More Kid Concepts...

Have you ever taught anatomy to young dance students?

You might be thinking, “Why teach anatomy?”  “What will they learn and how will I teach it?”

Let’s answer these questions one at a time.

Why Teach Anatomy?

©Dave Wood Photography

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. As a dancer learns how to plié before he can jump, so to must he understand that the knee and ankle joints allow him to bend his legs.

The more a child understands how her body functions, the more she can develop a sense of her whole body. This ties directly to performance. We have all seen dancers who perform steps but have no connection to what they are doing. Sometimes people say these  performers have no stage presence.  I say they have no body presence. They have no connection to their bodies.

How To Teach Anatomy

This is the fun part. Taking basic facts about bones and muscles, you can turn your dance studio/space into a dance exploratorium!

Simple Facts:

• There are 206 bones in the human body
• Muscles, by contracting and relaxing, are what allows bones to move
• The lungs supply the body with oxygen, and gets rid of carbon dioxide

Activity 1 – 206 Bones

What does 206 look like? A lot of public schools celebrate the 100th day of school. Sometimes kids are asked to bring in 100 paperclips, rubber bands, popsicle sticks, etc. so they can see what 100 looks like. Well, what does 206 look like? Have your students bring in 206 of something or have each child bring in a certain amount of cotton balls so the total will equal 206. The point is for the children to visualize how many bones they have in their body.

See if you can have the students do 206 of a certain movement, like a skip. Have the first student skip 20 times and tag the next student and so on until the class has skipped 206 times. Having them do 206 skips helps them connect to what 206 feels like.

Activity 2- Make a Muscle

Sitting on the floor in a circle, ask your students to show you their strong arm muscles. (They should all look like Popeye flexing their arms and squeezing their fists.) Have them tap their bicep muscles. Let them know the job of the bicep muscle is to move their arm bones. Have them shake out their arms and flex them again.

Now have them flex and extend their knees. Ask them to tap their quadriceps muscles. This is the muscle moving their leg bones. Repeat this several times. Now see if they can flex both their biceps and quadriceps muscles together.

Muscles move bones. Ask the students if they can move other bones with their muscles.

Lastly, have them squeeze every muscle in their bodies! l Let them know the more they use their muscles the stronger their muscles will  get and the faster and longer they will be able to move their bones!

Activity 3- I’ll Huff and I’ll Puff and I’ll Blow Your House Down

Sometimes it is hard to feel what your body is doing but you can see it. Hand out tissues or scarves to your students. Have them hold the tissue/scarf a few inches from their mouths and breathe in and then blow out. Notice what happens to the tissue. Why? You are taking in wonderful oxygen that enables you to breathe and you are sending out carbon dioxide that your body doesn’t need (but plants do!) Do it gently. Now blow hard.

Now dance the story of the 3 little pigs.  The three pigs dance together and build 3 houses. The first one is made of hay, very light and quick to build. They scoop the hay, toss, spin and skip, it is so easy to build.

The second one is made of sticks, its a little heavier and takes a little longer to build. They pass the sticks to each other, climb, connect, reach and fall and reach again.

The third house is made of bricks.  It takes lots of strength to build.  They take lots of deep breathes as they lift, push, pull, twist, reach, balance and climb.

Now the wolf comes. He takes one big breath inhaling in the oxygen and breathing out all the carbon dioxide and the house tumbles down. He goes to the next house and has to take two deep breathes and then the house falls down one stick at a time. Finally, he comes to the house of bricks. He takes a big breath and blows on the house. Again, and again he tries but nothing happens. His lungs are working really hard but the brick house is too strong.

He stomps away and the pigs celebrate with a dance!

What Do Students Take Away?

This is a great question to ask them.

I love to ask my students questions because this is how I learn about them, about myself and how to tailor my classes to reach them as effectively as possible. My guess, however, is that they will learn that there is more to their bodies then what they see in the mirror.  And that is an awesome thing!

Can you think of more ways to explore anatomy concepts with children?

© Stacey Pepper Schwartz for Dance Advantage, 2010. | Permalink | 4 comments | Category: Blog, Featured, For Classroom, For Teachers/Studio Owners, Technique, Toolbox

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1. Dance outside. Okay, where I live in Texas it can get pretty hot in the summer months but, even if it’s just a short impromptu cavort, take your shoes off and just enjoy being outside!

2. Settle in with a good dance biography. Check out this list of Biographies You Can Sink Your Teeth Into from DA’s archives.

3. Make dance part of your vacation. If you are heading on holiday, why not check ahead for studios that hold open classes in your destination city. I’ve done this when visiting New York, San Francisco, and even some smaller cities. It’s always a memorable experience and I always return home with new revelations and increased motivation for class.

4. Visit a museum or take an art class. What’s that got to do with dance? Exploring other arts disciplines and taking time out to be creative in ways besides dance is reaffirming and inspiring.

5. Find a drum circle or contact improv jam. Don’t think improvisation is your thing? Just try to resist the beat of a drum circle. It’s not unusual at all to find dancers of all kinds moving along (children love these) but don’t be afraid to take the initiative yourself. Here’s a listing for U.S. and International drum circles. Contact improv jams often welcome movers of varying levels of experience. Here’s a handy map of U.S. and global opportunities.

6. Perform or work behind-the-scenes in a musical or play. Off stage or on, you will gain valuable production experience and increase your skills in areas that are directly related to dance.

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.

8. Start a journal. There are lots of techniques for journaling but the hardest part is forming the habit. Write about the things from this list as you check them off! We dance bloggers like to write about journals (duh!). Here’s an early post on the subject from DA’s archives. And a recent one from Ballet For Men.

9. Take some Yoga, Pilates, Gyrokenesis, or other movement-based class. It’s great cross-training for dancers and if done regularly can keep you limber and strong even with time off from dance.

10. Have a dance movie marathon. Include movies you love with those that you wouldn’t ordinarily pick up. The Dance Advantage aStore lists some of my favorites under DA Suggests – DVD. Here are some blog mentions and reviews of dance movies, too.

11. Produce your own student dance show. This could be formal or informal depending on your situation. The essentials are simply to have students or peers sign up, collaborate, and choreograph their own dances. In the process you’ll learn a bit about what it takes to mount a production (big or small), practice dance-making skills, and have fun while you are at it. Growing up, my studio offered an opportunity to dance in a student choreographed show. It was semi-formal (in a stage space but much smaller scale than a recital), students from inside and outside of the studio were welcome, family and friends attended. It was something I always looked forward to.

12. Create a daily workout, stretch, or moving practice. Set some goals for the summer and then put together just a few exercises that you can do every day. Or if you just need to get moving, make it a daily habit to throw on some music and dance around your living room. A recent post at FitSugar even suggests adding dance to your morning routine… maybe a little plié while you brush your teeth!

Image by Wonderlane via Flickr

13. Read up! Catch up with posts right here on Dance Advantage by clicking on the navigation links under the header or check my offline picks (again, these are found at the aStore). You might also visit the blogs listed with a logo in the sidebar on the site – DA’s Blog Stars.

14. Go to a conference/convention/intensive/workshop. This one certainly takes the most planning but there is still time to get in on some of the summer activities happening at home and abroad.

15. Try water ballet! I’m not necessarily talking about synchronized swimming, although I suppose you could give that a try if like. Get in the pool and try your own underwater ballet class or even some water aerobics to get your heart rate up. Movement underwater is a great way to tone muscles and keep cool.

Do you have more ideas to add to the list?

Add them in the comments!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 3 comments | Category: Blog, Dance Media, Featured, For Inspiration, Summer Study/Workshops, Toolbox

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Of course, to those in the dance industry, this controversy is not really new and every once in a while our feelings on the matter bubble to the surface. It doesn’t take much to get the heated conversation going because people are rightfully passionate about the protection of children and because dancers (as artists) have an ardent connection to their work (also merited and a license deserving of protection). The discussion is often divisive, unfortunately, as of course what is appropriate or not is subject to opinion and perspective.

Reaction & Blame

When news hits that reignites the flame, we react. And, usually we look for something or someone to blame. I must reflect that my reaction, my first response, is almost never the best I have to offer. And, I daresay, that is probably true for most of us. So in a public space, like this blog, I gave the issue a bit of time. I talked to good friends in dance. I talked to subscribers. I talked to my husband, who dutifully listens and can be a great sounding board. I wanted to give my reaction space in order to balance my own emotional response and root my reasoning in logic.

As for blame, nothing happens in a void, does it? Condemnation is not terribly useful because we could go round and round ad nauseam. Of course, in any one situation there are those who must show and take responsibility for choices made. I want to be clear that I am offering my opinion, for what it’s worth, about the choices that were made in this case and the cases I’ve seen like it in the dance industry because I think (obviously) that it has solid footing.

