Scouts and Guides

dNc Scouts and Guides is a K12 Honors Program for Indian Dance Education within the U.S. diaspora. It is a distinguished academic and artistic pathway designed for highly motivated students seeking to deepen their understanding of dance within diverse cultural contexts. This program integrates rigorous coursework in dance theory, history, pedagogy, and performance with a strong emphasis on the unique experiences of diaspora communities in the United States. Students will engage with a broad spectrum of dance forms, from traditional and contemporary genres to regional dance practices that reflect the varied cultural heritages of the South Asian diaspora.

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In addition to cultivating technical proficiency and artistry, this program nurtures critical thinking about the role of dance in society and the importance of cultural representation. Graduates of the program will be equipped to contribute to the thriving field of dance education in schools, arts organizations, and communities, fostering a deeper appreciation for the intersection of dance, culture, and identity. Through a blend of academic research, performance opportunities, and community engagement, the Honors Program for Dance Education will develop future leaders who can inspire with an inclusive, culturally aware perspective, ensuring the preservation and evolution of dance traditions within the American context.

Attending the Honors Program for Dance Education offers several K-12 benefits that can significantly enrich students' educational journeys and personal development.

1 / Cultural Awareness and Diversity

Students in the program gain a deep understanding of various cultural traditions and dance forms, fostering respect and appreciation for the diverse communities within the U.S. diaspora. This experience helps them navigate and appreciate cultural diversity, an essential skill in today's global society.

2 /Enhanced Critical Thinking and Creativity

The interdisciplinary approach encourages students to think critically about dance, its history, and its role in society. This fosters creativity, problem-solving, and innovation—skills that extend beyond dance and benefit academic performance in other subjects.

3 / Academic Excellence and Leadership

By engaging in challenging coursework and performance projects, students develop strong academic habits, discipline, and leadership skills. The program nurtures personal responsibility and leadership abilities, preparing students to take on leadership roles in their future careers and communities.

4 / Physical and Emotional Well-Being

Dance provides numerous physical benefits, including improved strength, flexibility, coordination, and overall fitness. Additionally, the emotional expression inherent in dance can support mental health, help reduce stress, and improve emotional resilience, contributing to students' overall well-being.

5 / Collaborative and Communication Skills

Through group projects, performances, and community engagement, students develop excellent teamwork and communication skills. These abilities are crucial for building relationships, navigating group dynamics, and excelling in future academic and professional endeavors.

6 /Preparation for Teaching and Mentorship

The program equips students with teaching and mentoring skills that can be applied to future careers in education. They gain hands-on experience in leading dance classes and working with younger students, creating a strong foundation for those interested in pursuing teaching careers or community engagement through the arts.

7 / Global Perspective and Innovation

Exposure to the global dance community and innovative dance education methods prepares students to think broadly and creatively. They develop a global perspective on dance and the arts, enhancing their adaptability and capacity to contribute to evolving artistic practices.

8 / Scholarship and College Readiness

By participating in this honors program, students gain a competitive edge for college applications and scholarship opportunities, particularly those seeking to pursue further studies in dance, arts education, or related fields. They also build a strong portfolio of work and performance experience that highlights their academic and artistic accomplishments.

9 / Building a Lifelong Passion for Dance

Students who engage in the Honors Program for Dance Education are given the tools to cultivate a lifelong passion for dance, whether as a profession, a form of personal expression, or a community activity. They leave the program with a deep, lasting connection to the art form.

10 / Training as an Arts Professional

Students especially for marginalized art forms that have limited to no representation in higher education and professional arts contexts, have a voice and a pathway to follow their passion.

In sum, this program not only nurtures academic and artistic growth but also prepares students to thrive in diverse, inclusive environments, making them well-rounded individuals ready for success in the twenty-first-century world.

Institutional Membership: Recruitment of Guides

dNc honors critical difference in movement and youth voice. Towards that mission, it wants to provide a social and cultural infrastructure to the dance teachers. Institutions with an identified Academic Lead, also known as dNc Guide, affiliate to the dNc Colloquium by working with the dNc Convenor and completing the preliminary paperwork. Together, they create academic protocol that are specific to the chapter’s needs and strengths. This is not just an issue of compliance but rather an opportunity to simultaneously grow the individual chapter as well as dNc Colloquium as it adjusts and remains flexible for diasporic needs and differences.

dNc Induction

Eligible Scouts are inducted into the dNc Colloquium. Students can then work up the ranks of proficiency standards.

Project-Based Assessment

dNc Convenor works with Academic Lead to determine the project-based 10-week assessment initiative. Students enter into the following gold standards.

