16 Audition Basics and Pointers For Keeping A Positive Perspective
September 2, 2010 by Nichelle (admin)
Filed under Blog, College and Career, Featured, For Career Dancers, For Everyone Else, For Students, Performance, Toolbox
Expecting a certain outcome puts your mind in a place and time other than the audition and you’ll need to have your head in the present tense to do well. Clear your mind and dance because you love dancing, not because of the pot of gold that may or may not be at the end of this rainbow.
Do Your Communications With Parents Pass The Scan, Scroll, Stroll Test?
August 19, 2010 by Suzanne Gerety
Filed under Blog, Featured, For Studio Owners, For Teachers/Studio Owners
Clearly this mom hadn’t ‘received’ the communication about recital tickets that we had been sending for two months leading up to the date. At the studio we had given verbal announcements, posted signs, printed memos and order forms were sent home, all of this, including when and where to pick up tickets, was posted on our website.
How Do You Define “Dolly Dinkle” Dance Instruction?
August 11, 2010 by Nichelle (admin)
Filed under Blog, Featured, For Teachers/Studio Owners, Perspectives
Most of you have an idea about what it means to be a “Dolly Dinkle” (or Dolly Dingle) dance instructor or dance school. Weigh in with your definition of insufficient dance education.
Lightbulb Moments: Pas De Chat
August 9, 2010 by Lauren Warnecke
Filed under Ballet/Pointe, Blog, Dance Styles, Featured, For Classroom, For Teachers/Studio Owners, Technique, Toolbox
Every jump in ballet is preceded by a counter-movement, namely, a plie, and this is exceedingly effective in getting more height out of a jump (try jumping from straight legs and see what happens), not to mention protecting the achilles tendon from injury. In fact, people have studied jump height and found that maximum vertical height in a jump is higher using a counter movement than not (3). So it makes sense that we bend our knees before jumping.
Why And How To Teach Anatomy Concepts To Children
June 28, 2010 by Stacey Pepper Schwartz
Filed under Blog, Featured, For Classroom, For Teachers/Studio Owners, Technique, Toolbox
Since dance is the art of motion, in order to become a proficient dancer one must understand how the body moves from the inside; how the muscles and bones work to leap, turn, kick, stretch and fold. A pretty sophisticated idea for a young dancer. Since learning is a layered experience, introducing the concepts of anatomy now will allow them to build upon this foundation in the future.
15 Ways To Activate Brain And Body During Summer Break
June 25, 2010 by Nichelle (admin)
Filed under Blog, Dance Media, Featured, For Inspiration, Summer Study/Workshops, Toolbox
7. Watch dance online. Peek into the professional dance world with DancePulp on Hulu. Each eight to ten-minute video offers a behind-the-scenes look at the lives of dancers and choreographers. Christopher Wheeldon, Andrea Schermoly, Lourdes Lopez, and don’t miss William Wingfield talk about So You Think You Can Dance and combining the concert and commercial career.
Appropriate Choices In Dance Choreography For Young Girls
June 1, 2010 by Nichelle (admin)
Filed under Blog, Featured, For Teachers/Studio Owners, Perspectives
I seriously doubt that any harm is intended. Some say it’s about money and winning – shock value in the truest sense. I can only conclude that the decision to imply or impose an adult sexuality upon one who is not yet an adult, comes down to poor judgment. This does not release anyone involved from responsibility. When we work with children the standards must be higher and the choices must not be careless because children cannot truly choose for themselves while adults are guiding and influencing them.
Introducing My Dance Homework: Toe Sit-Ups
April 27, 2010 by Nichelle (admin)
Filed under Blog, Featured, For Everyone Else, For Juniors, For Students, Technique, Toolbox
[VIDEO] A simple exercise for dance students to do while sitting around. “Toe Sit-ups” encourage awareness and articulation of (or working through) the foot for tendu and pointing. They also strengthen the plantar flexors for pointe work, stability and balance, cushioning landings, and giving power to jumps.
What You Can Do To Improve Tendu (and why it is crucial)
April 19, 2010 by Nichelle (admin)
Filed under Blog, Featured, For Career Dancers, For Everyone Else, For Students, Technique, Terminology, Toolbox
Imagine the relatively light/easy press and bend of a paint brush that allows the painter to evenly distribute paint but still glide the brush smoothly. Imagine a layer of velvet or velour beneath your foot and enjoy the feeling of your foot moving through the plush carpet, leaving a trail in the fibers as the foot moves outward and returns. Imagine light or streaming air radiating from the hip and out through the toe, as well as upward and out through the top of the head.
Equation for Growth: Recalculating Problems With Parents At Your Studio
April 14, 2010 by Suzanne Gerety
Filed under Blog, Featured, For Studio Owners, For Teachers/Studio Owners, Perspectives
When a parent doesn’t have a clear path to direct a concern, they will go and find just about anyone that will listen to them. From the first moment a student registers at our dance studio we let them know that we are more than open to receiving their feedback and we show them where we keep
Pointe Readiness and What To Expect
April 6, 2010 by Nichelle (admin)
Filed under Ballet/Pointe, Blog, Dance Styles, Featured, For Parents of Teens, For Students, Perspectives, Technique, Toolbox, Wellness
Despite that the path is sometimes painful and frustrating with prolonged and hard-won rewards, young dancers spend much time and thought getting ready for pointe work. But how will your teacher decide if you are ready? Why might she decide you are not? And what can you expect if you are prepared to bear a pair of toe shoes?
Teaching Dynamics: It’s All In The Effort
March 22, 2010 by Stacey Pepper Schwartz
Filed under Blog, Featured, For Classroom, For Teachers/Studio Owners
The way we use our body’s weight can be light or strong. Think of weight in terms of force. How much force are you putting behind a gesture, or a leap? How much force to you use to lift a feather? Barely any. But a brick can take lots of effort, making you use a lot of strength or force. You can play around with weight by guiding a blindfolded person around the room. Do they like to feel a strong forceful touch or light touch?
