I will discuss why I feel inappropriate choices are harmful and what I think the responsibilities of teachers and parents are when it comes to the young people they work with and influence. You do not have to agree, in fact the comments are open for you to politely discuss your point of view, should it correspond or contrast.

Let’s Talk About Sexualization

Young girls in a questionably appropriate dance performance are not necessarily acting out what they do on stage at home or in their daily lives. These particular girls may thrive as they grow into young women and adults. However, it seems safe to say, that outcomes are unpredictable. As with repeated exposure to violence, patterned sexuality in movement or dress has the potential to negatively affect those who, because of problems at home, victimization, or other destabilizing factors may not as clearly separate their feelings about what happens onstage versus off (that goes for the performers as well as those in the audience).

In addition, though girls performing a routine may be acting, I present that this performance (and those like it) contribute to a larger issue of how women and girls are perceived and perceive themselves. Though admittedly more could be done, there has been some study and reflection within the psychological community on how the barrage of images on television, in magazines, in music, etc. affect the feelings girls and women have about themselves. Low self-esteem, eating disorders, depression, even cognitive disruption like inability to focus or concentrate – these outcomes have been documented. If you’d like to learn more about the research, you might start with the American Psychological Association’s report on the sexualization of girls.

My Response To Counter Argument

It is natural that children would imitate adult sexuality. True, but a choreographed dance is not an imitation or exploration led by the child herself. It seems healthy that a girl might imitate or look forward to what she will be as an adult. It is different to assume or imply that a child is already an adult, that she should move, talk or act as an adult, or that she could process her experiences in the way an adult would. For a woman, sexiness and sexuality may be a source of empowerment. Sexualization has been shown to have the opposite effect on young women and girls, and what psychologists term adultification has yet to be studied at length.

The students already dance like this, they want to move or be like [insert celebrity here].

Image via Wikipedia

From the aforementioned report, “If girls purchase (or ask their parents to purchase) products and clothes designed to make them look physically appealing and sexy, and if they style their identities after the sexy celebrities who populate their cultural landscape, they are, in effect, sexualizing themselves. Girls also sexualize themselves when they think of themselves in objectified terms. Psychological researchers have identified self-objectification as a key process whereby girls learn to think of and treat their own bodies as objects of others’ desires (Frederickson & Roberts, 1997; McKinley & Hyde, 1996). In self-objectification, girls internalize an observer’s perspective on their physical selves and learn to treat themselves as objects to be looked at and evaluated for their appearance. Numerous studies have documented the presence of self-objectification in women more than in men. Several studies have also documented this phenomenon in adolescent and preadolescent girls (McConnell, 2001; Slater & Tiggemann, 2002).”

Seeing something sexual in the movements or dress of a child is imposing an adult idea of sexuality on the dancer (placing responsibility on the viewer and not the presenter). This suggests that language of the body is not a two-way conversation, that expression and perception do not occur simultaneously. No, we cannot control how something is perceived (case in point, my Toe Sit-ups video immediately attracted those with a sexual interest in feet). However, a choreographer has control of the context in which certain movements are presented. For example a pelvic roll as an isolation in class, designed to develop range of movement is one context. A pelvic roll executed among lyrics like “gloss on my lips, a man on my hips,” or while wearing lace and garters is an entirely different context. I will yield that there is grey area in terms of context but I have difficulty finding it in the above example, whether intended for a global audience or simply an audience of other dancers/competitors. A choreographer, like it or not, must be aware of the context in which they are presenting their movement and make adjustments according to their audience and (when dealing with minors) their performers.

Costumes are limited by and chosen only so that a dancer’s lines can be in full view.

Particular movements are chosen to break dancers from their comfort zone and encourage fearlessness on stage.

It is impossible to find appropriate music and still be culturally relevant or edgy in contemporary dance.

The above statements have been made in regard to the video I mentioned. All that I can say (without taking on more than I can cover in one article) is that these show a very limited exposure to the wider realm of dance, a lack of ingenuity and creativity, or both.

You Have A Choice

I realize that not everyone agrees that sexualization of girls can be harmful. We may not agree on what qualifies as sexualization. On these points I can agree to disagree.

A routine like the one so sensationalized still begs the question, why choose this? I know the answer may be ‘why not?’ but,

1. if it is unknowable (or remains unproven either way) if or how girls might be affected long-term by sexualization or adultification,
2. if the choices made open the studio and the industry to such criticism (overshadowing all the great and wonderful things that dance can do for children and young women)
3. and when so many alternatives in costume, music, and movement exist in this nearly limitless art form of dance…

I can find no justification for the choices made or facilitated by the adults in this situation – teachers, choreographers, studio owners, and parents (who are of course fully aware and in support of the studio/teachers).

Intention and Responsibility

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.

For this reason, also, I do not think it is too much to ask competition administrators to evaluate what they allow and do not allow, reward or do not reward within their organizations. As with television or any other form of media, however, I don’t fully believe that we can hold an entire industry to a standard without trampling on the freedom of expression. In the end we have little control over what others decide to consume.

We can hold ourselves to a standard, however. And I do hope that with rational discussion and arguments presented that all involved in dance training (teachers, parents, organizations) might embrace their role as educators, influencers, and role models, might contemplate their responsibilities to the young women who dance with them, and might choose more carefully.

To anyone who feels limited by what some are considering the norm in dance choreography or competition, I encourage you to look further or expand your own horizons. Inspiration and alternatives are not so far out of reach.

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 14 comments | Category: Blog, Featured, For Teachers/Studio Owners, Perspectives

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Okay, now that that is out of the way… As a teacher in my classes and in this online arena, I am often asked by students, “What can I practice at home to improve?”

My response:

No need to practice anything at home. Come to class. Listen and apply correction. Absorb the information given to you. Successful dancers have good teachers but are more importantly outstanding students that love what they are learning and doing.

Before that expectant face drops, though, I let my eager student know this:

Image by bradley j via Flickr

I appreciate your dedication and enthusiasm. There are some simple things you can do at home. This is not “practice” and cannot replace any of that work in class we talked about. This homework is prep work that supports the things we do in class.

And with that, I tailor some “homework” assignments for my student based upon what I see as his/her individual needs.

Unfortunately, I can’t do this for you.

I cannot prescribe any “medicine” for things you might be lacking in your dance training. One, I can’t see you. Two, I trust my analysis and assessment skills more when I’ve had the chance to get to know and watch a student. Your teacher is your first/best resource for identifying problems and areas in which you need additional work.

What I CAN do.

I can offer some “vitamins.” Vitamins are good for just about anyone because they are nutritional compounds taken in small doses. And so, I’d like to introduce to you a series I’m calling My Dance Homework… dance “vitamins.”

• I will most often administer these via video (and I hate being on camera so this is a big deal).
• They will be practical for just about any student.
• They will generally be off-the-cuff teaching moments
• They will not always be ‘vitamins’ for your physical improvement… dancers must grow strong, healthy brains too you know!

My Dance Homework, Take One:

Toe Sit-Ups

www.youtube.com/watch?v=tHEObpf_bC8

This is brand new, so please do let me know what you think of the series either in the post comments or at the Dance Advantage YouTube Channel. I like to share “favorite” videos via YouTube as well so if you like what you see, subscribe and get updates when new stuff is posted!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 4 comments | Category: Blog, Featured, For Everyone Else, For Juniors, For Students, Technique, Toolbox

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It seems like such a small thing, really, that little second-place movement done at barre or in center. But, no matter what type of concert dance technique you are studying (ballet, jazz, modern/contemporary), battement tendu — that’s the full name — is sure to make an appearance and with good reason!

A World Without Tendu

It is through tendu that dancers become conscious of directing and eventually expelling energy through a stretched (or pointed) foot. It is also where strength is developed in the foot for taking off and landing with cushion in jumps. Without tendu (and its partner tendu jeté or dégagé) there would be no no assemblé or grand jeté or entrechat quatre. Movements would lack the finish of a pointed foot and jumps would land awfully hard. But that’s not all that would be missing from classical or contemporary dance technique without tendu.

Though it may seem the working leg is the most important part of practicing tendu, you might be surprised to learn that the standing leg is equally critical. Tendu is a dancer’s first experience standing on one leg (at least in a technical and conscientious way). It may not be instantly recognizable, but this is where preparation begins for poses like arabesque. Jazz and modern dancers practice tendu with both turned out and parallel rotation because they balance (or center themselves over a leg) in both turned out and parallel positions.

http://www.flickr.com/photos/chrishaysphotography/ / CC BY-ND 2.0

Tendu means stretched. The leg stretches to a point and then closes (that is the battement, or beating portion of the movement). In ballet and other dance forms, this stretched action (and the way the body reacts to it) is important preparation for just about everything, including rising to pointe, lifting, throwing, or balancing on a leg.

Who knew tendu was so important?