Grade Gold Standard

Pre-K Tots

K Tots Plus

I Wakers

II Dreamers

III Deep Sea Movers

IV Turiya Stars

V Juniors

VI Intermediate [NHSDA Eligible]

VII Proficient [NHSDA Eligible]

VIII Exemplary [NHSDA Eligible]

IX Accomplished [NHSDA Eligible]

X Apprentice [NHSDA Eligible]

XI Scholar [NHSDA Eligible]

XII Professional [NHSDA Eligible]

Opportunities

Scouts and Guides are able to participate in UNC Charlotte Department of Dance events that are subsidized for diasporic outreach and research initiates. There are three events every academic year (Fall, Spring, Summer).

Scouts and Guides can take advantage of a larger network of students and teachers working in the field of Indian arts.

Scouts can find a pathway to academic career and professional success in the mainstream arts contexts.

Annual Evaluation

Once a student is eligible to be inducted in dNc, they go through annual evaluations to gain proficiency standards.

Scouts are able to participate in leadership roles for new inductees.

Scouts can gain credit for a volunteering activity.

Scouts can participate in ongoing dNc research in Indian arts and gain research experience in working with leading experts in the field of South Asian Studies.

dNc National Honor Society: Induction and Graduation

Exceptional Scouts in middle and high school programs are eligible to apply for National Honor Society for Dance Arts (NHSDA) Induction affiliated to the National Dance Education Organization (NDEO). Academic Lead will be educated about the point tracking system. Scouts can take advantage of scholarships open for NHSDA inductees.

dNc Chapter NHSDA Induction: A student is inducted into the Junior Program (middle school) and the Secondary Program (high school). Students will receive certificates from NDEO.

dNc Chapter NHSDA Graduation: Graduation with Honors comes with a sponsor printed certificate and a medallion. Graduating students also receive the blue/white NHSDA cord.

Resources for Academic Leads

Daily Dance Technique Practice Protocol

1 / Preparation (5–10 min)

Centering: Quiet standing or floor work to bring awareness to breath and alignment.
Mental check-in: Set an intention for the practice (e.g., focus on clarity of arms, musicality, or stamina).

2 / Warm-up (15–20 min)

Joint mobilization: Ankles, knees, hips, shoulders, spine.
Dynamic stretches: Swings, lunges, cat-cow, torso spirals.
Core activation: Planks, balance holds, pelvic tilts.
Rhythmic coordination: Light footwork or tatkar (in Indian classical), tendus (in ballet), or simple isolations (in jazz/hip-hop).

3 / Foundational Technique Drills (20–30 min)

Postural alignment: Rehearse basic stance (araimandi, first position, parallel).
Basic vocabulary: Foot articulations, arm pathways, torso bends, isolations.
Rhythm/musicality drills: Clapping patterns, reciting bols/sollukattu, or marking phrases with counts.
Repetition sets: Choose 3–5 key movements and repeat in slow, medium, and fast tempos.

4/ Combination Practice (20–25 min)

Short phrases: Put foundational movements into 4–8 count sequences.
Spatial focus: Practice facing different directions, traveling across the floor.
Dynamic variation: Perform the same sequence with changes in tempo, energy, and size.
Expressive focus: Layer intention or emotion (nritta vs. abhinaya in Indian forms, or dramatic vs. abstract in modern).

5 / Repertoire / Choreography Work (20–30 min)

Rehearse sections of a dance piece with focus on technique + artistry.
Break down difficult transitions or jumps/turns.
Work in segments (don’t always run full pieces).
Alternate between full-out execution and marking with detail to conserve energy while refining clarity.

6 / Conditioning / Cross-Training (10–15 min)

Strength: Core, glutes, legs (squats, bridges, theraband work).
Balance & proprioception: One-legged holds, relevés, yoga poses.
Cardio bursts: Short intervals (skips, fast footwork) to build stamina.

7 / Cool-Down & Reflection (10–15 min)

Gentle stretching: Hamstrings, quads, calves, back, shoulders.
Breath work: Return heart rate to normal.
Journaling / verbal reflection: Note what felt strong, what needs improvement, and set goals for next session.

Weekly Structure

5–6 days practice (alternating intensity).
Light day: Focus on fundamentals, flexibility, notation/journaling.
Medium day: Technique drills + short combinations.
Heavy day: Full-out run of choreography + stamina training.
Rest / recovery day: Gentle stretching, yoga, or mindful walking.

Tips for Sustainability

Always begin with alignment and breath awareness.
Keep hydration and breaks built into long practice sessions.
Alternate between technical precision and artistic expression so practice doesn’t become mechanical.
Track progress weekly (video, notes, self-assessment).

Resources for Educators

Practice Protocol for Dance Expression

1 / Grounding & Awareness (5–10 min)

Sit or stand in stillness. Focus on breath, posture, and softening facial muscles.
Gentle massage of face, jaw, and hands to release tension.
Mirror check: neutral face → identify baseline presence.

