The Basics

One. Be rested so that you can be your best.

Two. Make nutritious meal choices, starting now. Eat a light meal at least an hour before the audition.

Three. Arrive with plenty of time to warm up your body in advance. (Some auditions, particularly for children, may be structured to provide a warm-up. Find out ahead of time. You’ll still want to arrive with time to spare to get familiar with the environment.)

Four. Dress appropriately and neatly in something that flatters you and be ready to shed layers so that the panel can see your body. Unless it is required that you dress a certain way, it is alright to choose a look that shows your personality or helps you stand out. However, use good judgment. Your look should not overshadow your dancing, after all it is your dancing you want to be remembered for.

Five. Be gracious from start to finish (even if the outcome is not what you had hoped). Treat your fellow dancers and audition panel with the utmost respect. Courteously ask questions and take corrections from the choreographer.

Six. Learn what you can about the school, company, team, ballet, or performance for which you are auditioning.

Seven. Know exactly what you will be expected to bring, complete, or have with you at the audition. Be prepared even with items you MIGHT need, like extra hair bands, knee pads, dance shoes, etc.

Eight. Perform it, “sell it.” Even in an audition class, really DANCE IT with expression, enthusiasm, and energy.

Nine. Stand where you can see and be seen without muscling your way to the front. If you are struggling or don’t know the choreography, stand further back until you do so that you can wow them once you’ve got it.

Ten. Don’t embellish the choreography unless you are asked to. If you ARE given this freedom, click here for some tips for making choreography your own.

Next Steps

One. It is okay to be human. To “never” show a mistake seems unnatural, but don’t make a spectacle of your mistakes with a tantrum or grotesque faces or by stopping. If you have covered or recovered your mistake well, forget it and keep going. If not, it is natural, while you are learning or after you have performed choreography, to acknowledge mistakes with a smile, a chuckle, or apology (if your mistake impacted others) and then move on. A light, positive, even joking manner can show that you will be fun to work with.

Two. Have no expectations. Expecting a certain outcome puts your mind in a place and time other than the audition and you’ll need to have your head in the present tense to do well. Clear your mind and dance because you love dancing, not because of the pot of gold that may or may not be at the end of this rainbow.

Three. You have nothing to lose. This is related to #2. If you are worried about what is at stake, then you have expectations that this role, this job, or this opportunity is already yours. You cannot lose what you don’t have. Knowing this, you can relax and enjoy the moment to shine, to dance, and grow with experience.

Four. Say “thank you” after the audition (with a written note or in person if possible) and say “thank you” whether you are selected or dismissed.

Five. Remember that no matter how intimidated you may be by the panel, they want you to do well. They want to have the best dancers to select from and are hoping that everyone walking into that audition is the best they’ve ever seen.

Six. Auditioning is a skill. Audition often and know that you can improve your skills. In fact, you may learn the most from your worst audition. You will likely go through many poor auditions before you are cast, and you will quickly learn that sometimes even great auditions don’t get you the job. Don’t lose faith in yourself.

Remember! You can only be you, so much of the best audition preparation is the everyday work you go through to be the best dancer you can be. Be yourself and enjoy the process!

More Audition Resources

A great article from Charlotte Examiner, Cynthia Beers on How To Audition For A Dance Program

Check out The Ballet Audition Preparation Guide. I don’t have first-hand experience, nor am I affiliated with this guide but here’s what Ginny, a dance mom, had to say about it: “It has a lot about goal setting, keeping a journal of your progress (not just in preparation for auditions, but all year long), along with practical advice about preparing for an audition, what to wear, eat, etc. If a student really took the time to read it and put into practice the advice given, I think it would be helpful.”

Look into this Kindle Edition resource: The Ultimate Guide to Dance/Drill Team Tryout Secrets, 3rd Edition. I’ve actually read a hard copy of this and it is solid information for youth or teens hoping to make the team from a successful and experienced dance and drill team performer.

Get a copy of A Dancer’s Manual: A Motivational Guide to Professional Dancing. I own this one and this 1999 guide is not a large book but it provides a mixture of motivational and practical advice if you are starting out in this tough career. The audition section offers perspective on nerves and attitude, as well as useful information on head shots and your resumé. Other areas covered include contracts, pay, injuries, and dancer fitness.