Your teachers. Maybe they haven’t always explained it this way but all those reasons above (and more) are why this little movement shows up in plenty of your barre and center exercises. So now that you are aware of its significance, let’s talk about…

What you can do to improve tendu.

Weight Shift – Standing Leg

Do This: As the working leg leaves its home base (1st or 5th position) there is a subtle, nearly undetectable shift of weight to one leg. During this shift…

1. Maintain the turnout of your leg. If you feel strain and the need to decrease turnout in the standing leg as you shift your weight, reevaluate your turnout while standing on both legs, you may be over-rotating or forcing turnout.
2. Balance your weight equally over the three points of the foot.
3. Keep all 5 toes on the floor and be careful not to pronate or roll-in.
4. When closing the tendu (especially when repeating), be aware of your weight. If you are lingering or leaning over the standing leg, you may be lifting your working hip and/or not properly creating resistance between the foot and floor in your tendu (more on that in a moment).

Imagine This: Imagine pouring your weight like sand into the standing leg, rather than dumping it all at once. Imagine your standing leg as a barbershop pole with stripes moving upward and wrapping outward to keep the rotation in your leg.  And I like this one, courtesy Eric Franklin’s Dance Imagery for Technique and Performance — Imagine having a third “ghost leg” that remains in its standing position even while your working leg moves away.

Weight Shift – Disengaging the Working Leg

Do This: Create resistance between the foot and the floor. This is less forceful than a press but does require some directed energy through the leg and foot. Articulate (or “work through”) the foot – peeling off the heel, ball, and finally stretching through the toes (also articulating in the reverse). Keep the toes long, there is no weight on the toe and you should be able to lift the leg from here without further shifting onto the standing leg.

Imagine This: 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.

The Hip Joint

Do This: Maintain rotation in both legs and keep the hips level and “quiet” with no extraneous movement.

Imagine This: Imagine a horizontal line between the sitz bones that stays level, as well as lines dangling from the sitz bones straight into the floor. Imagine that your flesh and muscles have disappeared and your skeleton is doing a tendu — picture the femur moving easily forward, back, or side in the acetabulum (socket). Imagine the ball joint of a pen holder – the holder portion (the leg) has freedom to move all over but the socket (the hip) is still.

For additional thoughts, check out Dianne’s blow-by-blow of battement tendu at Ballet Shoes and Pointe Shoes.

♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦

In concert dance technique (ballet, jazz, modern) some of the most important movements are found at the start of the class or ballet barre. They help to warm up the body, yes, but these are also the base upon which all other movements are built. Tendu and plié are two movements we often take for granted as we learn them so early in our dancing life. The above suggestions are certainly not ALL of the things to be considered in battement tendu but they are more than enough to think about right now.

What corrections do you typically receive from your teacher during battement tendu?

Can you share any images or advice that have helped you master this important movement?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 8 comments | Category: Blog, Featured, For Career Dancers, For Everyone Else, For Students, Technique, Terminology, Toolbox

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Studio Bizwax

What do you get when you add the parents at your dance studio plus the myriad of problems that can arise?

Some people would say headaches!

However, we owe much of our accomplishments and innovation at our dance studio to parent complaints and concerns.

In mathematical terms, parents are constants not variables. They aren’t going anywhere. They are a staple in the dance studio business. They want the best for their children. I’m a mom, I can relate on so many levels. But what a parent wants for their child is not always what works for dance studio owners and teachers. From disagreements on class placement, teaching style, audition results, solo choices, costume picks, music selection, and payment plans to planning rehearsal schedules, the moms and dads will often have an opinion about how it should go.

What I see happening more often than not is that dance studio owners and teachers want to make problems go away. Trust me, I don’t wake up in the morning hoping to get an email or phone call from an irate parent, but it’s in the way you view and handle problems that true growth and success can occur.

Here are three things that you can do that are likely to transform the way you think about problems with parents and make a positive difference at your dance studio:

#1. Regard Every Problem as an Opportunity to Grow

I’m not saying every parent is right!  But what I am saying is that when a parent brings up a problem or complaint, it is an opportunity for you to really take a step back and look at the situation and see if their suggestions may actually help you improve.

Dance studio ownership is a very personal business, it’s hard not to get defensive or take complaints and concerns to heart. Trust me, I have shed my fair share of tears over events that have left me asking ‘why bother?’  Here’s where you have to dig down into your commitment to success.

If you are running a business, you will ALWAYS be problem-solving. Trying to make problems go away is an exhausting battle never to be won.  Instead, when faced with a problem consider it a wonderful opportunity to improve, add something, try new methods, or entertain a different approach. Be open and grow.

#2. Have a System for Communicating Concerns

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 a parent-student concern form that they can fill out and return at anytime. Upon receiving these forms we set up a meeting to discuss the concern.

The ‘no gossip’ rule nips problems right in the bud. Train your faculty and staff to be aware when walking through waiting rooms or around the studio. When they hear gossip or when a concern is mentioned, have them invite the parent to set up a meeting with you or your director to personally address a problem. Encourage everyone to take their concerns to the people that can do something about it at the studio.

Complaints and expressed concerns might also be considered contributions. When you are open to receiving, rather than avoiding, shutting down, or making it wrong to voice a concern, you create the opportunity to be the talk of the town for all the right reasons.

Your students and parents will gladly refer you to others if they know that any complaint or concern large or small will be heard. Again, this does not mean you are changing policies for parents just because they have a concern. People want to be heard, receive their communication, then decide how to proceed.

#3. Give Big Problems and Issues the 24-hour rule

One day you can be dealing with a huge issue and feel like the world is crashing in and everything seems to be going wrong… and then you sleep on it.  Have you noticed that more often than not, the next day everything seems in perspective and less daunting?

We made a rule at our dance studio with our faculty and staff that whenever we are about to consider an exception to a rule, a policy change, or send communication to a parent as a result of a meeting or concern that we give it the 24-hour rule. This helps immensely when it comes to taking the emotion out of a situation. In fact, Nichelle mad a similar recommendation in her article for parents on How To Talk To Your Studio Director And Be Heard. It’s easy to get a voice-mail or e-mail and want to reply back with a quick judgment. Instead, at our studio we set up a meeting, hear all sides of the issue with the parent and student, and then after 24 hours make a decision.

However you structure it, adding that time makes a big difference in your ability to see the big picture and make choices and decisions that are best for everyone involved

“I don’t know the key to success, but the key to failure is trying to please everybody.” ~ Bill Cosby

The truth is, you can’t make everyone happy.  Nor can you retain 100% of your students from year to year.  That’s just not how it works. What you can do is learn and practice being great with people.

When you learn how to handle the angry, irate, mad, frustrated, and completely irrational parent in a way that sets your dance studio up for success you will be positioned for growth. For those parents that you just cannot make happy or arrive at a solution for – graciously suggest a dance studio that might be able to accommodate their needs.  Sometimes your studio’s vision and values are just not the right fit for their dancer!

Surround yourself with a supportive team of faculty, staff, family, friends, and colleagues that believe in your dance studio vision and mission. Give big problems and issues the 24-hour rule before making a decisions. Have a system for communicating concerns at your dance studio and most importantly see each problem as an opportunity to grow!

How have your studio parents helped you grow this year?

What are some ways you’ve kept things positive when it comes to parent concerns?

© Suzanne Gerety for Dance Advantage, 2010. | Permalink | 6 comments | Category: Blog, Featured, For Studio Owners, For Teachers/Studio Owners, Perspectives

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Image via Wikipedia

There is something about these pink satin slippers that entices all young dancers. Not only is there a certain mystique and a well-earned sense of accomplishment that goes along with getting a pair of pointe shoes, but it is often considered a symbol for the student, representing that one has graduated into something “bigger and better.” 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?

What Determines Pointe Readiness?

As a teacher, it is not easy to tell an eager student that they are not yet ready for pointe shoes. There are many factors involved when considering each individual’s preparedness.

Number one, is safety.

Is the student ready to safely work at this level?

“The bones of the foot are not fully developed, strengthened and hardened until sometime in the teenage years. Naturally there is a great deal of individual variation. If a young dancer attempts pointe work without proper strength and technique, there is a chance that she will permanently damage those not fully developed bones. Body weight times momentum creates a great deal of force.” – When To Start Pointework? via Gaynor Minden FAQ

“Students attempting pointe work before being ready risk, at the very least, building bad habits which may take years to correct. More serious is the potential for injury or permanent damage to the bone or muscle structure of the foot, which far outweighs the risk of disappointment.” — To The Pointe by Janet Parke

General Requirements:

Though teachers may have their own set of criteria, these requirements are widely accepted within the dance community

• At least 11 years of age.
• At least 2 years of ballet training.
• Taking at least 3 full hours of ballet per week.
• Responsible enough to bring all ballet equipment needed.
• Dresses appropriately for class.
• Attentive in class and applies corrections well.

