Shawn ShortMusical Theatre, BFA

Shawn Short

Musical Theatre, BFADance, MFA

EducatorCommunity Service

Researcher

Table of ContentsTeaching Philosophy Page 1

Teaching Experience

Pedagogy/Teacher Training/ Certifications/Degrees

Elementary/Secondary EducationPage 5Page 3

Arts InstitutionsCollege/Universities Page 7

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Community Service

Dawn: A Black Men’s Inititative Page 10

Research

A Change Gon’ Come: A Text on Washington, D.C. African-American Dance History. Typology for Black Dance’s Reconstruction and Advancement in the New Mil-lennium.

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Personal Character Skills Page 11

Teaching Philosophy The privilege to mentor and assist in shaping the lives of tomorrow’s emerging dance artists is one that holds dear to my heart and I take seriously as a my calling. I teach make a to positive difference in the per-forming arts. This positive reinforcement engages my viewing of dance as a catalyst for social change in the world. In a field experiencing continued cuts in available funding, limited teaching resources and ma-terials, diminished class durations and students with shorter attention spans, I believe it’s my responsibility to increase the rigor and quality of arts education. While the core of my experience is in Classical Ballet, Choreography, Dance Production and Administration, I am also well-versed and trained in other styles and techniques that I’ve taught at various institutions: Modern, Jazz, Conditioning/Stretch, Acting for Non Majors and Acting Technique among them. Even with the breadth of my experience, I remain receptive to new coursework and challenges that will strengthen my pedagogy and expand my ability to reach students successfully. Engaging students in coursework that is meaningful and induces cognitive development is important to me. Coursework must be well-structured with clear objectives and presented to students at appropriate stages of development; namely, after a demonstrated mastery of prerequisites. Students need to get their “feet wet” in the realities of their environments while learning. It is important that students receive the necessary train-ing to deconstruct lessons while away from the classroom, and to synthesize the range of their experiences. I am a firm believer this approach is necessary to ensure student competence in competing successfully in the global market. The malleability of this approach allows for easy digestion of lessons among novice and advance students alike. I strive to meet students where they are, and to reach them from a neutral, non-judgmental place. In my experience, students who perceive that information is accessible and understandable are more likely to excel at a rate that is challenging and rigorous while meeting clearly defined and attainable goals. A novice dance student or non-major requires more attention and encouragement to spur excitement in the learning process and galvanize their efforts than does an advanced student. It’s important to me that my students walk away from a course with an understanding of foundational subject matter along with stronger critical thinking skills. Leading discussions, lecturing, group work and “hands on” body corrections are common teaching methods I utilize in my classes. Using various teaching methods provides students with different modalities to re-ceive, retain and master assignments. From a performance perspective, an actor may do better with written material initially. In contrast, physically manipulating the body of a dancer through appropriate placement often helps them mentally connect with their physique to learn a new skill. An administration or design course may serve students best by presenting a lecture. I believe that teaching methods must be diverse and constantly refreshed based on student needs in order to increase success in meeting new challenges and material.

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While I prefer handouts to assess understanding of written and physical skills, I also assign required and recommended readings and along with pre-, mid-, and final year technique evaluations. Multiple assess-ment styles must be granted in order to accommodate a plethora of learning styles. What I have observed in my professional life is that approaching teaching through multisensory learning has compounded ad-vantages when instructing in the arts. From the touch of a teacher for placement correction, viewing a live performance, hearing critical feedback, or the taste of salt from the top of a student’s forehead from exer-tion, ultimately, assessments must assist students in reaching the goals of the course.