2 / Facial Technique Warm-up (10–15 min)

Isolations: Eyebrows up/down, eyes wide/narrow, cheek lifts, lip shapes (smile, pout, neutral).
Transitions: Move smoothly from one expression to another (anger → surprise → joy).
Mirror & no-mirror practice: First with mirror for accuracy, then without for internalization.

3 / Gesture & Mudra / Hand Expression (10–15 min)

Practice codified gestures (mudras in Indian classical / expressive hands in modern/jazz).
Pair each gesture with intention (showing water, offering, calling).
Repeat gesture with and without facial expression to notice the difference.

4 / Voice & Rhythm Integration (10–15 min)

Speak or recite while moving (poetry, text, sollukattu, or simple counting).
Practice lip-synching or reciting lyrics while gesturing.
Explore pacing: slow delivery vs. fast, soft vs. loud tone (even if silent).

5 / Improvisation for Emotional Range (15–20 min)

Pick an emotion (joy, grief, anger, longing, devotion).
Express it using:
1. Only face.
2. Face + gesture.
3. Face + gesture + whole body.
Use music prompts: dance the same movement phrase to three different soundtracks (e.g., sad raga, upbeat drum, silence).

6 / Narrative / Storytelling Practice (20–25 min)

Choose a short narrative (myth, personal memory, or character scene).
Break into beats: beginning → middle → climax → resolution.
Perform it once with clear narrative gestures, then again with subtle internal focus (imagining the feeling rather than “showing”).
Alternate between over-exaggeration and minimalism to expand expressive range.

7 / Partner / Audience Exercises (15–20 min)

Practice maintaining eye contact with a partner or “invisible audience.”
Perform an expressive phrase facing:
1. Mirror.
2. A friend/peer.
3. Empty space (imaginary audience).
Get feedback: Did the emotion read clearly?

8 / Cool-Down & Reflection (5–10 min)

Gentle stretches for face and body.
Breathing exercise: inhale emotion, exhale release.
Journal: What emotion felt most natural today? Which was challenging?

Weekly Structure

3 days focused on technique of expression (facial isolations, gestures, voice).
2 days on narrative work (storytelling, character, acting through dance).
1 day on improvisation (free exploration of emotion with music).
1 day on performance run-throughs (simulate stage presence, stamina in expression).

Tips for Developing Expressivity

Film your practice and review: Does the emotion “read” across the screen?
Study reference material: classical abhinaya (Natya Shastra, Odissi, Bharatanatyam), modern masters (Martha Graham’s dramatic tension, Pina Bausch’s psychological depth).
Always connect expression to breath and inner intention—avoid surface-level exaggeration.
Train empathy: read poetry, watch theatre, observe human emotions in daily life.

Protocol for Professionally Logging Dance Hours

1 / Categories of Dance Activity to Track

Break down hours into clear categories so records are meaningful:

Technique Class – structured practice of foundational vocabulary.
Rehearsal – choreography, staging, polishing repertoire.
Improvisation / Composition – creative exploration or choreographic research.
Conditioning / Cross-Training – yoga, Pilates, cardio, strength.
Performance – live or recorded shows.
Pedagogy / Teaching – leading or assisting classes.
Research / Study – reading, watching archival footage, note-taking.

2 / Information to Record Daily

Each log entry should include:

Date
Start + End Time (24-hour or AM/PM)
Duration (hrs/mins)
Category (from above)
Activity Description (specifics: “Bharatanatyam adavus drills,” “Odissi Pallavi rehearsal,” “Martha Graham floorwork warm-up”)
Location (studio, home, theatre, gym, etc.)
Instructor / Collaborators (if applicable)
Reflections / Notes (progress, challenges, injuries, artistic insights)

3 / Weekly / Monthly Summaries

At the end of each week/month:

Total hours spent per category.
Observations (e.g., “Technique improving, but stamina lacking; need more conditioning.”)
Adjustments (e.g., “Add 2 more hrs of cardio next week.”).

4 / Tools for Logging

Digital Spreadsheet (Google Sheets / Excel) → flexible, allows for totals and charts.
Specialized Apps → Toggl, Clockify, or even fitness trackers.
Dance Journal (Paper) → if reflection and embodiment notes matter more than data crunching.
Hybrid System → spreadsheet for official records + journal for qualitative notes.

5 / Professional Formatting Standards

Use consistent time units (hours in decimals: 1.5 = 1 hr 30 min).
Keep logs legible and auditable (grant bodies and institutions prefer clean spreadsheets).
Store in monthly folders or one master sheet.
Include signatures/verification if logging for certification under a teacher.

6 / Example of a Daily Log Entry

Describe the item and include any relevant details. Click to edit the text.

7 / Verification for Professional Settings

If required by a program, institution, or guild:

Get logs signed weekly by instructor/rehearsal director.
Attach performance programs, rehearsal schedules, or attendance sheets.
Keep digital backups.

8 / Reflection Component

Add a short weekly reflection (150–200 words):

What improved?
What was difficult?
What to focus on next week?

