Incorporating Dance into Daily Life

Most people know I love to dance.  I have danced my entire life and love to share this passion with others.  I have taught dance since college and have loved every minute of it.  Once I had my own children, I started incorporating dance movement into everyday life.  Flips, jumps, and leaps are normal playtime activities.  But really is dance all that important?  Dance helps with the Gross Motor Skills.

 

What are Gross Motor Skills:

Gross Motor Skills involve the large muscles of the body that enable such functions as walking, kicking, sitting upright, lifting, and throwing a ball.

 

The Importance of Gross Motor Skills:

Gross Motor skills are important for major movement functions such as walking, maintaining balance, coordination, jumping, reaching, and many others. Gross motor abilities share connections with other physical functions. A student's ability to maintain upper body support, for example, will affect his ability to write. Writing is a fine motor skill. Students with poor gross motor development, have difficulty with activities such as writing, sitting up in an alert position, watching classroom activity, and writing on a blackboard. For them, these activities can be physically draining.  (http://learningdisabilities.about.com/od/gi/p/grossmotorskill.htm) 

With the No Child Left Behind Act and the stress on Math and Reading the educational system has put in place, having a good foundation of the gross motor skills will only help the child in the long run with some of the activities required for a school setting.

To start incorporating movements, we need to know a few and how to do them.  This is a very short and basic list, but a list that students should know by the time they are out of kindergarten.

Definitions of basic terms/steps:

Hop: Spring from one foot and land on that same foot.

Skip: A series of step-hops on alternate feet.

Jump: Spring from two feet and land on two feet.

Leap: Spring from one foot and land on the other foot.

March: A walking step where the knees are lifted.

Ok, I think we are ready to incorporate these into our daily activities.  There are many games students can play at home or on the play ground.  These are a few common ones that almost everyone knows how to play.

• Simon Says - great way to work on learning directions and body parts too
• Follow the Leader - this can be done while walking the neighborhood
• Hopscotch - a stick of chalk and you are set

We all know that as a child gets older, they ability to do different functions improves, add different variations to the steps.

Variations of basic steps:

Hops & Jumps:

            Side to side

            Forwards

            Backwards

            Turning

            Over object

            Across the floor

            With claps

March:

            Forwards

            Backwards

            Over objects

            With claps

Use your imagination, add arms, and, most importantly, have fun.  Share with us what you have done.

As I was deciding on what topic to discuss this week, I decided to look at other blogs and see what they had to say on, well, anything.  So, I went through Sollé Coaching's blog.  Günes Yilmaztuerk is definitely an expert in the field of marketing, especially social media.  As I was looking at the blogs I came across "Why Your Intern Isn't Your Online Marketing Voice."  (Oh yes, I do recall her mentioning something about that in a blogging workshop of hers that I attended not long ago.)  Many of us rely on volunteers and interns to get tasks done.  So, I thought it was important to just share with you her blog on the topic.  

Sure, they’re cheap labor. (Admit it.) And that young generation sure is handy with this Social Media stuff. And who has time to Facebook or Blog or Tweet. So sure, go ahead and give the young intern the responsibility of your Online Marketing. It makes sense. As much sense as giving your entire Rolodex to him and letting him loose because he knows how to use the phone.

You would never let him (or her – female interns are just as bad – we are an equal opportunity believer in lack of inexperienced intern qualifications) call your clients or potential clients, or represent you at network events.  Why do it Online? All the content you post on Social Media platforms brands you. It becomes your reputation. And do you really want to leave your brand and your reputation in the hands of an inexperienced Intern?

What are you thoughts?

E-mail, E-mail, E-mail

OK, I know this sounds like a silly thing, a blog all about having an e-mail address.  Yes, I know it is the 21^st century and my children do not know a world with out computers, internet, and e-mail.  However, as our summer helpers are working on compiling information for various databases, they have fully realized how many organizations do not have e-mail.  I understand that many organizations are run by volunteers, and not all volunteers are comfortable with e-mail.  However, I believe it is vital for any organization to sustain and grow to have one set e-mail account and not change for each new primary contact or president.

1. I already have a couple between work, school, and personal, why do I want to have another one?

• Don’t look at it like you have another e-mail address; it is the organization’s e-mail.  It is not something you need or have to be checking every 10 minutes on your phone.

• Even some companies have one general e-mail so people do not have to try and figure out which department they really should be contacting.

• Many universities have a simple e-mail for the departments or organizations.

2. Why not just use my personal one for the organizations?  I will check it more regularly, making my response time more effective.

