By Kate Feinberg Robins, PhD
In my blog post Addressing Race in Ballet and Capoeira, I discussed Find Your Center’s commitment to bringing race and social justice explicitly into our dance and capoeira classrooms. Here I share my experience doing this with my Children's Ballet class for 7-10 year-olds in early June. This is part of an ongoing effort to incorporate history and context into our dance and martial arts curricula. Tips for Addressing Race & Social Equity with Grade School Children
The Lesson Plan
Children's Ballet is a 60-minute live online class that I teach for 7-10 year-olds. The class follows a typical ballet format with floor warm-up, barre, and centre exercises. I incorporate history, context, and critical thinking in a variety of ways. In this class we watched the 6-minute video "Dance Theatre of Harlem: Arthur Mitchell Tribute" published in 2019. This lesson built on another one that I discuss in my post on History and Struggle.
Learning Objectives
Introduction (Pre-Video)
Wrap-Up (Post-Video)
Ethnicity and Belonging
I like this video because it's joyful and celebratory. It reminds me of the triumphs that come out of struggle, the strength and resilience of communities, and the power that each of has to create a vision and see it through. These reminders are important in moments when it feels like we're struggling against all odds. For children who may not be as aware of the broader issues our society is struggling with, this video offers inspiration for the great things they can accomplish, both as students and as they grow up and become professionals.
This video also offered opportunities for my students to draw connections with their own lives. It gave them a window into a professional ballet school, which helped them contextualize their own training at a recreational school and gain respect for the art of ballet. It allowed us to explore in more depth the concept of ethnicity, which I had introduced in the previous class. We were able to make connections with ethnic groups in our own city, and with personal experiences of belonging and not belonging, social comfort and discomfort. This video brings up many complex issues that can be discussed with adults and teens as well. It's great for all age levels because there are many subtleties that can be addressed or left alone, depending on the age group.
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By Kate Feinberg Robins, PhD
In my blog post Addressing Race in Ballet and Capoeira, I discussed Find Your Center’s commitment to bringing race and social justice explicitly into our dance and capoeira classrooms. Here I share my experience doing this with my Children's Ballet class for 7-10 year-olds in early June. This is part of an ongoing effort to decolonize our curricula and educate our students in social justice as well as dance and martial arts. Tips for Addressing Race & Social Equity with Grade School Children
The Lesson Plan
Children's Ballet is a 60-minute live online class for 7-10 year-olds. The class follows a typical ballet format with floor warm-up, barre, and centre exercises. I incorporate history, context, and critical thinking in a variety of ways. In this class we watched the first 3 minutes of the video "Revelations from a lifetime of dance - Judith Jamison and Alvin Ailey American Dance Theater," a TED Talk published in 2019.
Learning Objectives
Introduction (Pre-Video)
Wrap-Up (Post-Video)
History & Struggle
I like this clip for school-aged children because it draws on a historical story that they have probably learned about in some form, and makes it relatable through dance. It addresses violence implicitly but not explicitly, offering children tools to process a mature subject without exposing them directly to violent content.
My pre- and post-video discussion helps kids of all backgrounds relate to the experience that the dancers and choreographer are expressing. The video shows one of the best modern dance companies in the world, and exemplifies the power of the arts to help us as a society process complex social issues. For adults and teenagers, Alvin Ailey American Dance Theater offers a wealth of powerful performances by world-class dancers and choreographers portraying some of the most difficult moments in our history. "Wade in the Water" emphasizes triumph and hope in a way that is accessible for school-aged children, and gives them context to process the historical struggles that they'll come to understand more deeply as they get older. 
By Kate Feinberg Robins, PhD
In my recent blog post Addressing Race in Ballet and Capoeira, I discussed Find Your Center’s commitment to bringing race and social justice explicitly into our dance and capoeira classrooms. Here I share my experience doing this with my 2-4 year-old Bilingual Creative Movement class in early June. This is part of an ongoing effort to decolonize our curricula and educate our students in social justice as well as dance and martial arts.
Tips for Addressing Race & Diversity with Young Children
The Lesson Plan
Bilingual Creative Movement is a 30-minute live online class for 2-4 year-olds. I teach the class in Spanish and English and teach pre-ballet and pre-capoeira concepts through creative movement. I've written this lesson plan in English, but my discussion with the children was bilingual. It was centered around the video "Alvin Ailey American Dance Theater" on the channel The Call to Unite.
Learning Objectives
Note: I skipped the introduction and started this video at 0:59 to make it shorter for my young audience. I could teach a whole different lesson just using the first minute of this video. I would focus on the concept of English and Spanish (which we speak in our class) being different languages, and tell the kids that people speak lots of different languages all over the world. I would ask the children if they recognize any words they hear in the video, and if anyone in the video speaks or looks like anyone they know. I would remind them how we say hello to each other in Spanish and English in our class, and then we would transition into the next part of our class.
Introduction (Pre-Video)
Wrap-Up (Post-Video)
Unity and Black Role Models
I like this video for young children because it is joyful while also acknowledging sadness. The "Bosom of Abraham" referred to in the song is a place of comfort. Children don't have to understand the reference or be raised in a Biblical tradition to understand the concepts of sadness and comfort. Families are dealing with the stresses of a pandemic, social unrest, and economic uncertainty. This lesson validates the negative emotions children might be feeling in their households, and helps them deal with those emotions by coming together through dance and music.