This transforms the log from a time sheet into a professional development tool.

Writing Assignments

Ten full assignment handouts on dance criticism with word counts, evaluation criteria, and suggested readings. They are scaffolded so that students develop both critical writing skills and theoretical engagement. Together, these assignments build from description → analysis → comparison → context → ethics → positionality, giving students both practice in writing and engagement with dance criticism as a scholarly and creative practice.

Assignment 1: Descriptive Criticism – Writing the Dance

Prompt:
Watch a live or recorded performance of your choice. Write a descriptive account of the piece, focusing only on what you see and hear—movement vocabulary, costuming, staging, sound, atmosphere. Avoid interpretation or judgment. Your goal is to translate dance into words with clarity and precision.

Length: 800–1,000 words
Evaluation Criteria: Accuracy of description, clarity of language, sensory detail, avoidance of interpretation.
Suggested Readings:
- Sally Banes, Writing Dancing in the Age of Postmodernism (Introduction)
- Deborah Jowitt, Time and the Dancing Image

Assignment 2: Formal Analysis

Prompt:
Choose a short excerpt (2–5 minutes) from any dance work. Break down its choreographic elements: space, time, dynamics, phrasing, motif, repetition, and structure. Discuss how formal choices create rhythm, coherence, or emotional intensity.

Length: 1,000 words
Evaluation Criteria: Attention to choreographic detail, analytical clarity, use of dance vocabulary.
Suggested Readings:
- Susan Leigh Foster, Reading Dancing
- Ann Cooper Albright, Choreographing Difference (selected chapter)

Assignment 3: Comparative Review

Prompt:
Compare two dance performances from different genres (e.g., Bharatanatyam and contemporary modern dance). Critique the works in terms of embodiment, cultural reference, technique, and audience reception. Discuss both similarities and differences.

Length: 1,200 words
Evaluation Criteria: Depth of comparison, cultural sensitivity, critical insight, structure of argument.
Suggested Readings:
- Brenda Dixon Gottschild, Digging the Africanist Presence in American Performance
- Avanthi Meduri, Bharatanatyam as a Global Dance

Assignment 4: Criticism and Context

Prompt:
Find a historical review of a dance work (print, online, or archive). Write a response analyzing the critic’s language, assumptions, and biases. How do history, politics, and ideology shape critical reception?

Length: 1,000–1,200 words
Evaluation Criteria: Engagement with historical context, depth of textual analysis, awareness of critical positioning.
Suggested Readings:
- Arlene Croce, Writing in the Dark, Dancing in The New Yorker
- Sunil Kothari, New Directions in Indian Dance

Assignment 5: The Audience’s Eye

Prompt:
Attend a live performance. Write two short reviews:

From the perspective of a professional dance critic.
From the perspective of a first-time dance audience member.

Compare how framing, vocabulary, and expectations affect each review.

Length: Two 600-word reviews (total ~1,200 words)
Evaluation Criteria: Ability to shift perspective, voice, and tone; clarity of contrast; critical reflection.
Suggested Readings:
- Deborah Jowitt, Dance Beat: Writings on Dance
- Sanjoy Roy, reviews for The Guardian (online archive)

Assignment 6: Choreographer–Critic Dialogue

Prompt:
Research one choreographer (e.g., Martha Graham, Chandralekha, Akram Khan). Analyze how their works were reviewed by critics over time. Compare choreographic intent with critical interpretation.

Length: 1,500 words
Evaluation Criteria: Research depth, synthesis of sources, critical insight into dialogue/tensions between artist and critic.
Suggested Readings:
- Ramsay Burt, The Male Dancer (contextual chapters)
- Uttara Asha Coorlawala, “Classical and Contemporary Indian Dance: Performing Gender, Culture, and the New Nation”

Assignment 7: Ethics of Dance Criticism

Prompt:
Write a critical essay on the ethics of reviewing dance. Should critics evaluate technique, cultural authenticity, innovation, or emotional impact? Who defines the standards? Use case studies of reviews that sparked debate or controversy.

Length: 1,200–1,400 words
Evaluation Criteria: Critical argumentation, ethical reasoning, use of evidence, clarity of stance.
Suggested Readings:
- André Lepecki, Exhausting Dance
- Gay Morris, Moving Words: Re-Writing Dance

Assignment 8: Language and Dance

Prompt:
Write two versions of a dance review:
a) Academic/theoretical style (dense with references and frameworks).
b) Poetic/evocative style (imaginative, sensory-driven).
End with a short reflection on how language transforms the reader’s reception of dance.

Length: Two 800-word reviews + 500-word reflection
Evaluation Criteria: Mastery of multiple registers, creativity, meta-reflection on writing.
Suggested Readings:
- Yvonne Rainer, Work 1961–73 (selected texts)
- Adrienne Rich, “When We Dead Awaken: Writing as Re-Vision”

Assignment 9: Dance, Media, and Criticism

Prompt:
Select a filmed dance (YouTube, TikTok, or a professional dance film). Write a review that considers how camera work, editing, and digital platforms shape choreography and audience perception.