• What happens when you are not the primary contact any more?  (I have received some very upset e-mails for contacting the past president because that was the only e-mail I had.)  With one set e-mail for the organization, it does not matter who the primary contact is.

• You don’t have to let everyone know the new e-mails to contact after each switch of officers. I am not talking about just your members, but other organizations you work or have membership with will need to know the new e-mails.

• It is easier for someone to remember myorganization@yahoo.com that doesn’t change than each officers’ personal address that may change on a yearly basis.  (Plus, some personal e-mails are very hard to remember with their crazy spellings and random numbers.)

3. What about all the contacts I already have?

• This is time consuming, but enter them all into the new account.  (There are ways to speed it up with inputting and exporting the information, but I am not going to go into how to do that in this blog.)  Once it is entered, you just have to keep it up dated. 

• Yes you will probably have some members who you contact personally on a regular basis.  But there are many more that you need to send information/newsletters/minutes/etc to that you don’t need their contact information filling up your personal e-mail.

Do I have you convinced yet?  If not, take a minute and think about how often you change officers, yearly for most organizations.  Now think about all the places you have to change the new primary e-mail to: website, brochures, newsletters, all your members, the bank, membership organizations, office supply stores you have "membership" cards with, etc...  Yes you will have to do this one more time if you set up a general e-mail, but you won't have to do it again.

If you are thinking that it is time to get a general e-mail set up, keep a few things in mind when getting started.

1.      Decide what server you want to use.  There are many free e-mail sites available.  Yahoo!, Gmail, and Hotmail are some of the popular ones.  While your cable and phone companies do offer free e-mail with your internet, I would not recommend them if you are relying on an officer's internet service.  Remember, you will most likely lose the e-mail account if you no longer have their internet services.

2.      Decide on the e-mail name.  Keep it simple.  Use the name of your organization or a shortened version.  You want people to remember it and be able to share it. 

3.      Know who is going to check it.  If more than one of you is going to check it, have a system so you know what is taken care of.  You don’t want to double respond or worse, not respond at all.

4.      Make sure more than one of you knows the password.  Even if only your secretary is going to check it, someone else should know the password so they can get in if they need to.  Remember to pass on the password if you change it.  E-mail does you no good if no one can access it.

5.      Check it regularly.  Regularly does not have to be hourly or even daily.  Checking it once a week, even if it is to make sure it is still empty, will work.

6.      Don’t have it forwarded to your personal e-mail.  I know, I know, it is a more effective response time to have it forwarded to the e-mail you check all the time.  But some e-mails you need to keep for historical and record keeping.  If they are in your personal e-mail, the organization doesn’t have them.

7.      Use a web based system.  Using a web based system allows you to check the e-mail anywhere and access all the e-mails you have saved.  I love all the Outlook can do, but it will keep all your e-mails on that computer.  And again, some e-mails you need to keep for historical and record keeping.  If they are on your personal computer, the organization doesn’t have them.  

I know it sounds like one more thing to do, but it really will make everything much easier in the long run.

If you have or are just starting to use a general e-mail for your organization, do you have any tips that helped you?  Anything you have tried that didn't work?

Artist Statement

I’m sure at one point you were asked to write an all-too-official ‘artists statement.’ It can be a divine or detrimental element to the impressions you leave on your audience. This statement essentially answers the general gist of your art. Here are a few common guidelines and rules to follow when writing a statement. 

THE GENERAL FACTS: WHAT? and HOW?

• What is your artwork made of?  How do your make it? What is the process? It would be best to provide a general idea of what your work is. If you work with photography, mention it, but I do not need to know the intrinsic details.
• Is there a special process to creating your work that resonates with the actual theme being delved in? How does the process affect you? If it is nothing particularly special to you, leave it out. There’s no need to confuse us with the technicalities of your work.

THE DEEPER MEANING: WHY?

• Why do you do what you do? Themes? Significance?
• Your statement should definitely touch base with any recurring themes. Talk about the significance of your work: what does it mean to you? Talk about yourself: what interested you in such themes?
• When writing your statement, try to stray from unnecessary comparisons and obscure references. Often, this can pose as a hindrance rather than an aid.

RULE #1: KEEP IT SHORT AND SIMPLE

• You are not writing a novel of your life­–you are meant to entice us, but not formulate expectations of how we experience your work. No matter how much you attempt to explain your philosophies, methodologies, ideologies, etc. my point of view, is still, my point of view.
• Keep it short and simple– give us just enough to fuel us to want to know more. I don’t need a book, but one word or two sentences isn’t really going to do any good either. Usually, an artist statement can range from one large paragraph to four short ones.
• Again, I cannot stress this enough, simplicity is the key to connecting with your audience. Your statement should be in a general language that your audience can understand and interpret.  You don’t want to eliminate people from your extensive audience by using an ancient or unfamiliar language. Think of it this way, an artist statement is essentially printed to explain your process and ideas when you are not there in person to speak–it’s somewhat of a tour guide.

