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| directory of teaching artists: LiAnne Hunt |
| Growing up in Honolulu, Hawaii, LiAnne
Hunt was able to study dance under great masters of many traditions. Her rich background in Modern, Asian and Pacific dance combined with her experience in avant-guard performance art theatre, fuels her energetic and graceful performances. As an artist, she has dedicated her life to preserving traditional arts and presenting contemporary expressions of multiculturalism through her work.
LiAnne is the director of Dance Mandal Boise Ensemble and performs and teaches Charya Nritya, a revered and endangered classical dance from Nepal. Since age 19, LiAnne has traveled the world dancing, teaching, learning as an artist. She has performed, lectured, and led workshops and residencies in museums, art centers, theaters, public and private schools, youth centers, health facilities, and places of worship in the USA and Europe. LiAnne has a wealth of experience working with special needs and at risk groups. Her teaching methods are multidisciplinary, incorporating music, literature, maps, history, storytelling and games while celebrating diversity through the arts. Describe a transformative process that has occurred in your own practice as an artist or in a past residency as a teaching artist. Transformation occurred in a residency I did at Plymouth City Museum in England where participants interpreted abstract paintings through poetry, music and dance. As an arts practitioner, I worked closely with a class of special needs students. Their abilities ranged from one spectrum to the other. Some were physically challenged while others emotionally. My role was to work with them to create a performance that was an expressive, artistic response to the exhibition. We spent many sessions in the gallery, exploring movement to convey our experience of the art. We discussed how the paintings made us feel and expressed this through drawing, words games and dance improvisation. Students took turns leading the group in movement, and enjoyed following their peers. They learned to rely on each other by creating group sculptures and found ways to individually express their unique style through solo work. Their range in ability and age was diverse, and we skillfully focused on creating choreography that unified the group, while showcasing individual talent. Students made colorful masks, costumes, and percussive instruments that added depth and pizzazz to their piece. In the course of three weeks, we created a spellbinding performance that was featured with over 250 other participants. The special needs class was a highlight of the show. Each member found their own unique voice, felt great pride and accomplishment in their work, and was visibly transformed. As their teaching artist, I was transformed by the purity, depth and intensity of their sharing. Transformation is contagious! In performance, these children and youth were so beautiful and dazzling, that everyone in attendance was transformed by their artistic offering. When have you been able to recognize learning taking place? Learning occurs when students are able to use the language of movement to express themselves in new and meaningful ways. This could be through the process of creating an original movement phrase or by gaining confidence to lead the group in an exercise. Learning may result through trial and error of a difficult movement or by exploring rhythm, motion, and balance. Gaining respect for oneself and another’s ability and style through cooperation and sharing are important aspects of learning. I love seeing participants having fun in the process. When students enjoy themselves, they naturally transcend their fears and self-consciousness, and grow in their ability to present their ideas, feelings and creativity through dance. What excites your imagination and in turn how does your work excite imagination for your audience? The collective synergy that arises working toward a performance excites my imagination. As a choreographer, drawing on the strengths of each dancer, challenging and encouraging them to blossom into their own as artists, is a profound and magical experience. When my students find themselves through the artistic process, and are able to display their love of the dance in performance, it is pure magic and lights up the imaginations of the audience. What characteristics mark a successful collaboration for you? The mark of a successful collaboration is when students have enjoyed the learning process and take pride in sharing the work they have created. It is wonderful when students perform their dances in a school recital or at home for friends and family. Dance may not be every child’s choice of artistic expression, however my belief is that every child can have fun learning something new. How do you foster creativity, both in your own work and as a teaching artist? I approach the creative process by establishing the right conditions for my work to take shape. I set goals, imagine possibilities, establish a schedule, practice in an open environment and simply allow creativity to emerge naturally, without judgment. As a teaching artist, I provide a safe and well-defined space for participants to explore their creativity. My method is to work personally with each student and group, to listen and respond in-kind with my experience in the arts. I approach students with kindness, enthusiasm, respect and confidence. These are qualities as a teacher, I want to exemplify and model during our time working together. My goals are to engage and listen, encourage and ultimately inspire the class to steer the residency in a direction that is meaningful to them. Three key understandings of this discipline are:
Outcomes of the three understandings are:
List three Idaho Humanities Content Standards that
correlate with each of the key understandings you have identified above.
Creative, Improvisation, Expression, Mirroring, Choreography, Movement, Quality, Mimic, Mime, Abstract, Gesture, Energy, Elements, Cannon, visualize, Embody, Focus, Center, Rhythm, Motion, Speed, Balance, Shape, Classical, Folk, Traditional, Ritual, Contemporary, Modern, Post-Modern, Performance Art List subject areas outside of the fine arts that relate to potential residency work i.e. possible connections to the curriculum might include: Social Studies, History, Geography, Language Arts, Science and Physical Education: Contact the artist to create a residency suited to your particular schools goals and agenda. Visit Artist’s website for course descriptions. References
Special Education Teacher Capitol High School 8055 Goddard Road Nicholle Braspennickx Regulatory Project Manager, U.S. Army Corps of Engineers P.O. Box 1196 Boise, ID 83701 (208) 345-2287 top |
 Discipline: Dance Phone:(208) 629-6363 Email: lianne.hunt@gmail.com Website: www.liannehunt.com www.vajradance.com Special Populations I work with: All ages and abilities. I offer classes for pre-K through senior citizens and am experienced working in the arts with at risk youth, students with disabilities, youth theaters, women’s groups, drug and alcohol rehabilitation patients, multicultural and immigrant communities. ICA Artists by Disciplines Dance Kay Braden Joy Esplin LiAnne Hunt Norma Pintar Rachel Swenson Paul Zmolek Theater/Storytelling Joy Steiner Teresa Clark Language Arts Malia Collins Carol Muzik Judy Sobeloff Visual Arts Deana Attebery Tom Bennick Judith Brand Sue Rooke Lizette Fife Helen Grainger Wilson Bernie Jestrabek-Hart Terrie Kralik Jeanne Leffingwell Amy Nack Mike Shipman Jennifer Williams Linda Wolfe Video/Media Arts Peppershock Media |
 Phone: 208/334-2119 or 800/278-3863 Fax: 208/334-2488 Mailing address: P.O. Box 83720, Boise, ID 83720-0008 Street address: 2410 North Old Penitentiary Rd., Boise, ID 83712 |