Physical Criteria:

A general (not necessarily complete) list of what you need to be able to DO.

• Maintains turnout while dancing
• Demonstrates correct posture and alignment in positions and while moving
• Shows awareness of proper ankle and foot alignment, avoiding supination (sickling) or pronation (rolling-in)
• Effectively uses plié while dancing
• Stretches or points the foot while dancing
• Can piqué passé with a straight leg
• Can perform repeated relevé in the center without tiring & while maintaining alignment
• Can balance on one foot with the body correctly positioned over the supporting leg
• Coordinates movement well, particularly in regard to varying approach to relevé (from plié, from straight leg, stepping or springing into, etc.)

Attitude and work ethic play a large role in dancing at an advanced level. Students must display dedication during class and a strong commitment to the art form at all times.

What a Beginning Pointe Student Can Expect

Image via Wikipedia

Most teachers will take time from class to show students how to properly break-in and care for their shoes.

Some preparatory work involving the increased articulation and strength of the feet is often added to the end of a full ballet class. If students wear pointe shoes at all during this time, it is usually under 10 to 15 minutes.

Pointe work begins at a slow, steady pace with exercises performed only with the aid of a barre.

Even standing in the pointe shoes requires ankle strength and can take some getting used to because of the uneven feel of the sole.

Eventually dancers will exhibit enough strength to complete some steps in the centre, however expect progress to be gradual.

What Pointe Is… And Is Not

Advancing to pointe work is a serious step and should be treated as such by students, teachers, and parents. I have unfortunately worked for studios in which the requirement for pointe work is much less than 3 hours per week and in fact, students were sometimes advanced simply because it was “their turn” to move up. The result of this method is always frustration for everyone involved. At best, students end up “spinning their wheels” in regard to progressing and eventually leaving the barre for centre. At worst, they form bad habits and develop injuries. Pointe work builds upon ballet technique and every struggle, problem, weakness, and deficiency is amplified with this new layer of difficulty. With this in mind, I must state the following:

• Pointe work is an evolution and extension of dedicated and effective ballet training. It is not the culmination of a particular number of years in ballet class, seniority among peers, or even of intense desire.
• Progession to pointe work is not a right.
• Pointe is not for everyone.
• Pointe is not necessary for anyone save those focusing on pre-professional or professional ballet.
• Pointe work is often a positive experience for those ready to devote themselves to ballet.

Responding to a “No”

As parents and students, you should expect no less of a teacher than to instruct logically, carefully, and thoughtfully. Should a teacher’s criteria be unclear, should you have question about what is required or how you might improve, arrange a meeting with your teacher to discuss this. However, make a commitment to respecting your instructor’s judgment and knowledge if she feels you are not yet ready for pointe work. A teacher willing to say no to you has likely put much thought behind the decision, in contrast to a teacher who tells everyone yes.

What criteria do you or your teachers use to determine pointe readiness?

What else might a beginner expect?

Were you ready for pointe when you started?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 9 comments | Category: Ballet/Pointe, Blog, Dance Styles, Featured, For Parents of Teens, For Students, Perspectives, Technique, Toolbox, Wellness

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Not such an exciting story.  I gave you the events but not the texture, the details, the emotions, or the dynamics.

Let me try it again.

Photo by Viv Evans

I sat on the front steps very still, searching the sky. I watched with excitement as the rain came down lightly as if greeting my cheeks with a familiar hello.  The ground was soft and my boots sank ever so slightly as I stood up. And as I jumped with ease into the tiny puddle that was before me I thought of the spring showers I remembered as a child.  I went into the house, haphazardly skipping from one puddle to another, giggling with my wet clothes hugging my body.

Or maybe the story went like this:

Photo by Meredith Harris

I sat bound to the front steps, my stomach tightened, feeling the darkening sky closing in on me.  I watched with alertness as if danger approached. The rain came down like strong unrelenting tears. The ground got soft like it could not hold my weight. I sank deep into the thick mud as I stood up. With heavy feet I jumped into the closest puddle. I went into the house without looking back; my wet clothes drenched from the sky’s sadness.

These are two completely different stories with the same framework.  What makes each one so different?

It’s the details.

This is how I see dynamics, which is an element of movement and I feel an element that deserves some much needed attention! Dynamics or in the world of Laban and Bartenieff otherwise known as efforts are broken down into weight, spatial focus, time and flow.

Weight: Light or Strong

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 do 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?

Spatial Focus: Direct or Indirect

The next effort is spatial focus which can be direct or indirect. Direct is easy to understand. You want the cookie on the plate. You keep your eyes on the cookie, reach out in one distinct movement and take the cookie. You don’t meander around the room and wind up at the cookie a few minutes later. As for indirect, I once had a teacher describe indirect as a buzzing bee around your head. You swat at it, in no particular order or sequence and can never fully get a sense where it is at any moment.

Photo by Alan Cleaver

Time: Quick or Sustained

Time is a fun effort because our own understanding of time changes as we age. It can be quick or sustained. My daughter lives in sustained time unless she wants to watch t.v. when I am on the phone. Then all I see in her body is quick. When I want her to get ready for school she puts on her clothes like she has all the time in the world. In fact it seems to me that she is not bound to any clock or time concept at all. This is sustained effort in a nut shell. As she is doing this I am pacing back and forth, peeking out the window for the bus and grabbing for her socks and sneakers. Absolute quickness!

Flow: Bound or Free

The last effort is flow which can be bound or free. Think of when a child is really angry. The child makes fists with their hands, tightens her belly and clenches her jaw. This is bound. Or think when a child has no care in the world and he is skipping around the jungle gym with ease. This is a perfect example of free energy.

Teaching Dynamics to Kids

How can you teach these concepts to children you might be wondering? Children experience these efforts in their bodies all the time. Just like you. It is becoming aware of them that is the challenge and the fun. I like to experiment with different efforts by getting in touch with emotions.

How does your body like to move when you are happy?

Kids might say when there bodies like to skip or jump.  If you pay attention to the quality, it will  be light and free.  I have never seen bound skipping!

How does your body like to move when you are angry?

I usually see fists, direct punching in the space, stomping, tight contracted shoulders. Again, the quality of movement is drastically different then free and light but they won’t be able to express it without some guidance from you. Try doing the same punching action with light and free qualities and she how the movement changes. Ask the kids if it is a movement from an angry body – they might say it is now a happy movement!

How does your body move when you are surprised?

How do you react when someone yells boo! You will see all the children do a quick movement. Usually when I get startled I flail my arms, very indirect! This brings on lots of giggles as they watch each other.

How do your body move when you are tired?

When you ask this question you might get bodies falling to the ground at first.  The distinction is not how does your body move when it falls asleep but when your body is tired. Walk around the room jump, hop, and skip. The children’s movements will start to lack a sense of time and a specific spatial direction. It is amazing to watch the efforts change in the children’s bodies.

A great book that discusses effort into length is Primer for Movement Description Using Effort-Shape and Supplementary Concepts by Cecily Dell. This book is invaluable to me. The explanations are thorough, detailed and easy to understand. This is one of my books that never spends too much time on the shelf.

I hope by breaking down the different dynamics or efforts it has helped you understand them in a new way, and will make teaching and experiencing effort in your classes or with your children very accessible to you. Remember, dynamics help texture movement stories. Like the story I told in the beginning, when you change the dynamics, the entire mood, feeling and emotion changes. The meaning of the story changes as well. Just like the meaning of a gesture will change when you simply replace bound effort with free!

© Stacey Pepper Schwartz for Dance Advantage, 2010. | Permalink | 2 comments | Category: Blog, Featured, For Classroom, For Teachers/Studio Owners

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Image via Wikipedia

Many children have a desire to dance. Some proclaim that when they grow up they want to become professional dancers. While many youth share this dream, only a few make it.

While it may be difficult to have a career in dance, it is definitely possible. Here are some helpful ways to make your dance dream into a reality:

1. Become more knowledgeable about your craft
2. Take a variety of dance classes
3. Become a choreographer
4. Consider a degree in Dance
5. Build connections through networking

Become more knowledgeable about your craft:

Like in any profession, the more you know the better off you will be. The same rule applies for dance. It is a common misconception that dancers rely solely on their muscles. In reality, dancers rely much more on the brain. Learning choreography at a fast pace, reversing combinations, and timing movement to new music takes some serious brain power!

Aside from the physical aspects of dance, become knowledgeable about the entire field. If you are interested in ballet, perhaps research the history of ballet and see how your favorite arabesque came into existence. For Hip-Hop lovers, why not research the early Poppers or see where Krump dancing originated? Remember that a well informed dancer is a promising professional dancer who can contribute to the field in new and exciting ways.