RULE #2: GIVE IT TIME AND GIVE IT TO OTHERS

• Sometimes going off on a tangent is easier that it your think. You may think that your piece is a God-given masterpiece in itself, trust me, wait a day or two and comeback to it, you’d be surprised.
• Consider letting a few colleagues look over it, another perspective and opinion is always useful. If you are still unsure or have a dire need for perfection, why not hire a professional writer? Feedback is your friend!

RULE # 3 BE YOURSELF

• I feel as though this should be the golden rule. Don’t create some sort of false façade to impress us. More than likely, you’ll have impressed us by just being your creative self anyway. If your artwork is personal, there has to be some personal aspect in your statement as well. Never be silent– just because your work speaks, doesn’t mean you have to be quiet.

RULE #4 NOTHING IS SET IN STONE

• Anything is open to change. Once you get it done and said, doesn’t mean it’s set in stone.
• With each theme and concept you explore–even with each medium–you should probably either update or write a new artists statement.
• For example, let’s say you had an exhibition exploring themes of nature using watercolor. You are now having a new exhibition about the urban themes using photography as your medium, write a new statement. You may talk about your transition, but you cannot use the same statement. This new exhibition requires incorporation of new ideas and elements, with fluidity comes revision and change.
• Yes, you can still incorporate and reuse consistent, knowledgeable information, but it must be relevant to your new exhibit.

 Do not worry, it’s easier to write about how you feel and what you know than about the unknown. While these are just a few tips and guidelines to help with the process, more in-depth and detailed looks into writing artists statements are available.  Here are a few links to help you out.  (They’ve even helped me when I had to face that fateful day of writing mine).

Your Artist Statement: Explaining the Unexplainable
By Alan Bamberger

Writing Your Artist Statement
By Molly Gordon

How to Write an Artist's Statement
By Marion Boddy-Evans 

Written by guest blogger and artist, Carianna Arredondo.

Go or Don't Go to a Workshop

Everyday, individuals attend a workshop, conference, or webinar to learn more about an area of interest.  Each of those individuals had to make a decision to attend or not.  That decision can be determined very easily at times; my boss made me.  If attending one of these events is not an essential requirement, how can one divvy out the costs and benefits of these things anyway?  While these coming questions may appear very "duh worthy," try it out, you might surprise yourself. 

1. Does the topic pertain to you?  If you are a musician and the workshop is over photographing your work, you probably don’t need to go. Ask yourself: How will this affect me? In what light? Usually at such events, one is exposed to new perspectives and ideas that further their knowledge of a particular topic. 

2. Is the topic discussed at your level?  If you have never worked a camera, a workshop over advance photo manipulation is probably not for you.  If the workshop description does not explain the expected knowledge, call the hosting organization and find out.  You don’t want to be lost the entire time.  Remember, a refresher course in something you already have learned but maybe don’t use on a regular basis doesn’t hurt.

3. Is it cost effective?  With most people keeping a tighter hold on their wallets, you really have to take a close look if the cost is within your budget.  Are there added expenses beyond the workshop fee like hotels and food?  Remember, your time is also valuable.  Consider your time when deciding its cost effectiveness.

4. Is the presenter any good?  Often times the workshop description has a short bio about the presenter.  Look them up on LinkedIn or other websites.  See if there are any reviews or recommendations about the presenter.  Ask around… word of mouth is still a wonderful resource.  No matter how interesting the subject, a monotone speaker will not hold your attention.

5. Where is the workshop located?  With the gas prices all over the place distance is something to consider.  There are many organizations who offer workshops throughout a region.  Check with your host organization to see if they will be offer the workshop in another county.  Something may already be in the planning process, just not finalized and announced.

I hope these questions gave you some direction. Remember though, the golden rule for this; What is your passion? If anything, you learn. At best, you grow. Sometimes one must just go for it. On that note I'll leave you with this, Progress always involves risks.  You can't steal second base and keep your foot on first.  -Fredrick Wilcox

Share with us what workshops are you interested in?

Juriors, will they like it?

Most artists have been through a jurying process if they have applied for an exhibition or fair.  Sometimes it is a panel of jurors; while other times it is just one person.  With everyone having their own opinion and interpretation of your work, how are you to know if they are going to like your work?  It's simple, you don't.  But, you can make sure your work follows some basic criteria so that you are putting your best foot forward.