The coming together that children see in this video is multiracial. Because we are meeting online from our homes and the dancers in the video are also meeting online from their homes, it feels like they are coming into our classroom. We see dancers who look predominantly Black and mixed, joining a classroom of children who are white, mixed, and Latinx. This normalizes Blackness and normalizes racial diversity. I also emphasize to my students that the dancers in the video are different from us in one important way. They are professionals. They do what we do, but better. These are the people we should look up to. 
By Kate Feinberg Robins, PhD
Not Enough
Racial equity within ballet and capoeira has always been an important part of our mission at Find Your Center. It is implicit in everything we do. The events of the past few weeks have led us to realize that we need to make this work more explicit:
Our Commitment
We believe that race and social justice are relevant in all of the work that everyone does every day, not just during moments of crisis. Joining together in protest, advocating for justice, and demanding humane policies are our duties as citizens, in whatever forms these actions take for each of us. Beyond this, our everyday work needs to be guided by respect, compassion, a willingness to see, and a willingness to listen.
We are committed to bringing social justice explicitly into our dance and martial arts curricula from here on out. We want every student at Find Your Center to be able to express, in age-appropriate ways, issues of racial inequity in the arts they are learning. All of our students should be able to appreciate the struggles and contributions of Black dancers and martial artists, as well as other marginalized groups. Teaching Race in the Dance Classroom
As an anthropologist running a dance school, I recognize that I am possibly in a unique situation. Most dance teachers are not trained to facilitate discussions of race. I believe that needs to change, and I hope that the work we are doing at Find Your Center will help change it.
Predominantly Black dance schools and companies like Dance Theatre of Harlem and Alvin Ailey do not have the luxury of not talking about race. It is a privilege of predominantly white dance schools to be able to remain silent. White dancers cannot continue to put the burden on our students and colleagues of color to educate us about their experiences. We need to make sure that our students see. We need to give our students space to talk respectfully, space to remain silent, and space to express their complex emotions through movement. We must make mistakes—and correct them—in order to learn. This is true in dance and martial arts, and it is true in discussing race and inequality. We don’t always know what to say. Sometimes we hurt each other without realizing it. Our job as teachers is to make our classrooms supportive spaces where we can call each other out on our mistakes, correct them, and learn. Using Dance to Teach and Discuss Race
Art is a powerful tool for communicating experiences that we don’t know how to talk about. As an art whose canvas is the body, dance is a particularly powerful tool for conveying the kinds of unspeakable acts that we as a society are grappling with now—brutality, genocide, claiming ownership of other people’s bodies. Dance performances that address these issues can serve as prompts for discussions and reflection on racial injustice in churches, homes, and workplaces, not just dance schools.
Dance is also a powerful tool for communicating emotions and encouraging children to express their emotions in productive ways. Some children are experiencing racial tensions personally and emotionally, while others have little awareness of them. Dance videos can serve as inspiration, permission, and an invitation for children to share emotions they may not understand. By sharing and valuing the contributions of Black artists in ballet and capoeira, we also teach our children to look up to Black role models. We make race visible. We don’t allow ourselves to look the other way. Lesson Plans for Teaching Race through Ballet and Capoeira
Click on one of the blog posts below for examples of how to bring race and social justice into your dance and capoeira classrooms in age-appropriate ways:
Teaching Race to Young Children: Unity and Black Role Models Teaching Race to Grade School Children: History and Struggle Teaching Race to Grade School Children: Ethnicity and Belonging
By Kate F Robins and DeShawn "Quiabo" Robins
For Spring Break next week, we're sending our students recommended ballet, capoeira, and flamenco movies to enjoy at home. We found most of these on YouTube, and many are available on other streaming services as well (Netflix, Amazon, etc). Recommended Ballet Movies
A Ballerina's Tale (unrated/ all ages)
The Company (PG13/ all ages) Billy Elliot (R for language/ all ages) Leap (PG/ kids) White Nights (PG13/ adults) Black Swan (R/ adults) Recommended Capoeira Movies
Only the Strong (PG13/ all ages)
Fight Science - Stealth Fighters by National Geographic (all ages) Mestre Xuxo - Enjoy Yourself (available on Amazon; all ages) Undisputed 3: Redemption (R/ adults) The Protector (R/ adults) Recommended Flamenco Movies & Productions
Flamenco Flamenco by Carlos Saura (unrated/ all ages)
El Amor Bruja by Carlos Saura (PG/ all ages) Flamenco Hoy by Carlos Saura (all ages) Carmen by Carlos Saura & Antonio Gades, Teatro Real de España (all ages) 
By Kate Feinberg Robins
Una Transición Suave
Find Your Center transicionó suavemente de clases en nuestra escuela a clases virtuales apenas el Gobernador Inslee anunció las clausuras de las escuelas de Washington el día 13 de marzo. Para lunes 16 ya estábamos enseñando todas nuestras clases en sus horarios programados, conectándonos virtualmente con nuestros estudiantes desde nuestro nuevamente configurado “estudio en casa.” Desde el principio hemos tenido un salón virtual seguro, monitoreado para que no entre nadie que no esté inscrito en la clase. Nunca hemos compartido fotos o videos de casas ajenas y no lo haremos sin permiso explícito.