Take a variety of dance classes:

Image by juicyrai via Flickr

It can be scary to break out of the comfortable confines of your local studio. But branching out has many benefits for an aspiring dance professional. By taking a wide variety of dance classes from different sources, you become a more versatile dancer. In today’s dance industry, versatility is extremely important. Sure you can specialize in a specific dance genre, but it is also important to be well-versed in a variety of styles. Most private studios offer the standard ballet, jazz and modern combination of courses. However, some offer tap, ethnic forms (like African and Latin styles), hip-hop (house, breaking, popping, locking), lyrical, contemporary and modern!

Take as many different dance classes as you can from different sources. If you belong to a studio, why not supplement your training with additional workshops and master classes? What doesn’t kill you makes you stronger, so if you can survive a grueling dance schedule than you are taking a step in the right direction.

Explore choreography:

Many leading industry professionals are required to contribute to the choreographic process. Even if your goal is to dance for a company, you should still be able to choreograph or create new movement on your own. Some choreographers ask dancers to improvise movement during a rehearsal or develop a phrase to go along with set choreography. Being able to create new movement is not rocket science—it takes creativity. Explore the way your body moves by improvising on your own. Try new things and do not be afraid to break outside of the barriers when creating new movement. After all, the objective is to create something new and exciting—so take a chance. You might surprise yourself and gain a new appreciation for choreographers. You may even become one!

Consider a degree in dance:

Image by UMTAD via Flickr

Dancers and artists fight an economic battle. To defeat debt, underfunded programs, and unemployment, it is important to come equipped for battle. One of your most reliable shields can be a degree in dance. There are now a host of higher education dance departments across the country. Some offer Bachelors of Arts (most liberal arts colleges and universities) while others offer a Bachelor in Fine Arts Degree (most conservatories). Some programs are large and require dance 24/7. Conservatories are dance training programs that prepare dancers to go out into the performance world ready for battle. Liberal Arts programs offer life skills such as writing, public speaking, problem solving and developing the inner artist. These programs also prepare graduates to become professional dancers and advocates for the arts. Conservatories and Liberal Arts programs have different approaches to dance training, but each has had countless success stories and many graduates currently working as professional dancers. A degree in dance sets you apart from the competition and exposes you to newer dance forms such as partnering, postmodern, and contact improvisation.

While some schools focus more on dance training, some specialize in dance scholarship and the academic component of the field. So explore your options and see if there is a dance program that suits your needs. Chances are you will find at least one program that can challenge your dancing and intellectual pursuits all at the same time.

Image via Wikipedia

Build connections through networking:

Some dancer landed that dream job because he had a cousin whose best friend’s fiancé knew the artistic director of a company. While this scenario is extreme, it is often how things play out. Somebody you know knows people in high places who can give your resumé some extra attention or land you the audition you always wanted. Do not be afraid to put yourself out there and network. Design a blog, web site or social networking page dedicated to your work in dance. A resumé, headshot (professional photos) and reel of performances and choreography are never a bad idea. With new technologies, promoting yourself as the dance professional you want to be is becoming easier and easier. Do not hesitate to talk to friends, family and co-workers about your goals, because you may be surprised at who can help you become a professional dancer.

Final Thoughts:

Hard work and dedication always win out in the end. If you believe in yourself, never give up, and work until you see your dream become a reality. Go out into the world and make your own creative opportunities. You have the power to create your own career.

© Roger Lee for Dance Advantage, 2010. | Permalink | 6 comments | Category: Blog, College and Career, Featured, For Career Dancers, For Students, Toolbox

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Beginning Improvisation Exercises

(Appropriate for students of all ages and levels, unless otherwise noted)

Exercise 1: Group Nursery Rhymes

Goal: Get feet connected to brains, and get students moving!

Choose a song that everyone knows. My suggestion is “Mary Had a Little Lamb” for the first time you try this. Remind them that there are no rules except to dance one sound for each note in the song. Sometimes this will take more than one try, especially if you notice dancers adding extra sounds. Encourage them to leave space during the silence in the song.

If you have very young students (I start them at age 3 with this exercise), have them sing and dance at the same time. If you have intermediate dancers or adults, they can dance without singing.

Master Teacher Heather Cornell with beginning improvisational students

Exercise 2: “Fancy Dancing”

Age/Level: Beginning Students, ages 3 to 7
Goal: Learn how to dance in an improv circle

All dancers begin in a circle. Choose a fun song that the kids can relate to, with a steady tempo and a good beat. One by one, dancers enter the circle and “show us their best moves” and dance as long as they want! Encourage them to do ANYTHING they want, not just tap dance. This gets them thinking about moving things other than their feet!

Exercise 3: Toes Only, Heels Only

Ages/Levels: Beginners of all ages
Goal: To eliminate the pressure to come up with impressive footwork when a beginner doesn’t have a big vocabulary

Once again, make a circle. You have two variations that you can try with this exercise, both of which help relax self-conscious beginners.

Variation A: Repeat Exercise 1 as a group, but using only toe drops or heel drops. This can also be done one at a time so they can hear their taps, though you’ll need to pay careful attention to their self-consciousness and be sure to encourage them!

Variation B (ages 6 and up): Have each student choose their own nursery rhyme and tap it out with toes or heels. Make the rest of them guess! This is challenging, but fun.

Exercise 4: Pass the Buck

Goal: To learn how to “pass” to the next person

All dancers begin in a circle. Choose a fun song with a steady tempo and a good beat. One by one, dancers either enter the circle (young kids and advanced dancers) or dance in place in the circle (ages 6 to adult) and “show us their best moves” and dance as long as they want! Encourage them to do ANYTHING they want, not just tap dance. This gets them thinking about moving things other than their feet!

When they are finished, they must gesture with a foot, hand or eye contact to the person they choose to go next. If the “passing” is too complicated for your little ones, you can verbally prompt them to pass it to someone, or simply progress one at a time around the circle.

Exercise 5: Bars, Meters & Counts

Image by Horia Varlan via Flickr

Goal: To create music awareness while dancing and practice structured improvisational trades around a circle

Begin with a very structured 4/4 song that does not have any strange segues or extra measures. Have all students beat their hands on their legs, clap or snap to the beat. Continue their time keeping, but have them now count out loud – “1..2..3..4″. Be sure you do not have them count “5..6..7..8″. This is a cardinal sin in the music world, as you’ll find out if you dance with live musicians! Explain to your students that each set of four counts is a measure, or a bar. I often use this with my elementary students who are learning addition and/or multiplication. They love when they know the answer to “How many counts are in four measures?”

Once you have explained the concept of bars/measures and counts to them, try dancing four measures. If this is too tough, they can even use toes and heels like before. Have them help each other by counting out loud and holding up fingers for the number of measures that have passed. Everyone loves a little help from their friends!

Note: Remember that each student should begin on count 1 of their first measure and end on count 4 of their last. This will help with students transitions to one another. You can also require them to “pass the buck” once they’ve finished their turn.

–

I hope these beginning exercises give you some ideas for your own classes, or even your own individual improvisation work. Let’s find that creative genius hidden inside your students (and maybe even you)!

For more information or to purchase a complete copy of the syllabus, please feel free to comment below or email me at sarah.mason@PennAcadArts.com.

© Sarah Mason for Dance Advantage, 2010. | Permalink | 3 comments | Category: Blog, Dance Styles, Featured, For Classroom, For Teachers/Studio Owners, Tap, Toolbox

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This post was originally published in May 2008.

Photo by PBoGs

I’m sure that students reading this blog have used or heard the term battement before. If grand battement immediately comes to mind, I’m not surprised, as the word battement is commonly dropped from the name of other familiar terms.

A mother, father, brothers, grandparents, uncles, all share a family name. In a similar way battement is a family of movements.

From the Technical Manual and Dictionary of Classical Ballet: Battement [bat-MAHN] — Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petis battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and-lifted. In this must-have reference Gail Grant devotes no less than 7 pages to the battement family which also includes members such as fondu developpé, balançoire, retiré or raccourci, soutenu, battu/serré, and more.

Why We Practice Them

Photo by DWinton

Battements, as they are practiced at the barre and in centre, are the foundation of many other movements in ballet (jumps and travelling steps such as assemblé, tour jeté, grand jeté, and so many more) and in other dance forms. It is necessary to have a solid grasp on the simplest forms in order to perform the others correctly. Often battement are separated into two categories: petite and grand. However, one might also divide battements according to whether or not they interact with the floor.