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | One comment - ADD YOURS! | Category: Blog, College and Career, Featured, For Career Dancers, For Everyone Else, For Students, Performance, Toolbox

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Do you ever feel like your teacher is making you practice things painfully slow?

Maybe you are a dance student who just loves to move at a fast pace and find it difficult to slow down. Perhaps you are eager to try the more advanced or faster version and don’t like it when your dance instructor holds you back.

Possibly it annoys you. You wonder what’s wrong with you or what’s wrong with your teacher that you have to work through things so slowly. Maybe you even begin to think he or she is just being mean or controlling. Perhaps you want to scream,

“Why are we going so slowly?!?”

Speaking as a teacher, let me tell you your feelings are very normal. I’ve seen that frustration in the eyes of students plenty of times. It is unlikely that your teacher is making you go slowly to be mean or controlling. Cross my heart, it’s true!

Why does your teacher want you to take things slow?

To improve your skills as a dancer!

How does going slower and taking time to advance or move on help you improve? There are a number of ways:

It helps you move with clarity (clear, crisp, articulate)

If your teacher is asking you to slow down, he may see that something could be cleaner and wants to help you master the movement.

Think of it this way: if you fill out the answers on a quiz as fast as you can, you may get a lot of them right but there are details you may have missed or questions you misunderstood because you did not take your time. If you never slow down to soak up the details, you might take the test again and again and never get a 100 percent.

The same is true for your movement. Going fast, you might be missing important stuff. Working slowly means you have time to get the hang of the skill, or pattern, or pathway. This makes 100% possible at any speed!

It encourages you to have good body sense

Common sense is showing awareness and good judgment in everyday situations. Body sense is showing awareness and good judgment concerning the body.

Working slowly gives you time to pay more attention to what you are doing (see above) and also how you are doing it. You feel the muscles working more and, with your teacher as a guide, you can figure out or sense when something is not working or needs adjusting. You will learn to understand and “listen” to your own body. This listening skill will save you from injury and will help you to move in a more coordinated and organized way overall.

(Teacher’s note: Check these articles on the health benefits of moving slowly and the relationship between good body sense and athletic/academic performance)

It allows you to practice and develop control, which you’ll need as a dancer (even when moving fast)

Control in dance is having the power to direct or choose the way you move your body.

You are in the driver’s seat when you can move in a way that looks wild and out of control without losing track of where your body is in space. You are in control when, instead of needing to come down from your double pirouette, you choose to land it (see a famous dancer make that choice after an undecuple pirouette – that’s 11 of ‘em – in this video).

Fast or slow, having control over your body takes physical strength. But when you are moving quickly it is easier to “hide” any weakness, even from yourself. For example, falling out of a super fast spin can look and feel like a choice if you snatch that landing. And your balance as you promenade on one leg feels less wobbly if you move quickly around.

Going slowly keeps you from cheating yourself, allowing you to build your strength. It also helps you learn the difference between making a choice and making the best of whatever is going on. (It’s not that there’s something wrong with making the best of things, that is an important skill too, but it is always nice to have the power to choose.)

If you can do a movement with clarity, awareness, and control slowly, doing it fast will come more naturally!

That may answer your questions about moving slowly, but what about advancing slowly?

Why would a dance teacher “hold you back?”

So that you can move forward with confidence.

“Learning ballet is like learning geometry. You begin with the first theorem, master it, and then go on to the next. If you haven’t learned to solve the first problem, you won’t be able to tackle the one that follows.” ~ Fernando Alonso, Dance Magazine

Slowing down physically helps you to move with clarity and control. In a similar way, advancing slowly provides time to gather all the important details and to master skills so that you can take these with you to the next level. Moving up or on to the next thing before your body or mind is ready puts you at a disadvantage. Sometimes progress in dance feels slow enough and you may be frustrated that your teacher is “holding you back.” Try to think of going slow as a gift instead. Your teacher is giving you the tools and the time you need to move forward with more confidence in your abilities and ready to tackle the next problem.

