Trainer Development Policy
From participation to independent trainership
DanceOrientation deliberately chooses a practice-oriented and progressive policy for the development of trainers.
A trainer is not shaped exclusively by technical dance knowledge or by completing a training course. Good trainership arises from a combination of practical experience, sports-specific knowledge, pedagogical competences, communication, reflection, creativity and responsibility.
That is why trainers within DanceOrientation can follow a multi-year development pathway in which responsibilities are gradually built up.
An important part of this trainer training consists of teaching sports classes for people with disabilities. By disability, we mean G-sporters within exclusive programmes, but also and above all inclusive programmes in which everyone dances with everyone. More information on this can be found below.
The starting point is:
observing → performing → supporting → acting independently → taking responsibility → passing on knowledge
The pathway takes place within the Michèle Martens Methodology, developed through many years of practical experience with dancers with and without (visual) disabilities.
Within this methodology, independence does not mean abandoning a common framework. Trainers are given room to develop their own style and personality, but work from a shared pedagogical and content-based vision.
The pathway is a two-year programme, with one year of learning through practice and one year of progressing towards autonomy and responsibility.
Phase 1 – learning through practice
In the first phase, the emphasis is on observing, participating, practising and taking on responsibility under guidance.
A trainer in development is given the opportunity to gain structured practical experience within regular classes and learns, among other things:
• counting musically and structuring exercises;
• analysing dance figures and explaining them clearly;
• demonstrating movements in a technically correct manner;
• expressing movements clearly and accessibly;
• standing in front of a group and taking on a role-model function;
• observing and supporting participants;
• dealing with different levels and learning paces;
• receiving and processing feedback;
• working together with other trainers;
• gradually guiding parts of a class;
• gaining experience during performances, rehearsals and other activities of the organisation.
This phase is based on experiential learning:
observing → performing → feedback → reflecting → applying again
As competences increase, the assignments and responsibilities also become more complex.
Phase 2 – autonomy and responsibility
In the next phase, the emphasis shifts towards acting independently.
The trainer is given more responsibility within classes, can independently guide parts of a class, learns to lead a group and can – once sufficient competence has been developed – take over classes or training sessions.
Practical experience can be complemented by relevant external training courses and recognised continuing education, including VTS-recognised training and specialised training in sports and dance with people with visual impairments.
DanceOrientation considers continuous professional development to be part of professional trainership. Even an experienced trainer continues to develop knowledge, explore new methodologies and critically evaluate their own actions. In addition, DanceOrientation places great importance on the dissemination of the #danceisblind project, in which inclusive dancing is defined as the main objective.
Autonomy within a shared methodology
An important principle of the trainer development policy is that increasing autonomy goes hand in hand with increasing responsibility.
A trainer does not have to become a copy of another trainer. There must be room for personality, an individual communication style, creativity and further development.
At the same time, participants must be able to rely on continuity and quality, regardless of which trainer is leading the group.
That is why the Michèle Martens Methodology forms the shared substantive and pedagogical frame of reference for trainers working within DanceOrientation.
Professional trainership within this framework includes not only technical competences, but also:
• working together;
• communicating clearly;
• asking for, receiving and giving feedback;
• respecting agreements;
• taking responsibility;
• considering the impact of one's own actions on participants, colleagues and the organisation;
• contributing to the quality and continuity of the organisation as a whole.
Within DanceOrientation, autonomy is therefore never without obligations. The greater a trainer's independence, the greater the responsibility towards the group and the organisation as a whole.
Trainer competences within inclusive sport
Within inclusive sport, trainer development takes on an additional dimension.
The trainer works with people who perceive, process and perform information and movement in different ways.
A movement may, for example, be demonstrated visually, but it must also be possible to convey it verbally, auditorily, tactually or step by step.
The trainer therefore does not develop one single fixed way of teaching, but a flexible didactic repertoire.
The central question is not only:
How do I explain this movement?
but also:
How do I ensure that this specific participant can understand and process the information and ultimately apply it as independently as possible?
Support is therefore not regarded as an end point. The aim is to enable participants to develop as much competence, autonomy and responsibility as possible.