Durante estas dos semanas, hemos entregado la misma instrucción de alta calidad en grupos pequeños que nuestros estudiantes nos han llegado a esperar, a través de las reuniones en línea. Aunque no podemos ofrecer nuestro estudio espacioso, piso de baile profesional, barras de ballet y bolsa de patadas, hemos aprovechado de la oportunidad de enseñar a nuestros estudiantes cómo practicar en sus propios espacios en sus casas. Nuestras clases siguen siendo interactivas, respondiendo y adaptándanos a las necesidades de cada estudiante en cada clase. Hemos creado coreografía colaborativa en Ballet para Niños, corregido la técnica de nuestros estudiantes a través de conversaciones en video, compartido letras de canciones en português en nuestra pizarra virtual para Música de Capoeira, y sobre todo disfrutado de bailar, mover, cantar y estar juntos. Seguimos enseñando el mismo programa de estudios que ofrecimos en nuestro estudio (lo que se puede ver en nuestras descripciones de clases en www.FindYourCenterPasco.com/classes). Seguimos registrando el desarrollo de habilidades de cada estudiante a través del portal estudiantil en línea, preparando las presentaciones estudiantiles para el verano, y personalizando nuestra instrucción para cada estudiante y cada grupo. Agradecemos a nuestros estudiantes y familias por su colaboración en esta transición. Mantener nuestro horario regular de clases nos ha permitido a nosotros y a nuestros estudiantes a encontrar estabilidad en nuestras vidas cotidianas durante tiempos de mucha inseguridad. Cada día anticipamos la hora en que podemos ver y trabajar con nuestros estudiantes, y esperamos seguir viéndoles por muchos días que vienen. Bienvenidos a Nuevos Alumnos Cercas y Lejanos
Mientras la circunstancias actuales han necesitado que algunas familias salieran de nuestra escuela hasta poder reunirnos nuevamente cara a cara, también hemos podido dar la bienvenida a nuevos estudiantes en nuestro salón virtual.
Nuestras inscripciones siempre son mes a mes y abiertas durante todo el año. Estudiantes nuevos se pueden juntar en cualquier momento inscribiéndose en el sitio web www.FindYourCenterPasco.com. Esperamos que esto sea una oportunidad para reconectar con antiguos estudiantes que ya no viven en el área Tri-Cities, con seguidores de Find Your Center que viven lejos, y con cualquiera que no haya podido juntarse a nuestras clases en persona. Una vez que podamos volver a tener las clases regulares en nuestro estudio, nos comunicaremos con los alumnos de distancia para retirarse de las clases, o para seguir enseñándoles a través de secciones en línea. Nuestras descripciones de clases, horarios y precios se pueden encontrar en www.FindYourCenterPasco.com/classes. Mirando Hacia Adelante
Tenemos varios talleres y presentaciones programadas para este verano y otoño. Manténte al tanto para las fechas y detalles. Esperamos tener a todos de vuelta en nuestro estudio para la Presentación Estudiantil de Verano en junio. Siempre hemos hecho presentaciones simples, así que mientras podamos juntarnos, ¡el espectáculo seguirá!
Por mientras, necesitamos seguir pagando la renta para poder tener un estudio a donde podremos volver. Hemos estado abiertos por poco más de dos años, y dependemos de los pagos mensuales de los estudiantes para sostener nuestra escuela. Tenemos una próspera comunidad de estudiantes que se han juntado para seguir aprendiendo y entrenando en línea, y esperamos que juntos podremos superar esta situación y regresar a nuestro estudio antes de que pase mucho tiempo. Manteniéndonos Centrados
Sin importar si te juntes o no a las clases de Find Your Center, recomendamos que tomes un poco de tiempo cada día para centrarte entre medio de los cambios diarios y la inseguridad que todos estamos experimentando. Haz ejercicio, medita, crea arte—haz lo que tú necesitas para poder enfocar en tu propio bienestar.
Find Your Center ofrece recursos gratis en línea a través de nuestro canal de YouTube (Find Your Center - Pasco, WA on YouTube), página de Facebook (facebook.com/FindYourCenterPasco) y blog (www.FindYourCenterPasco.com/blog). Puedes utilizar estos recursos para entrenar solo, mirar espectáculos inspiradoras, leer sobre la historia y las teorías de aprendizaje, encontrar recursos recomendados para la meditación, libros empoderadores para niños y más. También recomendamos que tomes un poco de tiempo sin pantallas y conexiones virtuales para estar presente contigo mismo y con los que viven en tu casa. Para poder estar presente en nuestras comunidades, nuestras naciones y nuestro mundo, es necesario mantenernos centrados y sanos. Entre medio de las luchas existen grandes oportunidades—de surgir como una sociedad más unida y compasiva; disfrutar de la compañia de las personas con las que vivimos; reconectar con los amigos cercas y lejanos. Hasta las oportunidades más cotidianas—de encontrar maneras de seguir bailando y jugando capoeira en los espacios pequeños de nuestras casas—pueden ser justo lo que necesitamos para poder tomar un descanso, centrarnos y resurgir listos para dirigirnos a los desafíos sin precedente que todos estamos enfrentando juntos en este momento.