Are there other things your teacher does or doesn’t do that are frustrating to you?

Is there something you do in class that you just don’t understand?

What are some other reasons a teacher might ask you to go slowly?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 5 comments | Category: Blog, For Everyone Else, For Juniors, For Students

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©Johan Persson

Duncan Lyle, fresh out of the Royal Ballet School has been offered a contract with Boston Ballet. In 2009 the young Australian was awarded a prize for Choreographic Development by the NJL Foundation and has performed Liam Scarlett’s Toccata at the Assemblée Internationale in Toronto, and in the RBS Matinee, an annual Covent Garden presentation that marks the shift of graduating student to performing artist. Before his training in London, he was a young ballet student in Victoria, Australia’s Camberwell District Ballet School (now the Russian Choreographic Academy).

Graciously sharing helpful tips for auditioning and jumps with Dance Advantage readers, Duncan took a moment to talk with me about his transition from student to professional.

Dance Advantage: You were young when you began begging your mom for ballet classes and eight years old when she finally relented. Do you recall what you liked most about training in ballet?

Duncan Lyle: I honestly can’t remember. I think it’s always just felt right. The ballet studio is always a place I have felt comfortable and felt like I belonged.

Duncan in Coppelia; ©Margaret Kokrhelj

DA: You began with respected instructors in a pretty rigorous program, dancing after school for a couple of hours, four days a week. Was there ever a time you contemplated quitting or pursuing a less demanding track?

DL: Yes. I once took six months off from ballet when I was 14. My school commitments were growing and it was becoming seriously difficult to juggle everything. It reaffirmed for me, however, that ballet was my one love and out of everything what I should have been doing.

DA: Allegro dancing comes naturally to you but I am sure you have had instruction that has helped you develop that talent. Any advice you could pass along to a student hoping to improve their agility in beats or jumps?

DL: I think the best advice I could give is two things: develop the height of your jump by doing very slow static allegro and; always work every movement, no matter how quick, to the fullest. Always fully stretch your legs and feet in the air and think about the movements you are making in the air. Be very precise with your movements in the air and gradually they will become clean and crisp.

DA: At age 17, when most teens here in the U.S. are contemplating the move to college, you traveled continents away from your home in Australia to London to study at the Royal Ballet School. What was most difficult about the transition?

DL: I think the hardest thing about moving away was just the unknown. I had no idea what my new life was going to be like and I think that was the scariest thing. Once I was actually in London, of course I missed my family, friends and Melbourne but it wasn’t as hard as I thought it was going to be. I made great friends with almost everybody in my year who provided a wonderful support network.

DA: I know it might be hard to imagine, but what what kind of career do you think you’d be interested in if you did not dance?

DL: I would definitely pursue a career in music. I have been composing and arranging music since I was fourteen and it’s something I really love. I would apply for a university course in music and see where it would take me.

DA: Tell us a bit about the audition process that leads graduates of the RBS to employment.

DL: Firstly, we submitted a list to our director of the companies that we wanted to join and audition for. Our director then helped us by suggesting other companies that might suit us and removing companies that wouldn’t. From then on it was up to us to arrange our auditions, whether they be open or private, book our flights and make our way to our auditions. Every audition I participated in was just a ballet class watched by the director with a panel of ballet staff. Candidates get eliminated at certain points throughout the class so that the panel can see the people they are interested in better. I was lucky enough to make it through all of my classes without being cut. You then mostly find out the result of the audition on the day but of course this varies from company to company. If they’re definitely not interested in you then you’ll know that on the day, but if they might be interested in you then you may have to wait to find out.

In Liam Scarlett's Toccata with Nicole Cato

DA: Do you find auditioning stressful? What is most challenging for you?

DL: I think the only aspect of auditioning I find really stressful is the travelling to the destination! It’s very hard trying to book a flight that will get you to your destination in enough time to get to the studio and warm-up! Plus I hate airports! I’m pretty good under stressful circumstances like auditions or appraisals.

DA: What advice or tips for auditioning you could you give to students or young professionals like yourself?