The same principle is applied to trainers.
From performing to creating
As a trainer's technical and pedagogical competences increase, creative thinking also becomes more important.
The development progresses from:
performing → understanding → analysing → adapting → co-creating → creating independently
A trainer therefore learns not only to convey existing dance figures or choreographies correctly, but is also encouraged to think about the creative process.
This raises questions such as:
• Why does a particular movement work?
• How does movement relate to music?
• How do different dancers move through space together?
• How can a choreography be made clear and executable for different participants?
• How can different ways of perceiving and moving be incorporated into the creative process from the outset?
• How can accessibility be combined with artistic quality?
Developing an original choreography can be a next step within the trainer development pathway.
The trainer then also becomes a creator and learns to independently make choices regarding music, structure, movement, space, group dynamics, artistic expression and accessibility.
Within inclusive sport, this means that accessibility is not added afterwards to an existing choreography. From the very beginning of the creative process, consideration is given to how different bodies, abilities and ways of perceiving can form part of the artistic concept.
A strong framework provides direction. Good trainership is demonstrated by the ability to act expertly, flexibly, creatively and with a focus on people within that framework.
Continuous development
Achieving a certain level of independence does not mean that a trainer's development comes to an end.
DanceOrientation expects trainers to continue developing through practical experience, training, observation, feedback, self-reflection and further exploration of dance and movement.
Trainers are encouraged to:
• acquire new knowledge of dance and movement;
• further develop their technical skills;
• create their own choreographic material;
• practise creative flexibility;
• learn to deal with unexpected situations;
• actively ask for and give feedback;
• share knowledge with others;
• take responsibility for their further development;
• remain learners themselves.
From participation to reciprocity
The trainer development policy aligns with a broader vision within DanceOrientation:
participation → competence → autonomy → responsibility → reciprocity → shared ownership
Shared ownership does not mean that everyone has the same role, authority or responsibility.
An experienced trainer passes on knowledge. A trainer in development is given room to observe, practise and make mistakes. As competences increase, independence and responsibility grow. Ultimately, a trainer can pass on knowledge themselves, support new trainers and actively contribute to the further development of the organisation.
This also gives inclusion a broader meaning.
Within DanceOrientation, inclusion does not merely mean gaining access to an activity or being able to participate. It also means having the opportunity to learn, develop competences, take responsibility, pass on knowledge and ultimately contribute oneself to the community of which one is part.
This creates reciprocity.
Quality assurance
DanceOrientation considers trainer development to be a continuous process. Granting greater autonomy is therefore based on demonstrable competences, practical experience, reliability and the ability to take responsibility within the shared pedagogical framework.
Independent trainership is not an automatic consequence of the number of months or years of experience. The competences acquired and the quality of performance are decisive.
DanceOrientation therefore retains responsibility for assessing which tasks and responsibilities a trainer can take on independently and which further guidance or training is appropriate.
In this way, development opportunities for trainers, trainer autonomy and quality guarantees for participants are brought together.
Image Description
photo 1: Youri and Georgia are facing each other in a partner dance, both dressed in white in accordance with the dress code for that day.
photo 2: Youri is dancing with his daughter Lore. We are delighted that diversity is also reflected across all age groups.
photo 3: Group photo of the complete show team "The Performers". They chose this name themselves, and everyone radiates happiness and contentment. 15 people, 15 dancing souls, sharing one wonderful moment at the Ghent Festivities.
photo 4: Lien looks on in admiration at the dance demonstrations by Lieven, Sumeyra and Mariska. She is completely absorbed in the animation session to a song by Christophe, "dat gevoel". During the Ghent Festivities, we also wanted to pay attention to people with an intellectual disability. Sumeyra's mother, Linda, watches approvingly. We would like to give Linda a special thank you for the commitment she showed towards these dancers. She transported them, took care of their clothing and accompanied them throughout, so that they could enjoy this wonderful moment. In the background are Manuel, Annick, Davy and Hanne. They are part of the #danceisblind project.
photo 5: Michèle frequently tells the people present how well Manuel dances. The photo shows a supportive hand resting on his shoulder.