Articulation

Tendus, dégagés, frappés, grand battements (balançoire, en cloche, fouetté, etc), soutenu, and retiré, are all battement that brush or press away from the floor. In each of these movements, it is important to remember the role of the feet. I have encountered many beginning dancers that neglect “working through” the foot as the working/gesture leg is disengaged from it’s standing position. Think of the foot as a paintbrush creating a brush stroke on the floor, using the intrinsic muscles of the arch and finally, the toes. This small action will strengthen the foot for jumping and relevé, and helps to “ground” the movement, providing stability, particularly in centre. Stability can also be increased by imagining the standing leg rooted deep into the earth as the working leg moves outward and/or skyward from the midline. The foot also articulates in battements that lift the knee upward, as in retiré/raccourci. Think of this as a one-legged jump, requiring the same roll-thru of the feet. This is great strengthening practice for jumps to come. Similarly in grand battements, I like to remind my students that power and height of the working leg is achieved through sending force into the floor. Much like a rocket ship which propels itself into space by sending heat and energy downward, a dancer must send energy into the floor through the leg and foot to create “lift-off” in grand battements.

This video by Lisa Howell is a useful and clearly explained demonstration of the articulation necessary in tendu.

Isolation and Sustaining the Leg

Battements that do not interact with the floor are a much smaller branch of the family. Still they are an illustrious group. Petites battement sur-le-cou-de-pied and battu reflect the more literal “beating” action of battements. In barre work these movements introduce agility and speed. They require that the knee be lifted away from the body for a sustained period (a preparation for things to come) while also isolating the rapidly moving lower leg from the upper leg. This isolation is important later for all jumps with beats because it encourages stillness or “quiet” in the pelvis and stability in the core while all that fast action is going on below.

A Word on Turnout

In all battement, maintaining turn-out is crucial. Many students struggle with this and it can take years to develop the strength to utilize and maintain turn-out with consistency. One way to “find” or create awareness of turnout in battements is to place the fingertips on the greater trochanter. This is the portion of bone at the outside of the hip joint that you’ll probably feel pressing into the floor when lying on your side. With the fingertips on this protrusion, execute a battement tendu. When properly utilizing your turn-out you will feel the trochanter slip backward but not dip lower or lift higher as you disengage the leg. This exercise may be used as an alternative or supplement to the more commonly taught concept of allowing the heal to lead in tendu.

Each movement within the battement family deserves its own post. Writer Dianne Buxton has added her breakdown of the basics at the Ballet and Pointe Shoes blog:

• Battement tendu
• Grand battement
• Battement frappe
• Battement degage
• Battement fondu

Don’t forget to pick up a good ballet dictionary. It will prove helpful in your study of ballet (and other dance forms) to understand and utilize proper ballet terminology. Once again, I highly recommend the Technical Manual and Dictionary of Classical Ballet.

What are some images that have helped you (or your students) in executing movements in the battement family?

Are there other ways you might categorize or breakdown the various types of battements?

Are there additional resources you’d recommend?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, Featured, Technique, Terminology, Toolbox

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Today’s Guest Post is from Nina Amir who blogs over at My Son Can Dance. I have enjoyed following Nina’s adventures in parenting a son who is pursuing serious study of dance. Dancers are receiving acceptance letters about now for intensive summer programs in cities all over the country. If this is your first big intensive, excitement for what lies ahead is probably charged with uncertainty and stress over preparations. Here, Nina shares what she and her son experienced their first summer at American Ballet Theatre’s summer program in New York City. No matter where you are headed this summer, these tips offer great advice from someone who has been where you are now.

Image via Wikipedia

You’ve just gotten the email. Your son or daughter has been accepted to the American Ballet Theatre Summer Intensive in New York City. This acceptance means so much—your child has enough talent to attend one of the premier (if not THE premier) ballet summer programs in the nation, your child has to be ready to endure the rigours of such a program and you have to figure out how to handle the logistics of an unchaperoned summer intensive in the middle of the Big Apple.

Last year I faced these same issues for the first time when my son was accepted into the ABT Summer Intensive program. We went to New York to spend seven weeks together while he danced and I worked. We had some idea what this entailed, but to some extent, despite the bright lights of the city, we entered into this adventure in the dark so to speak.

This year, we are going back to New York again for a second year at the ABT Summer Intensive. We will return with our eyes open and knowing more about what to expect and how to prepare.

Tips For A Successful Summer

For those of you going off to New York for the ABT Summer Intensive for the first time, here are some things to consider as you get ready for your experience—probably the best experience your child has ever had as a dancer—and some tips that might make the program more successful for both you and your dancer.

1. Choose your accommodations carefully.

Quite a number of children in the 15-18 age group stayed in dorms without chaperones. They seemed to enjoy this and handle it quite well. Many moms also stayed in New York University dorms with their daughters, although they aren’t a cheaper alternative.

The majority of the dancers arrived in New York with one or more parents who had sublet an apartment somewhere in the city or in the surrounding area. A few of the kids stayed with relatives in New Jersey or in areas that afforded them the ability to ride into the city by train.

We sublet a very small—too small—studio apartment in an attempt to save money. It was on a lovely, historic street in the East Village. However, we needed more space as well as Internet hook up and cable TV, neither of which did we have. I also failed to ask the owner of the apartment if the kitchen was well equipped for someone who wanted to cook everyday; it was not. So, don’t assume that all New Yorkers cook. Be sure to ask about the amenities included in the apartment. If at all possible, send someone you know to see the apartment, or ask for additional pictures to be sent to you via the Internet.

Also, if an apartment seems to good to be true, it probably is. Try to find a realtor to help you find a place, or be sure you are dealing with a real person. We almost got scammed by one person…I think. So, be careful about the people with whom you deal.

By far, finding housing is the hardest part of going to this summer intensive. It’s time consuming and housing is expensive.

2. Add extra classes, weight lifting or exercise prior to attending the intensive.

Unlike some of the other programs, the ABT summer intensive really is intense. The first week has the kids dancing, doing yoga and pilates six hours a day. They come out tired and sore. In particular, my son was muscle sore from “pressing” girls and partnering them.

Based on what I’ve been told by some experts, I’d suggest that kids add in some sort of cross training—running, jumping rope, swimming, or something else in the weeks prior to the program’s start to increase their stamina. See this post for additional advice from Rasta Thomas. (And this one…)

3. Be prepared for the difference in weather.

My son had some trouble with dehydration the first week. We live in California, and I didn’t really think that would be a problem since we were coming from a dry, hot climate. However, it was so hot and humid in New York that he sweated more than usual and didn’t drink enough. The kids need to have electrolyte packets and other sports drinks along with water to keep them hydrated.

Also bring a variety of clothing. We had tons of rain and some chilly weather early on. Then it got beastly hot.

4. Include vitamins, herbs, and nutritional supplements to the daily regimen.

I added in extra vitamins and herbs to my son’s regimen of nutritional supplements. I found some of that helped prevent overuse injuries. Despite the fact that he also danced on Saturdays and some evenings at other studios in the city, he had very few overuse injuries. Watch my blog for information on great supplements to keep your kids dancing healthy and uninjured.

5. Make use of wellness resources made available

Be sure your son or daughter takes advantage of the physical therapist provided by ABT if they run into any problem. (Most of the kids had some sort of foot problems or shin splints.) She is great and really helps. My son had one problem early on with his foot, and she solved it quickly with exercises. We also found a chiropractor who was a former dancer. He was super. (You can contact me if you need him.)

6. Take advantage of the city (but don’t walk too much)!

There is lots to do in the city, and the dancers have the weekends off. It’s easy to get around using the subway. It’s also pretty safe, despite what people think about New York City.

Be sure to have good walking shoes, and insist that your dancer wear them, too. ABT requires that the kids not wear flip flops or other sandals (but the kids don’t listen). Their feet are tired at the end of the day, and walking on the pavement doesn’t help. My son’s feet and legs were extremely tired the first two days we were in the city, and he refused to wear the good running shoes we had bought just for that purpose. He did wear them more after that.

7. Let your son or daughter enjoy being with the other dancers in the program.

Many parents are afraid to let their children leave the studio during lunch. However, the kids tend to go out for lunch in groups. The area is pretty safe and doing things together breeds friendships. My son regretted not doing more with the other dancers, such as in the evening and on weekends.

8. Take advantage of the dance happening all around.

Go see dance. Let them take extra dance classes on the weekend (but make your child take at least one day off to rest). We went to see modern and contemporary dance at The Joyce and The Joyce Soho as well as taking advantage of the discount tickets offered to us to American Ballet Theatre productions.

My son also took tap classes at least twice a week at Broadway Dance Center and hip hop classes as well. (We found that these didn’t use the same muscles as ballet; thus, we weren’t too worried about overuse injuries from the extra classes.) We then stayed in New York City for an extra week, and he danced every day for another six hours at Broadway Dance Center. Next to his time at ABT, this was the best experience he had in the city. Many of the dancers also went to Steps on Broadway for additional jazz or ballet classes; we just never made it there.