By Kate Feinberg Robins
A Smooth Transition
Find Your Center transitioned smoothly from in-person to online classes as soon as Governor Inslee announced statewide school closures on March 13. By Monday, March 16 we were holding all of our classes at their regularly scheduled times, connecting with students virtually from our newly set-up home studio. From the beginning we've had a secure virtual classroom, monitoring our door so that only enrolled students can enter. We have never shared photos or videos of other people's houses and will not do so without explicit permission.
Over the past two weeks, we have delivered the same high quality, small group instruction through our online meetings that students have come to expect from us. While we can't offer our spacious studio, sprung marley floor, ballet barres and kick bag, we have been taking advantage of the opportunity to teach students how to practice in their own spaces at home. Our classes continue to be interactive, responding and adapting to the needs of each student in each class. We've created collaborative choreography in Children's Ballet, corrected students' technique through video chat, shared Portuguese lyrics on our virtual white board for Capoeira Music, and overall enjoyed dancing, moving, singing, and being together. We're continuing to teach the same curricula that we offered in our studio (outlined in our class descriptions at www.FindYourCenterPasco.com/classes). We continue to track students' skill development through our online student portal, to prepare for summer presentations, and to personalize our instruction for each individual student and each group meeting. We would like to thank our students and families for helping to make this transition smooth. Maintaining our regular class schedule has enabled us and our students to find stability in our daily lives during uncertain times. Each day, we look forward to seeing and working with our students, and we hope to continue for many days to come! Welcoming New Students Near and Far
While the current circumstances have led some families to withdraw until we are able to meet again in person, we have also been happy to welcome new students into our virtual classroom.
Our enrollment is always month to month and open year-round. New students can join at any time by signing up at www.FindYourCenterPasco.com. We hope this will be an opportunity to reconnect with past students who no longer live in the Tri-Cities area, with Find Your Center fans who live far away, and with anyone who has been unable to join our classes in person. Once we are able to move regular classes back into our studio, we'll touch base with our distance learners to either unenroll or continue teaching online-only sections of some of our classes. Class descriptions, schedules, and tuition rates can be found at www.FindYourCenterPasco.com/classes. Looking Forward
We have several workshops and presentations planned for this summer and fall. Stay tuned for dates and details. We hope to have everyone back in the studio for our Summer Student Performance in June. We have always kept our student performances simple, so as long as we are able to get together, the show will go on!
In the meantime, we do need to continue paying rent in order to have a studio to go back to. We have been in business for just over two years now, and we count on monthly tuition payments for our school to be self-supporting. We have a thriving community of students who have come together to continue learning and training online, and we hope that together we'll get through this and return to our studio before too long. Staying Centered
Whether or not you join Find Your Center classes, we urge you to take some time each day to center yourself in the midst of the daily changes and uncertainty that we are all experiencing. Exercise, meditate, create art—do what you need to do to focus on your own wellness.
Find Your Center offers free online resources through our YouTube channel (Find Your Center - Pasco, WA on YouTube), Facebook page (facebook.com/FindYourCenterPasco), and blog (www.FindYourCenterPasco.com/blog). You can use these to train on your own, watch inspirational performances, read about history and learning, find recommended resources for meditation, empowering children's books, and more. We also encourage you to take time away from screens and virtual connections to be present with yourself and those in your household. In order to be there for our communities, our nation(s), and our world, we need to keep ourselves centered and healthy. In the midst of struggle there are great opportunities— to emerge as a more unified and compassionate society; to enjoy the company of the people we live with; to reconnect with friends near and far. Even the most mundane opportunities—to find ways to keep dancing and playing capoeira in our own small spaces at home—can be just what we need to be able to take a break, center ourselves, and re-emerge ready to address the unprecedented challenges that we are all facing together.
By Kate Feinberg Robins, Ph.D.
At Find Your Center, our teaching is informed by research on learning and movement, as well as our many years of intensive training in the arts that we teach. For the next several blog posts, I'm putting on my cultural anthropologist hat to look at some of the research that helps us understand learning, movement, and the history of capoeira.
This post looks at anthropologist Greg Downey's 2014 lecture "Dance of the Disorderly: Capoeira, Gang Warfare & How History Gets in the Brain," presented at the Latin American Studies Center of University of Maryland, December 4, 2014. Quotes are from 41:00-45:00. Video from https://www.youtube.com/watch?v=SJXc6yMXBnM.
Ballet dancers balancing in improbable positions
The first time I saw a capoeira game was in the summer of 2000 in northeast Brazil. As a ballet dancer who could accomplish amazing feats that most people don’t imagine possible, I had never seen anything like this—people who were as agile & powerful on their hands and heads as my ballet colleagues and I were on our feet. They could balance in improbable positions, moving from one to the next with total control.
Anthropologist Greg Downey describes the capoeira headstand or bananeira na cabeça as:
...a dynamic movement. It's not a static position like you do in yoga. You move around in it. You jump into it.... While yoga and gymnastics involve various types of headstands, in capoeira training practitioners are asked to jump into headstands, ...place the head on the ground and then pivot around it, ...spin on your head, ...slide on your head.... 