At the end of each semester, I use student evaluations to enhance the systems I’ve established or to create new ones. At times, I become aware of a flaw in a system and determine a need for refinement. Students may learn better using one approach over another and I must be sensitive to these learning styles. Usually, refinement can be accomplished through changes in lesson plans that assist students in absorbing the infor-mation easier, or adding supplemental materials to the course. It is through on-going reevaluation that my checks and balances continue to serve my students well in their learning. In addition to exams and evaluations, direct observations of a student’s progress gives immediate and honest perspectives. Throughout my teaching career, I have individually assessed each student by first recalling when they first started learning with me. Do they ask more questions in class? Do they demon-strate and participate more and assist other students in attaining mastery “on the side” or outside of the classroom? When students begin to take ownership of the material they are processing, they confirm my effectiveness in the classroom; strong minds make for strong performers. Faculty observation of my classes and video taping of teaching performance have also aided in developing my confidence in the design of my courses. In the beginning of my teaching career, I felt that my time with students was a relationship hidden from the public until my students had mastered skills. Faculty obser-vation aided in me finding solutions to challenges I might’ve had and has also given colleagues insight on how to develop ideas for their own teaching. In the end, we are all team players in a student’s educa-tional career. Furthermore, video recording my teaching takes observation a step further by giving me a “play-by-play” of class structure, and helps me determine its coherence, recognize non-verbal cues from students, and better assess whether they are they enjoying learning. Both faculty observations and video recording are wonderful tools that add significant value in my development as a teacher of students, ages five years to adult.

Elementary/Secondary Education

Education Specialist, Washington Ballet Washington, DC 9/2005 - 5/2007

Through Washington Ballet’s DanceDC program, qual-ity instruction in classical ballet and creative move-ment was disseminated to over 80 elementary and secondary students on a weekly basis at Septima Clark Public Charter School, Green Elementary School and DC Prep Public Charter School.

Shawn Short (L) with Kee Juan Han (R) , School Director of the Washington School of Ballet

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Choreographer/Assistant Coach, DuVal High School, Lanham, MD 6/1997 - 12/1997

Assisted in the artistic and competitive success of the Lady Tigers through creating dance rou-tines and conditioning training. Instrumental in the development of DuVal’s first Dance Team/ Marching band partnership that appeared at the first Prince George’s County High School Marching Band Showcase.

Arts Enrichment Teacher, Seaton Elementary Washington, DC 9/2002 - 12/2002Provided quality mid-day dance and theatre training focusing on the national standards and homeroom teacher’s daily and weekly lesson plans/objectives. In addition, provided afterschool dance instruction in ballet, hip-hop and jazz.

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Kelsey Collie Children’s Theatre Experience youth participants with Shawn (top). Youth perfomers in dance theatre showcase (bottom).

Arts Institutions

Instructor/Summer Program Director Kelsey Collie Children’s Theatre Experience, Washington, DC 2001-2007 Created, managed, and facilitated performing arts programs that successfully trained over 30 students yearly ages 5 to 18. Established beneficial partnerships with area arts and technology organizations. Recruited summer staff by develop-ing job announcements to artists and arts organizations. Organized seasonal sum-mer workflow for maximum staff retention. Initiated summer trips to community events, meetings, camp itineraries, and production meetings. Led performing arts workshops and classes in theatre and dance.

Founding Summer InstructorDance Institute of Washington, Washington, DC 1997

Facilitated program development and initial instruction for Dance Institute of Washington’s first summer program in Ward 7’s Deanwood neighborhood. Conducted and taught Jazz dance to summer 40 youth participants.

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Founding Faculty Member/Choreographer, Washington Ballet @THEARC Washington, DC (2005-2008)

Founding faculty member of the Washington Ballet’s new school in Southeast Washington, DC at THEARC campus. Featured Instructor on CBS Evening News in 2007. Produce over 100 perfor-mance evaluations for children and youth yearly in tracking progression between classes. Direct over 80 students every semester with an average class size of 15 students. Designed weekly les-son plans for students ages 5 through Adult guiding them through basic, immediate, and advanced concepts of Modern, Ballet, Jazz, and Hip-Hop. Choreograph six dance works every year for the annual Spring concert. Analyze and evaluate classroom challenges with specialized conflict resolu-tion techniques. Conduct enrichment classes at The Washington School of Ballet main campus. the annual Spring concert. Analyze and evaluate classroom challenges with specialized conflict resolu-tion techniques. Conduct enrichment classes at The Washington School of Ballet main campus.

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Shawn with teacher Monica Johnson and Washington Ballet@THEARC Founding Director Katrina Toews.

Ballet Instructor, Adventure Theatre - MTCRockville, MD 9/2012 -

Provide classical ballet and contemporary weekly training to youth 8 to 16 years old. Assist in cur-riculum development of dance classes.