9. Offer encouragement to help your child through a rough beginning.

Dancers need to know the program is harder than anything else they may have done before. At the end of the first day they are tired. The next morning, they may be wondering how they’ll make it through the second day. At the end of the first full week, they will wonder if they can make it through the whole program. However, by week three, they have settled into the routine and adjusted to the strenuous nature of the program. At the end of the six weeks, they will be in great shape and wish the program weren’t ending yet. They’ll know they could dance for six hours a day every day…and they’ll want to do so.

10. Know that as a parent you’ll be in the city on your own while your dancer dances.

Parents are not allowed into the ABT building or up to the ABT offices in general until the one—yes, one—parent observation day. So, find something to do or bring something to do. I work from home, so I was busy every day in our tiny apartment. Other parents shopped or visited museums or went to Broadway shows. All the waiting around, walking back and forth from the ABT studios and hearing about your child’s day second hand will be worth it, however, when you see the final performance and see how much he or she has improved.

For more information on the ABT Summer Intensive experience, check out my blog, My Son Can Dance, and read the archived posts under the category titled “summer dance programs.”

Nina Amir is a journalist and author currently writing a book meant to mentor young boys (age 10-17) who dream of becoming professional dancers. She realized what a difficult road it was for young male dancers early in her son’s career. She interviews top male dancers and teachers asking for their advice, experiences, and tips so young boys who want to follow in their footsteps will have the strength, inspiration and tools to do so. My Son Can Dance is meant to chronicle Nina’s struggles, what she has learned and the experiences with her son in the hope that she might be a mentor other parents of young boys who want to dance.

© Guest Contributors for Dance Advantage, 2010. | Permalink | 9 comments | Category: Blog, Featured, For Parents, For Parents of Teens, Summer Study/Workshops, Toolbox

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Photo by D Sharon Pruitt

It’s happened. Maybe you were afraid of this. Or, maybe it blindsided you but… it’s happened. Your daughter didn’t make the dance team. Your son was passed over for the scholarship. Your child didn’t get the part or solo or moment in the sun for which he/she worked so hard.

Now what? Your son is hurting. Your daughter comes to you crying. They may look to you to make it all better.

DO:

Parent your child through this setback and support them in becoming a more resilient and confident human being. When your child is faced with a letdown, you have a great opportunity to encourage your son or daughter to face and rise above the obstacles that come their way. It may not feel like a gift but it is.

DON’T:

Fix it. As a parent, your first instinct may be to try. However, just as it is a parent’s role to help his baby become proficient in feeding himself, assist her preschooler in learning to use a potty, and teach her grade-school child to tie his shoelaces, it is a parent’s often unhappy duty to give a blossoming young adult the tools they need to cope with disappointment.

That’s Life

This article from Parent magazine is meant for parents of young children. However, as I researched this issue across age groups, the methods for helping children deal with disappointment listed in the article, were corroborated. I have adapted many of them to fit the situation your pre-teen or teen dancer may be facing.

A. Gauge Your Child’s Resiliency

Photo by D Sharon Pruitt

Does your child tend to take things personally? Does she usually have a positive outlook? This article, Helping Kids Handle Rejection & Disappointment, has a handy 5-question quiz that will help you place your child’s resiliency.

At this time, it may also be a good idea to make a mental note about how YOU feel about your child’s setback. As the above article so rightly states: “Your attitude can make a huge difference to how a child reacts. If you see rejection or disappointments as problems then your child will be hamstrung by this view.”

B. Tailor Your Tactics

When it is a BIG Deal

1. Validate the emotions.

“I know you are disappointed. It’s okay. I would be too.”

2. Help them recognize what can and cannot be changed.

What can be changed, of course, are the things regarding self, including one’s attitude. What cannot be changed are the actions and decisions of others. Despite hard work and determination and talent sometimes you just don’t get what your heart desires. It is a hard truth, but one we all learn one way or another. The difference in people is how they respond to that truth. Those that move on and continue to work hard are the ones that fulfill the adage that “if you work hard or set your mind to something, you can be anything you want to be.”

3. Redirect her attention toward something in which she is (or is likely to be) successful.

She will likely see through empty or untrue sentiments about why she was unsuccessful or how she was wronged. No matter how small, a real boost to the ego will be much more effective. What comes easily to her that doesn’t for everyone? What has she been recognized for in the past? What activity might be more suited for her qualities and talents?

4. Don’t punish or belittle her negative reaction.

After all, everyone needs to let it out sometimes.

5. Offer choices or alternatives

Help her realize that though she didn’t make the team or get the part she wanted, that she still gets to dance. She has the freedom to take some extra classes elsewhere, or in another style, or during a summer workshop. These are things that may improve her chances next time but, more importantly, they will strengthen, improve, and challenge her. Alternatively, she may have time to spend on favorite activities or pursue other interests outside of dance. Ask what she wants to do now. How does she want to proceed from here? What can be most disruptive about disappointment is the feeling of having no control over a situation. Choice can help your child regain that feeling of having a say.

6. Put it in perspective


Photo by D Sharon Pruitt

Volunteer at a hospital, help her organize a dance performance at a nursing home, work together at a soup kitchen, walk for charity. Find or do something that helps your child recognize how fortunate they are and reduces her “big deal” to its proportional size in the scheme of things.

7. Let her solve it on her own.

Once again, resist trying to fix things. Even if she wants you to come to her rescue, resist the urge to pacify her hurt by taking action or dwelling upon things that cannot be changed (a studio director’s decision, the reality of another child’s skills or talent, the criteria for recognition by another…). This is not easy but children are often more resilient than we give them credit. Though kids of all ages may be quick to dramatize their displeasure, many bounce right back. Look carefully at your child for cues, don’t bring up their disappointment if, by the next day, all seems right with the world again. Accept that your child may have recovered more quickly than you have!

Want more coping methods? Try How to Move On After a Big Disappointment

Your good example will make a world of difference

What you say: “I’m sorry you didn’t get 1st place at the competition. What did the 1st place team do well? What do you think you’ll work on for next time?” vs. “I can’t believe you didn’t win! You were the best dancer there! The judges are clueless.” or “Next time you need to point your toes. Your pirouettes were the worst I’ve ever seen you do. What were you thinking?’

What you did: Share your experiences with disappointment, what you learned from them, where failures led you, how you felt and what you did to overcome.

What you do: How do you react when you face disappointment or failure or frustration? Do you throw a tantrum at the checkout when the clerk makes a mistake? Do you gripe about your boss when you don’t get a promotion? Do you quit when the going gets rough? What message does this send to your child?

When to step in

Is there a time when you should step in to solve something for your child? My short answer is almost never.

Photo by D Sharon Pruitt

If you feel like you absolutely must act on his/her behalf, you may want to read How to Discuss Problems With Your Studio Director and Be Heard. When it comes to decisions about roles or teams, however, it is important to realize that work ethic and even abilities are not the sole criteria from which directors cast their shows or teams. You may disagree with their specifications but it is within their right to select and judge based upon a standard of their choosing. You might approach them with a desire to know and understand their process but demanding they defend a decision does not put you or your child at an advantage. (How or under what circumstances would you demand this of a prospective employer that passed you over for a job? What about your current employer if you were not selected for promotion?) When your son/daughter receives a “no thank you,” your goal is to gain understanding so that you might help your child cope with the decision. The director will see through attempts of getting him on the team or somehow winning her that role if that is really your ambition and you’ll hit a roadblock if it is.

When hard work doesn’t pay off

(I’ll repeat) Occasionally, despite hard work and determination one does not always get what their heart desires. It is a hard truth, but one we all learn one way or another. The difference in people is how they respond to that truth. You and your child both must accept this and look for the positive in every disappointment.

In addition, when it comes to hard work, attitude, or any other virtue, what a person deserves is not always what he will get. Thank goodness I don’t always get what I deserve because sometimes I don’t deserve what I get!

Final Thought: What do you want to be?

It is sometimes easy to confuse our accomplishments and awards with who we are. In our culture we place a lot of emphasis on the achievements for which a person has been recognized – she is a two-time Olympic medalist; he is a famous actor who has won numerous stage and screen awards. These things say little of who a person really is. In addition, these recognitions only look back never forward.

Who is this person becoming? In children especially, where one is going should matter a whole lot more than where one has been. Missions accomplished and tasks/goals completed are how we develop self-confidence in our abilities, however, we are not defined by our achievements. In fact, often we are defined more by our failures. It is despite and sometimes because of obstacles or disappointments that we become a dancer, a doctor, or something completely opposite but all the more right than whatever it is we want (or wanted) to be.

What disappointments have you or your child faced recently?

How did you deal with them?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 3 comments | Category: Blog, Featured, For Parents, For Parents of Competitors, For Parents of Teens, Toolbox, Wellness

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Here’s how you can S.T.E.P. your way to social media success!

#1. Share

Retweet other people’s posts, quote and link to great blog posts by others, share what you are reading, let people know information that could benefit from.

Be a connector.