The Bananeira movement is named after banana trees, with the hands and head rooted to the ground while the legs and feet move freely like leaves
Downey describes one particular headstand that epitomizes the improbable positions of capoeira: [Mestre Valmir] was doing a headstand where the weight was sort of resting just above his ear, his head was sort of flopped over on one shoulder, he was vertical, and he picked his arms up... and I couldn't imagine how his spine just didn't pop out the back of his body. It just looked like it would break your neck.
In contemporary US society we think of the neck as fragile:
When I first saw [bananeira na cabeça] I sort of saw it through the eyes of my mother, and the first thing I said was, "Oh, my God, you're gonna break your neck." ...That was what I assumed. Your neck is fragile, and if you put your head on the ground, you're gonna break your neck.
Downey goes on to describe the process of un-learning the culturally conditioned reflex to protect our heads & necks in order to train the capoeira headstand:
When students are first asked to train in this, they're given minimal instruction. They're just told, "Do it. Vamos. Vamos embora. We're gonna do it. Let's go." And so you do it, and new people are always in the back of the room, and you start hearing the "thunk," you know, the head on the ground. And nobody even pays attention when you first do it, unless you really hear a loud "thunk." And then you only turn around to laugh, because you know it's part of the training. 
In many parts of the world today, the head is used as a 5th limb in everyday life
Downey argues that when capoeira students learn to use the head as a fifth limb, they are embodying the very history of capoeira. In 19th century Brazil, like in many parts of the world today, the head was used to carry things. Old photos show Mestre Bimba carrying sacks of concrete on his head and Brazilian porters carrying pianos on their heads. In training bananeira na cabeça, we can come to imagine ways of life different from our own, where things that we assumed were impossible or dangerous are a normal part of everyday life. At Find Your Center, we value the rich history of capoeira and the power of capoeira movements, music, and songs to teach our students about different ways of living and being. We invite you to explore capoeira's rich history and culture--and maybe try some headstands of your own--through our music and movement classes for all ages.
By Kate Feinberg Robins, Ph.D.
At Find Your Center, our teaching is informed by research on learning and movement, as well as our many years of intensive training in the arts that we teach. For the next several blog posts, I'm putting on my cultural anthropologist hat to look at some of the research that helps us understand learning, movement, and the history of capoeira. 
"Order and Progress" on the Brazilian flag
Is it a game? A dance? A ritual? A fight?
Capoeira is meant to trick and deceive by being all of these at once. The untrained eye viewing capoeira often wonders, Who won? Yet the trained practitioner knows the subtle movements that may be just a game today, but would be deadly if the need arose. Anthropologist Greg Downey explains the history of this deceptive martial art: The perceived "disorderly appearance of capoeira has roots in 19th century Brazil, when it was associated with urban gangs called capoeiras and desordeiros or ‘disorderlies,’ [who were] alternately turned to as political enforcers and turned upon and persecuted as a target of moral panic.... Even though capoeira is now legal and openly practiced, even endorsed by the state, many practitioners seek to maintain the sense that they are practicing ‘disorder.’
Disorder and Progress? In a nation whose flag touts “Order and Progress,” how did such a “disorderly” art come to be respected cultural heritage? Capoeira at its core is full of contradiction and deception, and it is precisely because of this that it has endured. It is a powerful testament to the enslaved Afro-Brazilians who created capoeira that it continues to spread across nations and social classes over a century after its creation.
This post looks at anthropologist Greg Downey's 2014 lecture "Dance of the Disorderly: Capoeira, Gang Warfare & How History Gets in the Brain," presented at the Latin American Studies Center of University of Maryland, December 4, 2014.
By Kate Feinberg Robins, Ph.D.
At Find Your Center, our teaching is informed by research on learning and movement, as well as our many years of intensive training in the arts that we teach. For the next several blog posts, I'm putting on my cultural anthropologist hat to look at some of the research that helps us understand learning, movement, and the history of capoeira. 
Developing healthy exercise habits in childhood is essential for preventing disease later in life. But for healthy habits to stick, they have to be culturally meaningful, socially viable, and supported by family and peers. For many children, capoeira is the perfect fit.
A 2013 study by Stanford University professor Kathryn Azevedo and colleagues found a Mexican folk dance program to be highly effective in increasing physical activity among low-income Latina girls. The cultural content led to increased parental involvement and “made cultural identity socially desirable.” Researchers found high rates of participation, improved social networks, and improved family cohesiveness. Most importantly, they succeeded in instilling healthy exercise habits in a population at high risk for childhood obesity. Capoeira plays a similar role in communities throughout the world, bringing people together in supportive social environments where they practice healthy habits together with family and peers. Capoeira’s cultural content also instills pride in Latina/o and African American children, reinforcing their motivation to stay active. If you have a child struggling to find the right sport to motivate healthy exercise habits, we invite you to give capoeira a try. From Bilingual Creative Movement classes for preschoolers to Teen/Adult Capoeira for older children, our curriculum at Find Your Center aims to instill cultural pride and physical and mental empowerment in children and adults of all ages.
This post looks at Azevedo and colleagues' 2013 article "Turn Off the TV and Dance! Participation in Culturally Tailored Health Interventions: Implications for Obesity Prevention among Mexican American Girls" in Ethnicity & Disease, 23(4), 452–461.
By Kate Feinberg Robins, Ph.D.
At Find Your Center, our teaching is informed by research on learning and movement, as well as our many years of intensive training in the arts that we teach. For the next several blog posts, I'm putting on my cultural anthropologist hat to look at some of the research that helps us understand learning, movement, and the history of capoeira. 