Length: 1,200–1,500 words
Evaluation Criteria: Critical media literacy, attention to digital aesthetics, integration of dance and media analysis.
Suggested Readings:
- Sherril Dodds, Dance on Screen
- Harmony Bench, Perpetual Motion: Dance, Digital Cultures, and the Common

Assignment 10: Personal Position Paper

Prompt:
Write a self-reflective essay on your positionality as a dance critic. Consider your training, cultural background, aesthetic values, and personal biases. How do these shape your approach to watching, interpreting, and writing about dance?

Length: 1,200–1,500 words
Evaluation Criteria: Depth of reflection, self-awareness, articulation of critical voice, honesty.
Suggested Readings:
- bell hooks, Art on My Mind: Visual Politics
- Brenda Dixon Gottschild, The Black Dancing Body

Research Assignments

Ten full research assignment handouts for a Dance Studies course. Like the criticism ones, they include prompts, word counts, evaluation criteria, and suggested readings. These move from exploratory research → contextual studies → critical frameworks → independent research.

Assignment 1: Dance Research Foundations – Mapping the Field

Prompt:
Write a short research paper introducing the field of Dance Studies. Identify at least three approaches (e.g., ethnographic, historical, choreographic analysis, cultural studies) and explain how they shape research questions.

Length: 1,000 words
Evaluation Criteria: Understanding of field, clarity, organization, correct use of sources.
Suggested Readings:
- Alexandra Carter & Janet O’Shea, The Routledge Dance Studies Reader (Introduction)
- Andre Lepecki, Dance (Very Short Introductions)

Assignment 2: Archival Research

Prompt:
Locate and study archival material related to a dance form, choreographer, or performance tradition. This may include photographs, programs, reviews, or oral histories. Write a paper analyzing what these sources reveal about the performance and its cultural context.

Length: 1,200 words
Evaluation Criteria: Source analysis, contextualization, originality of insights.
Suggested Readings:
- Ann Cooper Albright, Traces of Light: Absence and Presence in the Work of Loie Fuller
- Gay Morris, A Game for Dancers

Assignment 3: Ethnographic Fieldwork Exercise

Prompt:
Attend a rehearsal, workshop, or community dance class. Take detailed field notes, and write a reflective report describing what you observed. Consider questions of participant observation, embodiment, and ethics.

Length: 1,200–1,400 words
Evaluation Criteria: Depth of observation, reflexivity, ethical awareness, clarity of writing.
Suggested Readings:
- Deidre Sklar, “Five Premises for a Culturally Sensitive Approach to Dance”
- Ananya Chatterjea, Butting Out: Reading Resistive Choreographies through Works by Jawole Willa Jo Zollar and Chandralekha

Assignment 4: Historiography in Dance

Prompt:
Choose a dance form (e.g., Odissi, ballet, hip-hop) and trace how its history has been written. Compare at least two sources (scholarly vs. popular, insider vs. outsider). Analyze the narratives, silences, and tensions.

Length: 1,500 words
Evaluation Criteria: Engagement with historiography, source comparison, critical analysis.
Suggested Readings:
- Susan Manning, Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman
- Janet O’Shea, At Home in the World: Bharata Natyam on the Global Stage

Assignment 5: Dance and Identity

Prompt:
Research how dance functions as an expression of identity (race, gender, sexuality, class, or nation). Choose one case study and analyze the interplay of movement, embodiment, and politics.

Length: 1,200–1,500 words
Evaluation Criteria: Depth of case study, theoretical application, clarity of argument.
Suggested Readings:
- Brenda Dixon Gottschild, The Black Dancing Body
- Thomas DeFrantz & Anita Gonzalez, Black Performance Theory

Assignment 6: Dance and Globalization

Prompt:
Study the globalization of a dance practice (e.g., salsa, K-pop choreography, Bharatanatyam in diaspora). How does transnational circulation transform style, pedagogy, or meaning?

Length: 1,500 words
Evaluation Criteria: Research depth, cross-cultural analysis, use of theory.
Suggested Readings:
- Yutian Wong, Choreographing Asian America
- Priya Srinivasan, Sweating Saris

Assignment 7: Dance and Media

Prompt:
Research how media (film, television, TikTok, YouTube) shapes the production, dissemination, and reception of dance. Choose one platform or dance phenomenon as a case study.

Length: 1,200–1,500 words
Evaluation Criteria: Integration of media theory, depth of analysis, originality of case.
Suggested Readings:
- Sherril Dodds, Dance on Screen
- Harmony Bench, Perpetual Motion: Dance, Digital Cultures, and the Common

Assignment 8: Dance and Interdisciplinary Research

Prompt:
Write a research paper that connects dance with another discipline (e.g., neuroscience, anthropology, visual art, musicology, philosophy). How does this interdisciplinary lens deepen our understanding of dance?