1. Professionalism:

• Make sure you complete and turn in all the requested materials on time.  The fastest way to not be selected is to not submit a required document or to be late.
• Did you follow the directions?  Make sure the application is completely and appropriately filled out.
• DO NOT hand write the information.  Every library has a computer lab you can use to download and fill out the application.

2.  Originality:

• Make sure all your work is original in concept and/or presentation.  You don't want someone copying your work, so don't copy theirs.

3.  Artistic ability:

• Make sure your images show your technique and ability.  There are many great self-trained artists; however you can always learn something new and improve.  Taking classes will only strengthen your abilities.
• If you are proposing a specific technique, make sure your images show you have the ability to execute the technique.  If the juror is not sure you can do it, they may not select you.

4. Appropriateness:

• Know who your audience is.  Is your work appropriate for them?
• Know who the venue's audience is.  Did they specify any subject matter not allowed?

 5. Images:

• Remember, the juror is usually only looking at an image of your work.  Does the image really show your ability?  Is it clear or fuzzy?  Is the background distracting or enhancing?
• Are your images formatted and submitted in the requested manner? 
• Workshops and classes are offered all the time to help artists learn to take the best image possible of their work.  If you are by a college, contact them to see if there are any photography students looking for experience.  Take advantage of your resources.

You may not be able to guarantee the juror personally likes your work and wants one for their wall, you can give them your best work in the best presentation.

What is IndianaArts.org?

Many artists and organizations have heard us talk about IndianaArts.org.  Enter your events on IndianaArts.org, integrate your website with it through ACE, market yourself through it, find and post calls for artists, etc...  But, what exactly is it?

IndianaArts.org is a free website for artists and organizations throughout the state of Indiana.  Allow me to take a moment and clarify, we are talking about all arts: Visual, Theatre, Musical, Dance, Literary.  I am also talking to the cultural and historical organizations and individuals.  We are all part of the arts and cultural community.

Now that we have that cleared up... IndianaArts.org was created as an one stop shop online resource for the arts in Indiana.  It is the only statewide online resource.  This resource is even used by the Indiana Arts Commission.  Pretty impressive, huh...  According IndianaArts.org, "there are more than 34,000 registered users, with an average of 25,000 web page views per month from members and the general public."  Those are some impressive numbers.

"The site is owned and operated by Arts Place, Inc., a regional not-for-profit arts council located in East Central Indiana. The program is operating as a collaborative effort, involving over a dozen organizations and agencies across Indiana. Beginning in 1998, Arts Place launched the original centralized online arts database, gradually adding enhancements in collaboration with the Indiana Arts Commission, other Regional Arts Partners (RAP), and Traditional Arts Indiana."

That is all great, but how does all this pertain to me?  Well, organizations and artists both use this site.
Organizations often:

• post up coming events
• post calls for artists
• post job opportunities
• integrate the event calendar to their website

Artists often:

• post up coming performances/exhibitions
• look for calls
• look for job opportunities
• list information about them and their art

So, you are wanting to learn to take better pictures of your work.  Check out the classifieds and events to see what workshops are being offered in digital images.  Wanting to learn to dance?  Check out the events to see what classes are listed.  Looking for an artist to hang work in your business?  Post a classified.  This is what IndianaArts.org is.  One place for the arts and cultural communities to post and find information within the state of Indiana.

Request for Proposals

The Tippecanoe Arts Federation is requesting design proposals for a mural. The site identified for the mural is on 105 E Smith Street, Oxford, Benton County, Indiana.  This is a paid opportunity for a qualified artist or team of artists working collaboratively to create a design. The artist(s) chosen for the project will work directly with area at-risk and underserved youth to execute the design.

The Mural Art Initiative is a collaborative educational outreach program that serves area at-risk and underserved youth populations. The three primary objectives of this multi-faceted program are to: beautify community areas vandalized by graffiti, visually promote the clear benefit of arts in our community, and provide a life-long positive impact on all project participants.

The application and additional information are available at http://www.tippecanoearts.org/callsforentry/RFP-Benton%20County.pdf.  All proposals are due by 5:00pm, March 18, 2011 to:

Tippecanoe Arts Federation
638 North St
Lafayette, IN  47901

All questions regarding the proposal should be directed to Tetia Lee at tetial@tippecanoearts.org or (765) 423-2787.

The Mural Art Initiative is made possible through the generous sponsorship of Benton Community Foundation, Benton County Economic Development, and Indiana Arts Commission.

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