Don't those apples look delicious? I've always found that the more I eat fresh, healthy foods, the more I crave them. The same is true with exercise and meditation, and particularly with the highly technical and physically demanding arts of capoeira and ballet. Once you experience that sense of complete immersion in what you're doing, that feeling of challenging your body to do things you didn't think you could, and the realization that with focus, persistence, and solid guidance, you CAN do those seemingly impossible things--there's no going back.
What makes capoeira such a good fit for a healthy lifestyle? In their study of capoeira and aikido practitioners, Sports Scientist Dariusz Boguszewski and his team found that martial artists were significantly healthier than the average person. While many of the health-related behaviors they identified could be connected with any sport, they found 5 aspects of capoeira that make its practitioners particularly healthy:
They also found that even casual martial arts students led healthier lifestyles than non-martial artists:
At Find Your Center, we take a holistic approach to our martial arts and dance instruction. We value the process just as much as the outcome. As we guide you through the journey of developing your skills in capoeira, ballet, or flamenco, our primary goal is to help you become a healthier, more centered person. Join us to make capoeira part of your healthy lifestyle.
This post looks at Dariusz Boguszewski and colleagues’ 2014 article “The estimation of health-related behaviours of men practising aikido and capoeira” in Journal of Martial Arts Anthropology (14:2), pp. 41-46.
By Kate Feinberg Robins, Ph.D.
At Find Your Center, our teaching is informed by research on learning and movement, as well as our many years of intensive training in the arts that we teach. For the next several blog posts, I'll put on my cultural anthropologist hat to look at some of the research that helps us understand learning, movement, and the history of capoeira. 
Macaco - The macaco or monkey is a complex acrobatic movement in capoeira.
This post looks at Greg Downey’s 2008 article “Scaffolding Imitation in Capoeira: Physical Education and Enculturation in an Afro-Brazilian Art,” published in American Anthropologist 110:2, pp. 204-213.
Based on research with Mestre João Grande’s Capoeira academy in New York City, anthropologist Greg Downey identified 3 characteristics that set expert Capoeira teachers apart. João Grande spoke little English and his students spoke little Portuguese, yet his teaching was highly effective. How did he do it?
Downey found that Capoeira, like many other forms of physical education, is learned largely through imitation—and that effective learning through imitation requires not just an attentive student, but also an expert teacher. A good teacher facilitates imitation by:
In learning theory these techniques are called “scaffolding,” because the teacher provides extra support for novice students and gradually takes that support away until students can stand on their own (just like the scaffolds used for building construction).
In these videos from Capoeira Vibe, you can see Mestre Parente demonstrating these teaching techniques with the macacão (big monkey) movement. His use of scaffolding makes the Portuguese video easy to follow even if you don’t understand the language!
The teacher concludes the video by demonstrating the movement in context with a partner. In this final demonstration, the macacão is no longer part of a set sequence, no longer carefully positioned and slowed for the student to observe. At this point, the teacher has removed the scaffolding so that more advanced students can imitate freely and perform the movement in context on their own. Next time you come to class, notice how your capoeira and ballet teachers at Find Your Center place the movements we're teaching in a sequence. Notice how we position ourselves, our students, and the mirrors so that you can see from various angles. And notice how we break down each movement into its component parts. If you're confused about something, ask us: How would this movement be combined with others? Can I see it from a different angle? Can you slow it down? 
By Kate Feinberg Robins
My beginning adult ballet students often ask what they should practice at home. One challenge in practicing ballet is that there is so much, it’s hard to know where to start when you don’t have a teacher to guide you. Every class I teach is different, because an important part of dance training is putting steps together in different ways. This is why even professional ballet dancers take company classes, where the company’s ballet master or ballet mistress gives practice exercises.
A company class at the Royal Ballet
Once you’ve been studying ballet for a few years, or even a few months, you’ll start to understand the patterns of ballet exercises, which we call “combinations.” At that point, it will be easier to make your own exercises to practice at home. But if you’ve just begun and everything is new, then where do you start? Or maybe you understand how to create a combination, but you just want to focus on doing it, without the extra complication of also putting it together. You just want a simple way to practice at home between classes, without putting too much thought into it. So where do you begin?
These three ballet barre videos offer good practice routines for beginning adult students.
I chose them for 3 reasons:
How to use these videos when you practice at home:
And most importantly, have fun!
By Kate Feinberg Robins
Lazy Dancer Tips is one of the most thorough and well produced Youtube channels demonstrating how to use ballet exercises for general fitness. Here is my list of pros and cons: Pros
Cons
Overall, the pros far outweigh the cons, so I encourage you to take a look at these videos and add them to your fitness routine. 