Length: 1,500–1,800 words
Evaluation Criteria: Creativity, strength of interdisciplinary connection, quality of sources.
Suggested Readings:
- Maxine Sheets-Johnstone, The Primacy of Movement
- Mark Franko, Dancing Modernism/Performing Politics

Assignment 9: Critical Literature Review

Prompt:
Select a topic (e.g., postcolonial dance studies, dance and disability, improvisation). Write a literature review summarizing and analyzing at least 6 scholarly sources. Identify gaps in the research and suggest future directions.

Length: 2,000 words
Evaluation Criteria: Organization, depth of synthesis, clarity of critical perspective.
Suggested Readings:
- Rebekah Kowal, Gerald Siegmund, & Randy Martin (eds.), The Oxford Handbook of Dance and Politics
- Carrie Noland, Agency and Embodiment

Assignment 10: Independent Research Paper (Final Project)

Prompt:
Design and carry out an independent research project on a dance topic of your choice. Incorporate at least one primary source (archival, ethnographic, performance analysis) and situate your study in existing scholarship.

Length: 3,000–3,500 words
Evaluation Criteria: Originality, research depth, engagement with theory, quality of writing, scholarly rigor.
Suggested Readings:
- Encourage students to return to the full course bibliography and readings that align with their topic.

NHSDA Aware Point Schemata

dNc works with educators to nurture next generations artists and arts entrepreneurs. Following is the point structure that could be used as a model template for students.

Starting Grade IX

1 / Technique & Training

Weekly Dance Classes (studio, school, community, or conservatory):
- 1 point per 45 hours of instruction of in-chapter instruction.
- Example: Ballet, modern, jazz, hip hop, Odissi, Bharatanatyam, etc.
Summer Intensives / Workshops:
- 2 points per full day of participation.
Private Lessons:
- 1.5 points per hour.

2 / Performance & Production

School Performances / Recitals / Studio Concerts:
- 3 points per performance.
Community or Professional Performances:
- 5 points per performance.
Choreographing a Piece (for class, concert, festival):
- 3–5 points depending on length and scope.
Stage Crew / Production Help:
- 1 point per rehearsal, 2 points per performance.

3 / Scholarship & Research

Dance-Related Research Paper or Project:
- 3–5 points (graded or presented).
Program Notes / Essays for Performances:
- 2 points per piece.
Conference Presentations / Workshops Led:
- 5 points each.
Book/Article Reviews in Dance Studies:
- 2 points each.

4 / Leadership & Service

Dance Club / NHSDA Chapter Leadership (officer, organizer):
- 3 points per semester of service.
Mentoring Younger Dancers:
- 1 point per hour of teaching/assisting.
Community Engagement / Outreach (teaching in schools, libraries, senior centers):
- 2 points per session.
Volunteer Work at Dance Events:
- 1–2 points depending on task.

5 / Creativity & Original Work

Original Choreography Presented:
- 5 points (solo or group).
Dance Film / Multimedia Project:
- 5 points per completed work.
Improvisation Showcase / Composition Lab:
- 2 points per event.

6 / Professional Engagement

Attending Performances (with reflection/essay):
- 1 point per live performance (with written reflection).
Attending Masterclasses:
- 1 point per hour.
Dance Competitions / Festivals:
- 3 points per event (extra if winning/placing).
Dance-Related Certifications (e.g., yoga, pilates, injury prevention):
- 5 points per certification.

Tracking System

Students should maintain a Dance Points Log beginning in Grade IX.
Each entry should include: Date, Activity, Hours/Details, Supervisor Signature (if possible), and Points Earned.
A suggested target is 30–40 points per year starting in Grade IX, so by Grade XII students are well-prepared for induction and recognition.

Starting Grade X

NHSDA induction usually requires 30 points minimum, but students aiming for the NHSDA Award (especially seniors) should target 60+ points across multiple categories. This schemata guides preparation from Grade X–XII.

1 / Technique & Training

Weekly Classes (school, studio, conservatory, community):
- 1 point per 45 in-chapter instructional hours.
- Example: Ballet, modern, jazz, hip hop, Odissi, Bharatanatyam, etc.
Summer Intensives / Workshops:
- 2 points per full day of training.
Private Coaching:
- 1.5 points per hour.

Suggested Goal by end of Grade X: 15–20 points

2 / Performance & Production

School/Studio Performances: 3 points each.
Community/Professional Performances: 5 points each.
Choreography for Class/Showcase/Festival: 3–5 points (depending on scope).
Stage Crew/Production Work: 1 point per rehearsal, 2 points per performance.