DL: I think most importantly, stay calm and confident. If you’re overly nervous, you won’t be able to show the people that matter what you’re capable of. Presentation!! Remember that what most directors are looking for are dancers and not just technicians so perform everything in the class! And I believe that a lot of directors are looking for a clean canvas that they can work with and adapt to suit their company so make sure your technique doesn’t get affected.

DA: You’ve been to the U.S. before, and I’m sure you’ve been doing some reading up on Boston. What excites you most about dancing in America?

DL: I think what I’m most looking forward to in the U.S. is the positive atmosphere and the fact that there’s so many exciting things. Everything is happening there and I’m very excited to be a part of that.

We are excited to follow your career, Duncan, and welcome you to a new continent! May you have many thrilling adventures in Boston and beyond.

For more on Duncan, his background and training visit Ballet News and Oberon’s Grove and Blast Magazine.

What do you enjoy about training in ballet?

Do you like to travel? How far would you go to study dance?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 2 comments | Category: Ballet/Pointe, Blog, College and Career, Dance Companies, Dance Styles, For Career Dancers, For Everyone Else, For Inspiration, For Juniors, For Students, In the Spotlight, The Dance World, Toolbox

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Everyone knows that college can be very expensive. Fortunately, dancers in the U.S. can apply for general scholarships designed for students studying all fields. Additionally, scholarships specifically for dancers can help lighten the financial load of higher education. The majority of these scholarships are school-specific, but here are 5 scholarship opportunities for dancers that can be used at most colleges, universities, and dance programs.

1. YoungARTS Scholarship

The youngARTS scholarship program, hosted by the National Foundation for Advancement in the Arts, is probably the most well-known scholarship program for dancers. Each year, the program awards scholarships that range from $250 to $10,000 to 150 dancers. There is a $25-35 fee to register with the youngARTS program, but most participants agree that applying is worth the time and money, as everyone who applies is included in the NFAA’s Scholarhip List Service. The Scholarship List Service provides colleges and professional schools with the names of all students registered with youngARTS, so having one’s name on the list provides an extra advantage when applying for other dance and art scholarships.

2. Harlequin Dance Scholarship

For students 15 to 21 years old who are currently enrolled in some sort of dance program, the Harlequin Dance Scholarship is another great option. Each year, the American Harlequin Corporation awards a total of $25,000 in the form 20 scholarships that range from $500 to $5,000. Students applying for this scholarship must submit a letter of nomination from a current dance instructor. Scholarships are awarded based on a drawing of all nominated dancers.

3. Princess Grace Awards

For students who have already been dancing at a non-profit school for at least a year, the Princess Grace Awards is a great option. This organization sends scholarship funds directly to the schools where dancers are already enrolled, and may be used towards tuition costs only. Princess Grace grants generally range from $5,000 to $25,000, which is dependent primarily upon each student’s individual financial abilities and tuition costs.

4. Jessica Karrat Dance Scholarship Fund

The Jessica Karrat Dance Scholarship Fund also provides college tuition grants, and is applicable towards all two- and four-year colleges and universities along with all dance schools in the United States. This scholarship is in memory of Jessica Karrat, a dancer who passed away in a car accident at the age of 13. Because this is a memorial grant, large funds aren’t available, but a minimum of one $500 grant is awarded each year to a happy dancer with big talent and even bigger dreams.

5. Worldstudio AIGA Scholarship

The Worldstudio AIGA scholarship program, which aims to increase diversity in the creative professions, is an excellent opportunity for minority and economically disadvantaged dancers. Each year, AIGA provides scholarships ranging from $200 to $2,000, which are based on need, merit, and applicants’ demonstrated activism in social justice issues. The scholarships are available to students who are or will be enrolled in a full-time 4-year undergraduate degree program studying dance or other fine arts.

Special thanks to our guest contributor for compiling this list: Louise Baker ranks online degrees for Zen College Life. She most recently wrote about the best colleges online.

Have you been the recipient of a scholarship award for dance?

If you know of other programs that offer financial awards to dancers, share it with readers in the comments.