By Kate Feinberg Robins
This one is for all of you out there who are getting your small businesses off the ground, keeping them going and growing, and trying to stay centered in the process. It's for those who are raising your kids, working your jobs, going to school, pursuing your dreams, and feeling overwhelmed by it all. The past few months have been a whirlwind for us. We started renting our studio space in November, and spent the holiday season painting, renovating, learning to do bookkeeping, and finalizing our course catalog. On January 15, we worked from 4am to midnight installing our dance floor so we could teach our first classes the next day. Needless to say, there were countless moments of exhaustion, doubt, and frustration. When it all seems overwhelming, when there's too much to do, when we feel defeated--those are the moments when it's most important to pause, sit, and meditate. It's this daily practice of meditation that gives us the confidence and the energy to keep pushing through. It helps us to remember why we're doing this, to center ourselves, and sometimes just to observe that we're not centered and why. There are many kinds of meditation and I think the best kind is the kind that works for you. DeShawn and I approach it in different ways, but the important thing is that we help each other remember to do it every day--especially on the days when it seems like we have the least time. The guidance that I've found most useful comes from Jack Kornfield's book Meditation for Beginners, where he guides you through simple Vipassana, or Mindfulness, meditations. Like many people, I've always had trouble with the idea of clearing my mind. I also struggle with guided meditations that are filled with instructions. What I like about Mindfulness Meditation is that instead of trying to clear everything out of your mind, or put something else in your mind, you focus on observing what's already there. Instead of judging yourself for feeling angry or distracted or disappointed, you observe and acknowledge how you feel. If your mind wanders, you bring it back without judgment. You can find Jack Kornfield's Meditation for Beginners at jackkornfield.com/meditation-beginners/ and browse his website for more resources. Whatever your project is, whatever your dreams, whatever your state of mind, we've found meditation to be a powerful tool in bringing us to the next level and moving forward with confidence. We hope that you will too. 
By Kate Feinberg Robins
As an adult ballet dancer, I am continually working to find that balance between correct technique and the joy of dancing. I’m always worried about protecting my lower back. Like many dancers, I spent years training to bend in all different directions, without always doing it correctly. As I got older, the flexibility stuck, but the strength to hold my posture in alignment did not. Then there was pregnancy with its joint-loosening hormones, all the extra weight my body had never carried before, and my pelvic floor and ab muscles moving into new positions. Nearly two years after childbirth, it’s still a constant struggle to keep my knees, ankles, feet, and pelvis all safely warmed up and in safely aligned positions. But the secret of ballet is that correct technique is what allows you to find a place of calm strength where you can confidently center yourself, feel the music, and let the joy of dancing move you. Ballet technique is incredibly complicated. If studying ballet is new to you, or if you've never trained at a professional studio, this might come as a surprise. If you have been training for a while, you're probably painfully aware of how hard it is to simultaneously do the million and one things that make the most basic of steps look both correct and easy. On his website A Ballet Education (aballeteducation.com), former professional dancer and ballet teacher David JoongWon King has written a series of blog posts with detailed notes and drawings explaining how to perform ballet steps correctly. He covers basics like second position and tendu devant, as well as more complex steps like pirouettes and attitude derrière. For beginning students, these "Notes" on ballet technique will feel overwhelming and abstract. I encourage you to take a quick look anyway, for these reasons:
When we look at all A Ballet Education’s drawings of perfectly proportioned people performing ballet steps with perfect technique, it’s easy to lose sight of the joy of dancing. But hidden within this complexity are basic principles of alignment that can keep you dancing safely and confidently through all kinds of challenges. Sometimes to rekindle that joy, we need to pause, re-center ourselves physically, become one with the music, and just dance. 
By DeShawn "Quiabo" Robins
Difficult moments in life we all have to go through. Life of course can be a flower, but it's full of spines. You have to know how to do it, how to hold the flower. -Mestre Xuxo I have always believed that great capoeiristas are defined by their dedication and contribution to the art and by the examples they set in their lives and their practice. Mestre Xuxo is a capoeira master who embodies these ideals. He grew up training with his father Mestre Sampaio, left Brazil to teach in Europe when he was 18, and has since dedicated himself not only to training his students and sharpening his skills, but to breaking boundaries within the capoeira world by bringing together practitioners of all styles and levels. In his YouTube channel and his 2014 documentary Enjoy Yourself, Mestre Xuxo imparts words of wisdom, shares training exercises, and gives inspiring performances. Here are some of the gems from the video “Mestre Xuxo – Enjoy yourself movement”: You are the one that we need to make a better world. -Mestre Xuxo Only one person can stop you. Only one person can hold you back, and that person is yourself. -Mestre Xuxo The secret of life is to live. -Mestre Xuxo Capoeira itself, and dance, music, art—it cannot change the world, but it can change people, and people can change the world. -Mestre Xuxo
By Kate Feinberg Robins
Mikhail Baryshnikov is widely considered to be the greatest male ballet dancer of all time. The strength and power of his dancing embody all of the reasons that ballet training can be such a powerful tool for athletes, artists, and all kinds of others. If ever you thought that ballet was only for little girls, Baryshnikov’s performance in the 1985 movie White Nights will change your mind. If you want to see the whole movie, you can rent or buy it on YouTube. If you just want to see the most amazing dance scenes, you can watch them for free. Remember that it’s rated PG-13 and be prepared for some mature content. Here are my recommendations:
If you know a little girl who finds inspiration in pink tutus, good ballet training will teach her to channel that excitement into power and strength. If pink tutus aren’t your thing, check out Baryshnikov. You won’t be disappointed. 