Suggested Goal by end of Grade X: 10–12 points

3 / Scholarship & Research

Dance Research Papers or Presentations: 3–5 points each.
Program Notes / Written Analyses: 2 points each.
Book or Article Reviews in Dance Studies: 2 points each.
Dance Conference Presentations / Talks: 5 points each.

Suggested Goal by end of Grade X: 5–8 points

4 / Leadership & Service

NHSDA Chapter Officer / Dance Club Leadership: 3 points per semester.
Peer Mentoring / Teaching Assistance: 1 point per hour.
Community Outreach (school, library, senior center, nonprofit): 2 points per session.
Volunteering at Dance Events: 1–2 points per event.

Suggested Goal by end of Grade X: 5–8 points

5 / Creativity & Original Work

Original Choreography Presented: 5 points each.
Dance Film or Multimedia Project: 5 points each.
Improvisation / Composition Showcase: 2 points per event.

Suggested Goal by end of Grade X: 3–5 points

6 / Professional Engagement

Attending Performances (with reflection/essay): 1 point per performance.
Masterclasses / Guest Workshops: 1 point per instructional hour.
Dance Competitions / Festivals: 3 points per event (+bonus if awarded).
Certifications (yoga, pilates, first aid, safe body practices): 5 points each.

Suggested Goal by end of Grade X: 3–5 points

Yearly Point Targets

Grade X: 40–50 points
Grade XI: 50–60 points
Grade XII: 60+ points (NHSDA Award eligible)

Tracking Methods

Students should keep a Dance Points Log with:

Date
Activity
Hours / Description
Category (Training, Performance, Service, etc.)
Points Earned
Teacher/Advisor Signature (if applicable)

This gives students a clear 3-year progression plan to build their portfolio, not just for NHSDA but also for college dance applications, scholarships, and resumes.

Starting Grade XI

Students need 30 points minimum for induction into NHSDA, but for the National Award, they should target 60+ points by graduation. If starting in Grade XI, the goal is to earn ~30–35 points per year in two years.

1 / Technique & Training

Weekly Classes (school, studio, conservatory, community):
- 1 point per 45 hours of in-chapter instruction.
Summer Intensives / Workshops:
- 2 points per full day of training.
Private Coaching:
- 1.5 points per hour.

Target for Grade XI: 12–15 points

2 / Performance & Production

School/Studio Concerts: 3 points each.
Community/Professional Performances: 5 points each.
Choreography for Showcases/Festivals: 3–5 points.
Stage Crew / Tech / Costuming Help: 1–2 points per event.

Target for Grade XI: 10–12 points

3 / Scholarship & Research

Research Paper / Dance Essay / Critical Reflection: 3–5 points each.
Conference Presentation / Symposium Participation: 5 points.
Book or Article Reviews: 2 points each.
Program Notes / Written Analysis for Performance: 2 points.

Target for Grade XI: 5–7 points

4 / Leadership & Service

NHSDA Chapter or Dance Club Leadership Role: 3 points per semester.
Peer Mentoring / Teaching Assistance: 1 point per hour.
Community Dance Outreach (schools, libraries, senior centers): 2 points per session.
Volunteering at Dance Events (ushering, backstage, organizing): 1–2 points.

Target for Grade XI: 5–7 points

5 / Creativity & Original Work

Original Choreography Performed: 5 points.
Dance Film / Multimedia Project: 5 points.
Improvisation / Composition Showcase: 2 points per event.

Target for Grade XI: 3–5 points

6 / Professional Engagement

Attending Performances (with reflection): 1 point each.
Masterclasses / Guest Workshops: 1 point per instructional hour.
Competitions / Festivals: 3 points per event (+bonus for awards).
Certifications (yoga, pilates, safe practices, injury prevention): 5 points each.

Target for Grade XI: 3–5 points

Grade XI-XII Roadmap

Grade XI Goal: 35–40 points
Grade XII Goal: 30–35 points
By Graduation: 65–70 points (Award Eligible)

Tracking Methods

Students should maintain a Points Log with:

Date
Activity
Category (Training, Performance, Research, Service, etc.)
Hours / Description
Points Earned
Advisor Signature

This plan ensures even a late start in Grade XI can still lead to both induction and the NHSDA National Award.

Starting Grade XII

Minimum for induction: 30 points
National Award eligibility: ~60 points (possible in one year if students commit strategically)

1 / Technique & Training

Weekly Dance Classes (school, studio, conservatory, community):
- 1 point per 45 in-chapter instructional hours.
Summer Intensives (if before Grade XII):
- 2 points per full day.
Private Coaching:
- 1.5 points per hour.

Goal: 15–20 points (through weekly technique + workshops/masterclasses)

2 / Performance & Production

School/Studio Concerts: 3 points each.
Community/Professional Performances: 5 points each.
Original Choreography (solo/group/festival): 5 points.
Stage Crew / Lighting / Costume Help: 1–2 points per event.