Social media is about making connections.  One of the things we do with our dance studio fan page is to post about local theatre productions and community events.  Why?  Because we know that the hours of dance lessons that our young dancers have has a potential impact on local theater. We want to spread goodwill to our sister arts organizations.  See yourself as part of the thread woven between your arts community.

#2. Teach

Post favorite quotes, share your expertise, add value, be generous with your knowledge it does make a difference.

A crossroads for dance studios. Many dance studios today are still very protective, not only their class schedules, but tuition fees, competition schedules, studio policies and more. It’s the fear that the studio across town will take or steal information that would cause that studio to lose students. I completely understand the worry.

Here’s the reality. I also represent a demographic I like to call ‘busy mom’. I’m the target market for many dance studios, I have two young kids. First thing in the morning, I don’t read the local paper. But I do read the newsfeed on Facebook and I certainly check trending topics and updates on Twitter. Text messaging is the best way to reach me.

How will you serve this demographic by decreasing your presence, hiding a class schedule, or making registering for classes a challenge? Dance studios want more students; they want their current students to be loyal raving fans. Social media is a great way to achieve this if done well.

#3. Engage

Talk to people! Reply to them, help them, connect people, be social, have fun. Be yourself, let your personality shine through.

Take it one step at a time. Social media is not a race with a winner crowned at the end. You’re missing the point if your approach to social media for your business is all about getting more followers as fast as you can. Soon enough it will become commonplace for every business and brand to have some sort of social media outlet to connect with their clients, customers, and students. We all started with one fan or one follower.

If you are a studio owner (or are going to be), I highly recommend Dance Studio Owner. It’s membership includes studio owners from 44 of the United States and countries all over the world including the United Kingdom, Australia, Canada, New Zealand, People’s Republic of China, and Norway.

© Suzanne Gerety for Dance Advantage, 2010. | Permalink | 16 comments | Category: Blog, Featured, For Studio Owners, For Teachers/Studio Owners, Giveaways, The Internet, Toolbox

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Whether the goal is losing or maintaining a healthy weight, dancers are concerned about their silhouette and their nutrition.

A reader asks:

“I eat very well, everything’s healthy and not much candies, but I want to know your opinion. What is proper for a dancer? Any diet and nutrition that will help me both lose kilos or maintain my silhouette? I don’t mean an exhaustive diet, I just mean what to eat or not etc..

Losing Weight

If you take several dance classes per week and find you are still struggling to maintain an appropriate, healthy weight for your height and age, it is important to talk with your doctor or other health professional before taking steps to lose weight (see the Food and Nutrition Information Center for more on weight management).

While some swear that there are secrets to how or when you eat, in the end it still all comes down to mathematics. To lose, what you put in has to be less than what you burn. And to maintain, requires balanced nutrition. In either circumstance, an intake of quality nutrients is important, as is keeping an eye on portion size. Different methods of change (I’m avoiding the word diet because to me this word does not imply lasting lifestyle change) work for different people – some find it best to completely avoid certain foods. Others prefer to replace the ingredients of foods they love with healthier alternatives. Sometimes a bit of trial and error is necessary to determine what works best for each individual. Also, don’t forget the mind and emotions can often play a big role in supporting or sabotaging one’s healthy intentions.

Image via Wikipedia

Simple Start

Often we don’t realize how much salt and sugar is in our food but cutting down can yield lasting results for health and weight-loss. For many this is a good place to start. (this article from Harvard School of Public Health covers the war on sugary drinks and processed foods)

More tips for cutting down on sugar [link]… and on salt [pdf].

Cross-training for strength and endurance is also a good idea for any dancer. In particular, dancers who aren’t training heavily, keeping the heart rate up or working up a sweat for 20-minutes or longer during class or rehearsal multiple times per week, may need to add cross-training activities to their schedule.

Some nutrition and health sites I like:

• TrainerDiva – Elena is a dancer and personal trainer
• NutraBeautiful – Nancy offers articles on health, nutrition, beauty and dance
• Ballet Strength – Nikol is a ballet dancer and personal trainer
• Wellsphere – a fountain of health information from bloggers and contributors… find anything!

Balanced Nutrition

The guidelines for creating a healthy balance of nutrition are constantly under scrutiny by the medical field and new discoveries about the body may reveal new methods, suggestions, or recommendations. It can get pretty confusing. It is well-recognized that humans would do well to lower their intake of “bad” fats (saturated fats mainly found in animal products and trans fats in pre-packaged foods) and increase, or exchange some of these for “good” fats like those that come from nuts, avocados, and fish. But even this can get confusing.

Some simple guidelines:

• In our pre-packaged fast-food world remember that fresh is always best!
• Enjoy many different kinds of foods!
• Cook more, eat out less!

What the Experts Say…

Admittedly, I struggle as much as any dancer to strike that perfect balance and to stay on top of the latest health information. I have no formal expertise on the subject of nutrition. Therefore, I rely on what the experts say. For dancers, a great resource is the International Association for Dance Medicine & Science. They are the publishers of the Journal of Dance Medicine & Science and the associations members and directors are among the top in this field.

Here are a few excerpts from their Nutrition Fact Sheet:

• The first step in planning a high performance diet* is to be sure that the dancer is obtaining adequate caloric intake. The easiest rough estimate of how many calories a dancer requires during heavy training is 45-50 calories per kilogram of body weight for females and 50-55 calories per kilogram of body weight for males. For a more accurate assessment, dancers should consult a dietitian.
  • The kilogram to pound conversion is 1kg = 2.2lbs. For example: 115lbs = 52.27kg. 50 calories per kilo for a 115lb female equals about 2600 calories for a dancer that is training heavily.
• A dancer’s diet should be composed of about 55-60% carbohydrate, 12-15% protein, and 20-30% fat. During heavy training and rehearsals the amount of carbohydrate should be increased to about 65%. The reason is that carbohydrate is the major energy source in muscles.
• In addition to meals, other times when carbohydrate ingestion is important are before, during, and after class, rehearsal, or performance. About 1-2 hours prior to these activities, a small carbohydrate snack should be consumed. This will increase glucose levels in the circulation and “top-off” muscle glycogen stores. A carbohydrate snack, such as a bagel or commercially available “energy” bars, can provide the added boost needed for optimal performance.
• The estimated grams of fat in the diet are about 1.2 gm per kilogram of body weight. Because ingestion of high amounts of saturated fats is associated with chronic disease, the recommended amount of saturated fat in the diet should be less than 10%.
• For non-vegetarians, chicken or turkey without the skin are excellent low fat protein sources. For vegetarians, tofu, seitan (wheat gluten), and mixtures of beans and rice are good protein choices. Protein powders are not necessary, even for male dancers, if they are following the recommendations above. If a protein supplement is warranted, the best choice is milk powder. The high tech and expensive protein supplements on the market are not any better than simple dry milk.
• To obtain all important micronutrients, dancers should increase the amount of fresh fruit and vegetables (recommended 5 servings of fruit or vegetables per day), whole grains, dairy products, and lean red meat. Because not all vitamins or minerals occur in all foods, dancers should ingest a wide variety of foods.
• Fluid loss results in dehydration that can impair performance and mental functioning, such as the ability to quickly pick up complicated choreographic combinations and execute them effectively. A cup (8 ounces or 250 ml) of fluid every 15 minutes is recommended. Whenever there is a break in class or rehearsal, the dancer should have ready access to fluid, and they should be encouraged to drink because the thirst mechanism does not keep up with the body’s need for fluid. A water bottle or sport drink should be part of a dancer’s “gear,” and, if possible, the dancer should be able to bring the bottle into the studio for frequent drinks. Following class and rehearsal, dancers should continue to increase fluid consumption for the next few hours. Avoid carbonated drinks and large quantities of fruit juice.

*A high performance diet is for dancers that are training or performing at a high level. These recommendations reflect that. For those dancing less, it is important to adjust accordingly. It is a good idea to consult a dietitian for individualized assessment of your dietary needs.

Read the full article…

IADMS offers a number of Teacher Resources, including a Bulletin. You can signup at no cost to receive notification when new bulletins are published.

Additonal reading:

• Replacing Fat Foods (1998) — A handy replace this with this article from Dance Magazine
• The Dancer’s Way: The New York City Ballet Guide to Mind, Body, and Nutrition
• Tips for Healthy Eating on a Dancer’s Schedule
• Nutrition For Dancers

I welcome your thoughts!

Are you a health professional? We’d love your tips! (Note: spam comments are not accepted here, share relevant, useful information not just a link to your website.)

Are you a dancer? How do you maintain a healthy balance?

Are you a student, teacher, or parent? What are your biggest nutrition concerns?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 3 comments | Category: Blog, Featured, For Career Dancers, For Everyone Else, For Parents of Teens, For Students, Toolbox, Wellness

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