Club Classroom: Igniting the Learning Experience Through Play and Communal Celebration

AUTHOR

Abdiel Jacobsen, Dance, UW Seattle

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ABSTRACT

I recently taught a course in Street and Club styles that focused on Hustle, a partnering dance form born in the boroughs of NYC in the early 70s. This UW course was open to students whose dance experience ranged from beginning to professional.

When learning Hustle in a non-academic setting, the club is the classroom. Hence, I created monthly “labs” where a dance studio was converted into an environment simulating influential clubs of the 70s. During the labs, no verbal instruction was given, nor was any predetermined framework superimposed on the event. Students were on their own to freestyle and improvise based on concepts discussed in non-lab classes.

Though daunting to some at first, providing the freedom to explore and play with ideas became liberating for many. Students began to trust themselves and others in spontaneous exchange, thereby developing a strong sense of community. Considering the current interest in Diversity, Equity, and Inclusion, it is significant to note that spontaneous exchange is fundamental to African diasporic social dance forms. Also foundational to those forms are the ritual of communal celebration and one’s contribution to the greater whole.

My pedagogical approach to the learning of Hustle honors its roots. Instructors in other disciplines can apply this approach. How a subject is taught is as important as the subject itself. The late bell hooks writes, “If the effort to respect and honor the social reality and experiences of groups in [multicultural] society who are nonwhite is to be reflected in a pedagogical process, then as teachers—on all levels, from elementary to university settings—we must acknowledge that our styles of teaching may need to change.” I offer that change: the club as the classroom.

SUMMARY

RESEARCH QUESTION

How can university teaching spaces be altered to enhance and honor the cultural integrity of African diasporic dance forms?

RESEARCH METHODS / SCHOLARLY BASIS

When learning Hustle in a non-academic setting, the club is the classroom. Hence, I created weekly “labs” where a dance studio was converted into an environment simulating influential clubs of the 70s. During the labs, no verbal instruction was given, nor was any predetermined framework superimposed on the event. Students were on their own to freestyle and improvise based on concepts discussed in non-lab classes. Though daunting to some at first, providing the freedom to explore and play with ideas became liberating for many. Students began to trust themselves and others in spontaneous exchange, thereby developing a strong sense of community. Considering the current interest in Diversity, Equity, and Inclusion, it is significant to note that spontaneous exchange is fundamental to African diasporic social dance forms. Also foundational to those forms are the ritual of communal celebration and one’s contribution to the greater whole. My pedagogical approach to the learning of Hustle honors its roots.

RESULTS

By approaching teaching this way I have come to find that giving the students the freedom to play is liberating for many. Although frightening at first, this vulnerability opens a door of trust self and with each other that deepens the sense of community amongst students. Some of my students have expressed to me that this learning process has gone beyond the benefit of the classroom and into their personal lives in how they can relate and articulate their authentic creative voice in such atmospheres where spontaneous exchange is possible. Likewise, the eagerness of contribution to the space and the community is essential. By coming as you are and participating, you bring and offer a part of your inherently unique expression to the greater whole which in turns completes an ever-generating reciprocity of life, energy and love through the ritual of communal celebration.

APPLICATION

With the advent of Diversity, Equity, and Inclusion Departments proliferating in educational institutions there are under represented people, communities of practice, and dance forms now eagerly requested. This is the first time Hustle has been offered and taught as a dance course in higher education. It is crucial we pay close attention not just to what we are teaching but more importantly how we are teaching it. My pedagogical theory models the very process of learning, formation and creation of the social dances that we identify today as street and club forms. Bell hooks states, “Despite the contemporary focus on multiculturalism in our society, particularly in education, there is not nearly enough practical discussion of ways classroom settings can be transformed so that the learning experience is inclusive. If the effort to respect and honor the social reality and experiences of groups in the society who are nonwhite is to be reflected in a pedagogical process, then as teachers—on all levels, from elementary to university settings—we must acknowledge that our styles of teaching may need to change.” I offer a change; the club as the classroom.