Goal: 12–15 points (maximize by choreographing AND performing in multiple events)

3 / Scholarship & Research

Dance Research Paper / Critical Essay: 3–5 points each.
Program Notes / Analysis for Performance: 2 points.
Conference Presentation / Symposium Participation: 5 points.
Book or Article Reviews: 2 points each.

Goal: 5–7 points (write one strong research essay + 1–2 shorter reflections)

4 / Leadership & Service

NHSDA Chapter Leadership / Dance Club Officer: 3 points per semester.
Peer Mentoring / Teaching Assistance: 1 point per instructional hour.
Community Engagement (school visits, library, senior center, nonprofit): 2 points per session.
Event Volunteering (ushering, organizing, backstage): 1–2 points per event.

Goal: 5–8 points (serve as a mentor/assistant + volunteer at events)

5 / Creativity & Original Work

Original Choreography Presented: 5 points.
Dance Film / Multimedia Project: 5 points.
Improvisation / Composition Showcase: 2 points per event.

Goal: 5–7 points (one major project + smaller creative works)

6 / Professional Engagement

Attending Performances (with reflection): 1 point per performance.
Masterclasses / Guest Workshops: 1 point per instructional hour.
Dance Competitions / Festivals: 3 points per event (+bonus if awarded).
Certifications (yoga, pilates, first aid, injury prevention, safe practices): 5 points each.

Goal: 5–7 points (attend performances + masterclasses + at least one certification)

One-Year Roadmap (Grade XII)

Fall Semester:
Focus on technique, choreographing, leadership/service, and writing a short research paper.
Aim: ~25 points.
Spring Semester:
Focus on performances, creative work, and professional engagement (competitions, certifications).

Aim: ~30–35 points.

By Graduation

60+ points → NHSDA Award Eligible

Tracking Methods

Each student should maintain a Points Log, with:

Date
Category (Technique, Performance, Service, etc.)
Hours/Details
Points Earned
Teacher/Advisor Signature

Even if starting in Grade XII, this focused plan ensures students can still reach induction + National Award recognition with intentional, high-yield choices.

NHSDA Point Schema for Solo Graduation Recital in Indian Dance

1 / Technique & Training

Weekly Classes (regular training with guru): 1 point per one-on-one instructional hour.
Private Coaching for Solo graduation recital items: 1.5 points per hour.
Rehearsals (solo or with musicians): 1 point per hour.
Summer Intensives / Masterclasses (Indian dance or related forms): 2 points per full day.

Estimated Points: 20–25 (over 1–2 years of prep)

2 / Performance & Production

Full Solo graduation recital Solo Recital (90–120 min): 15 points (major performance milestone).
Invited Previews / Informal Run-throughs: 3–5 points per showing.
Participation of Musicians / Technical Team (coordinated rehearsals): 2 points per rehearsal.
Stage/Costume/Lighting Management: 2 points per event.

Estimated Points: 20+ (recital + supporting rehearsals + previews)

3 / Scholarship & Research

Program Notes / Research Essay on items performed (history, music, meaning, choreography): 5–8 points.
Documentation of Solo graduation recital (portfolio, video archiving, reflective essay): 5 points.
Talk / Presentation (sharing the significance of solo graduation recital at school/community): 3–5 points.

Estimated Points: 10–15

4 / Leadership & Service

Mentoring Younger Dancers (helping with rehearsals, group classes, teaching basics): 1 point per instructional hour.
Community Engagement (lecture-demonstrations in schools, libraries, temples, cultural centers): 2 points per session.
Volunteer Contributions at Dance Events (ushering, backstage support for others’ solo graduation recitals): 1–2 points per event.

Estimated Points: 5–10

5 / Creativity & Original Work

Choreographing a Short Item (varnam, tillana, or modern thematic piece): 5 points.
Dance Film / Multimedia Documentation of Solo graduation recital: 5 points.
Improvisation / Manodharma Segments (alapadma, sanchari, abhinaya exploration): 2 points per event.

Estimated Points: 7–10

6 / Professional Engagement

Attending Live Indian Dance or Music Performances (with reflection): 1 point per event.
Workshops with Visiting Gurus: 1 point per instructional hour.
Participation in Festivals / Competitions Before or After Solo graduation recital: 3 points per event.

Estimated Points: 5–7

Point Summary for a Solo Graduation

Technique & Training: 20–25
Performance & Production: 20+
Scholarship & Research: 10–15
Leadership & Service: 5–10
Creativity & Original Work: 7–10
Professional Engagement: 5–7

Total Potential Points: 70–85+

Completion

Completing a solo graduation recital not only qualifies a student for NHSDA induction (30 pts) but can single-handedly prepare them for the NHSDA National Award (60+ pts), since it demonstrates artistic mastery, academic research, leadership, and community engagement in one integrated event.