Will Signature’s ‘Hairspray’ lead to a permanent wave of dance on D.C. stages?By Sarah Kaufman, January 06, 2012

“It used to be that you could sing or you could dance, but more and more performers are coming in and they can do all of it,” says Equity spokeswoman Maria Somma. “And a lot of this is due to the in-crease in a lot of strong musical theater schools. The schools are really teaching these students well....” The ballet training of Catholic University graduate Patrick Thomas Cragin, who plays pompadoured heartthrob Link Larkin, is clear in his aerial pep.”

College/UniversitiesProfessor of Classical Ballet, Catholic University of America Washington, DC 2008 -

Direct over 77 students every semester with an average class size of 15 students. Conduct entry and placement auditions. Design, develop, and implement annual classical ballet curriculum through weekly lesson plans, and instructing students; guiding them through basic, intermediate and advanced concepts of classical ballet. Providing a wonderful and pleasant environment for higher education students so they may learn the rigors and beauty of classical ballet. Facilitate supplemental dance training workshops to enhance dance courses. Developed the Musical Theatre department by creating current ballet program that consists of 5 levels with introduction to partnering and pointe work.

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Pedagogy/Teacher Training/Certification/Degrees

Modern Dance Pedagogy 2012Jan Erkert, University of Illinois Department of Dance Theory and Techniques of Classical Ballet from a Somatics Approach 2011Luc Vanier, University of Wisconsin - Milwaukee

Vaganova Ballet Teaching 2010 Seminar Years 1-6John White, Co-Director Pennsylvania Ballet Academy

Pointe Shoe Fitting Apprenticeship ProgramEllen Eanet, Artistic Dance Fashion (MD)

Pointe Shoe Fitter (5 years)Artistic Dance Fashions

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Group Exercise Certification 2008Aerobic and Fitness Association of America

Bachelor’s of Fine Arts in Musical Theatre 2005 GPA.3.04 Coursework in Theatre ManagementHoward University, Washington, DC

Practical Skills in Group Fitness Choreography 2007Aerobic and Fitness Association of AmericaTeacher Training - 1 Year Program 2007 Levels Pre-Ballet - Level 4Kee Juan Han, School Director Washington School of Ballet

Master’s of Fine Arts in Dance 2013University of Wisconsin-Milwaukee

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DAWN: A BLACK MEN’S INITIATIVE

Starting in 2011-2012 By Dissonance Dance Theatre’s Founder Shawn Short with his own finances. Short wanted to give opportunity to young African- American youth and men who wanted to train and dance profes-sionally.

This program provides artistic and practical work expe-rience in dance and arts administration with leadership development and mentorship by responsible Black men. We work with aspiring Black male dancers, ages 16-26 living in the Washington, DC area, to bridge their in-terests in dance to the broader business field and civic engagement. By engaging participants in both the art and the business of dance, dance serves as a catalyst to positively impact their lives and communities.

Community Service

Shawn with Dawn Participant

Dawn students participants in ballet masterclass with Harid Conservatory Alum Tarwah Merchant..

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Research

The historical landscape of Black DC Dance, an empirical assessment of it and a guide to its sustainabili-ty in the new millennium through business best-practice and social enterprise methodology.

This is an overview and strategic analysis of African-American concert dance in two parts: educational and performance entities. My research will examine the connection between the performing arts in-dustry and American capitalism as it pertains to African-American dance entities in Washington, D.C. Specifically, within this research I will do the following: 1.) Revisit and further develop the timeline of Washington, D.C.’s African-American dance entities. 2.) Quantitatively analyze African American dance entities through juxtaposition of cultural trends and historical factors of the late 20th Century that demonstrate the growth and decline of said entities. From the resulting information, my goal is to engen-der new methods and strategies that will strengthen, and stabilize the African-American dance entities of Washington, D.C.

December 2012

A Change Gon’ Come: A Text on Washington, D.C. African-American Dance History. Typology for Black Dance’s Reconstruction and Advancement in the New Millennium.

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Personal Character Skills: Leadership, Communication, Re-searcher, Bookkeeping, Motivator, Listener, Humor, Drive, Excellence, Patience, Empathy, Humility, Organized and Diligent.