By Kate Feinberg Robins
My rediscovery of ballet after retiring from a pre-professional performance career at age 18 has been gradual, to say the least. During my last couple years of high school, I was dancing lead roles with the Cuyahoga Valley Youth Ballet and preparing to audition for professional companies, or to continue my training at professional schools if I wasn’t yet good enough to be hired. At 5’ 1”, good enough to be hired meant good enough to be a soloist. No one would hire a dancer my height for the corps. I auditioned for American Ballet Theatre’s Studio Company, and unsurprisingly, didn’t make it. I made the second cut at Julliard, but didn’t quite get in. I finished high school prepared to enter Butler University’s ballet program on a merit scholarship. There I would stay, perfecting my skills until I could finally get paid to do what I loved—or so I thought. But during that summer between high school and college, I discovered that I no longer loved it enough to give up everything else. I wanted to reach beyond the walls of the dance studios and theatres, to do all those things I had always had to say no to. I wanted to study philosophy and travel the world. It would be another ten years before I could enjoy a ballet class again. I was afraid to set foot in a studio and see how terrible my dancing had surely become. I was embarrassed to be seen at less than my prime. I feared that a ballet class would only bring frustration over what I could no longer do. In the years after I stopped performing, I was occasionally asked to teach ballet—first to young gymnasts in Indiana, and later to professional flamenco dancers and amateur folk dancers in Chile. Eventually, I began seeking out opportunities to work with students who didn’t see ballet as a serious career option, but enjoyed and appreciated it alongside their main interests and pursuits. I taught middle and high school students who cared more about orchestra, drama, academics, and athletics than ballet. I taught children who were enjoying their childhoods. I taught adults who were finishing their PhDs, building their careers, and raising their children. Through these students, I rediscovered my own love for ballet and discovered that it could be part of my life—and so many other people’s lives—without giving up everything else. Ballet study as a casual pursuit has traditionally not been taken seriously by professionals. No one likes to see their profession cheapened by amateurs claiming to know it all. Yet, like with all fields, I think there is a happy medium. Students with a passing interest in a subject can learn from professionals with the awareness that their growing knowledge and skills will only ever scratch the surface. Ballet study has a great deal to offer to adults and children of all ages with all kinds of goals and interests. The website balletforadults.com, while aimed primarily at adults, offers practical tips for any casual student who is serious about doing their best in ballet class, even if their best will never be good enough for a professional career. What I like most about this site is that it clearly explains things that tend to be taken for granted in ballet classrooms. When young people train intensively, they are socialized into the norms of ballet study. For casual students who take the occasional class or start learning later in life, this socialization doesn’t happen. They enter the studio unaware of where they should stand, what they should wear, or how they should address the teacher. Balletforadults.com breaks down these norms, kind of like a guide book for tourists who don’t expect to pass for natives, but do hope to get by and enjoy themselves. This website is also a great example of the kind of high quality work that can be accomplished when professionals from a variety of fields put their energy into promoting ballet. The blog’s creators are graphic designers, photographers, writers, and teachers. Their skills in all of these areas shine through in a beautifully presented and accessible blog. My main critique of the site is that despite its posts encouraging all kinds of people to study ballet, the photographs portray almost exclusively slender young women. If you don’t see yourself on this site, don’t be deterred. Just take it as a useful source of information, so that you can go into your next ballet class a little better informed. 
By DeShawn “Quiabo” Robins
The first time I saw capoeira performed, it looked like magic. I saw people moving in ways that I didn’t think possible. But they were doing it, so it was somehow possible. I felt like it was the most beautiful thing I’d ever seen. I was 17, growing up in inner city Detroit. I was used to seeing negative images of African Americans in the media. As an African American kid, to see that such a beautiful art existed and was created by Africans really impacted me. That first class was extremely difficult. I could barely walk after it was over, but it was fun. I think the most exciting thing about it was the roda, when I got to see the older students play. That was just amazing. In a capoeira roda, you have a circle of spectators or players. We call the activity a game and the participants players. The game represents life, so when players practice capoeira they’re practicing life. The master or teacher usually leads the music, and the music tells the players what game to play. The rest is up to the players. As in life, there are many different situations. Some are fun, some are scary, some require you to defend yourself. There’s a game for every situation. An essential part of the roda is song. Capoeira songs are sung in Portuguese. For Brazilians, it’s easier to learn new songs because you recognize the words. But if you don’t speak Portuguese, they’re just sounds. I find the site Capoeira Song Book really helpful because if you learn what the words are and what they mean, then the songs start to make sense. Capoeira songs sometimes tell stories of great masters who have long since died. Sometimes they tell us about the struggles and triumphs, the heroes and the villains of capoeira. The songs are important for understanding history. When we understand the history of capoeira, we understand the circumstances that have contributed to the art. We can see situations, choices, and outcomes. We can learn from the past. And the history of capoeira is not just a history of Brazil, but also a history of Africa, a history of oppression, and a history of triumph.
One really popular capoeira song is called “Paraná ê” or “Paranuê Paraná.” When I hear and sing this song, I feel comfort. It’s one of the first songs I learned, and virtually everyone in the capoeira community is familiar with it. When you search for “parana e” on the Capoeira Song Book website, you can hear it performed, and read the lyrics in Portuguese, English, and French. The site also has a glossary, where they explain some of the common words that aren’t translated.
The songs of capoeira are an essential part of the art. You can’t have a roda without them. If you know the most common songs, you can join a roda, singing along while watching the magic of the game. |
