Physically Integrated Dance, because it introduced me to physically integrated and adaptive dance which broadened my perspective of who can dance. Having the ability to share dance with dancers of differing abilities is joyous to me and was one of the many reasons I knew Loyola needed to be my dance home. I love being able to share this art form with others who may not think they can participate in it.
Pursuing a dance major here has been challenging for me. Because I entered the program with little technical background, I struggled to feel like I belonged. I felt behind the other ladies and questioned whether I could catch up with them or improve at the proper pace. While I am not perfectly confident nor complacent or satisfied, this year I have begun to have more confidence and self-esteem in class. I am still being challenged—for example, Graham technique has been incredibly challenging. However, I no longer enter class thinking that I do not belong.
My time at Loyola has given me a broader, more educated understanding of dance history. I am now aware of the cultural appropriation in many classical works and how ballets have been, and still can be, white-washed. I gained a greater awareness of the lack of representation for people of color in dance companies currently and throughout history. However, I am also educated on the history and works of many dancers and dance influencers including Catherine de Medici, Martha Graham, Alvin Ailey, and Ohad Naharin. With my knowledge from Dance History, I can confidently assert that dance can be used as a weapon for social justice. Learning about and seeing Charles Weidman’s Lynchtown (1936) was a great example of how dance can be an outlet for uncomfortable and dark topics that are difficult to discuss. To be a dance citizen means to advocate for equality and equity for all people and dancers. Dance citizenry involves advocating for and actively seeking social justice. Through studying dance history, I have been exposed to the elitist nature of professional dance and have also seen platforms that and professionals who reject this elitist hierarchy actively seek methods and opportunities to bring dance to all.
Taking technique classes for ballet and pointe has given me the opportunity to take a step back and re-compose what I value in dance and dance technique. It helps me understand the importance of movement integrity and illustrates the concept of valuing the process of movement over the product. I am learning not only class etiquette but how to approach classes with the appropriate attitude about my work and abilities. I strive to execute movements and other things in life perfectly—which is impossible. In turn, I can become frustrated when I am, in fact, imperfect in my execution. Instead, I should use these flawed moments as research rather than taking them personally. Technique classes have helped me further research movement efficiency and understand how my body performs and executes movement. For example, ballet has helped me find my true turn out and helped me research body alignment and weight distribution. In post-modern I am learning about the head-tail connection and how it can be used for movement efficiency. I am beginning to find myself as a dancer and learn how I like to move.
I am a person who has a difficult time with change and pushing myself to do things outside my comfort zone. Therefore, a substantial and beneficial emotional risk for myself was researching dance in Rome with Mandala Dance Company. It pushed me to leave the country for the first time and research dance in an environment where I had to be vulnerable. I can also be very hard on myself (expecting perfection), so dancing with professionals who were able to move in ways I am not yet skilled was humbling and allowed me to find ways to be more accepting of my strengths and weaknesses. I take physical risks by going for and attacking movement in an efficient way. Beginning to take more risks in my movement gives me the opportunity to understand my limits and find the ways of moving that work for me. I have built confidence and a sense-of-self because I have pushed myself in my dance courses. Traveling to Rome, having the opportunity to write for the dance blog and The Loyola Phoenix, and being pushed outside my comfort zone by performing part of a ballet have been extremely transformative because they required that I take risks and also provided information to my interests and abilities as a dancer. Another transformative experience was attending the Midwest Convening for Physically Integrated Dance, because it introduced me to physically integrated and adaptive dance which broadened my perspective of who can dance. Having the ability to share dance with dancers of differing abilities is joyous to me and was one of the many reasons I knew Loyola needed to be my dance home. I love being able to share this art form with others who may not think they can participate in it.
Pursuing a dance major here has been challenging for me. Because I entered the program with little technical background, I struggled to feel like I belonged. I felt behind the other ladies and questioned whether I could catch up with them or improve at the proper pace. While I am not perfectly confident nor complacent or satisfied, this year I have begun to have more confidence and self-esteem in class. I am still being challenged—for example, Graham technique has been incredibly challenging. However, I no longer enter class thinking that I do not belong.