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, College and Career, For Career Dancers, For Students, Toolbox

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Years ago the words “Graduate School” and “Dancer” were rarely uttered in the same breath. Nowadays it is becoming more common to associate higher education and advanced degrees with the life cycle of a dancer. Dancers are rarely able to support themselves on pure talent alone– most have to make a living through alternative means. While performance gigs and steady jobs can be taken away in the blink of an eye, an education lasts a lifetime. That is why I decided to take the plunge and continue my dance training while going back to school for my Master’s degree in Arts Administration.  Here are some helpful hints for dancers interested in applying for a creative Master’s degree program:

1. Think creatively about your Graduate course of study
2. Research various Graduate Programs
3. Gain valuable experience
4. Prepare your resume
5. Fine-tune your interviewing skills

Think creatively about your Graduate course of study:

The beauty of Graduate School is that the programs tend to be much more individualized and focused. In many undergraduate programs, the creativity majors tend to be traditional Studio Art, Dance, Theater, etc. There are many graduate programs that take traditional art areas and tailor them to specific career goals and interests. For instance, there are programs in Dance Education, Dance Performance, Acting, Directing, Television Studio Management, Music Production and Arts Administration. Think creatively when deciding what to get your Master’s degree in. There are endless creative possibilities waiting for you!

Research various Graduate Programs:

Like with any new product, graduate programs deserve careful research and consideration. Think of it as a new car. You would not purchase one without first comparing models, makes, years, and of course prices. Once you have decided on your area of focus, research a wide array of schools that offer your desired program. Some schools have an online and on-campus division, so take the time to research what program best suits your needs. If you are working 9 to 5 and have a family, perhaps an online program would best suit your lifestyle. If you are fresh off of the campus life and can’t wait to return, perhaps an on-campus program is just what you need. Research your graduate program like you would a house or a car because in reality, the program will be a second home to you for the next two years or more.

Gain valuable experience:

Experience is a big part of the graduate school experience. It is most likely what led you to a specific program or area of focus. Your experience shapes who you are as an individual student and will help grant you acceptance into top-notch programs. If you even have the slightest idea that you may one day go back to school for you Masters, start gaining valuable and related experience. While work and internships can help in this area, think outside of the box! If you are an undergraduate student, join a club. Take on an executive board position or start an organization for your campus. This shows initiative while building interpersonal skills, managerial experience and a true entrepreneur spirit. If you are currently out of school, perhaps taking a steady roster of dance classes, joining a local choir or teaching dance to young children is a great way to stay current and learn while working. In essence, the more experience you have, the more desirable you will be to graduate school admissions officers. You will also have a greater understanding of why you selected a particular program and how it can help shape your future career goals. Experience is priceless because it can help put your future into perspective and add a bit more clarity to your life.

Prepare your resume:

Image via Wikipedia

Now that you have gained some experience, documenting it all is the next step. This can at first be difficult and time consuming, but the payoff is well worth it! All of the experience in the world will not necessarily translate to a graduate admissions officer if it is not well documented. Hence, the resume comes into play! You can categorize it by order of relevance or using a chronological method. There is much room for creativity in format, layout, font, color and the overall presentation of your resume. Think of it as your life experience on paper. You want to cherish it and show yourself in the best light possible. So take the time to carefully write, edit and format your resume. In some creative programs such as Arts Administration, the resume is a major component of the competitive admissions process.

Fine-tune your interviewing skills:

Interviews are a huge part of admission into any school or work environment. With all of the credentials, experience and education in the world, a terrible interview could still cost you big time! So how do you ace the essential interview? Well, start by practicing interviewing yourself. I know it sounds a bit odd, but really go back to your childhood days of having an imaginary friend. Now let that friend be the mirror and let yourself do all of the talking. Practicing in the mirror gives you a small glimpse of how you are being perceived by your future employer or graduate school program director. The mirror does not lie. It will tell you if you look too nervous, are slurring your speech, pausing too long between sentences or excelling in each area. Once you become comfortable in the mirror, perhaps asking a friend for advice would take your interviewing skills to the next level. Have your friend pretend to be the interviewer and you remain the interviewee. Answer sample interview questions (that are readily available online) and find out how you did. You can also practice with family, employers and former teachers. Chances are that every opinion is valid and you can learn a thing or two about how to enhance your interviewing skills. By the time the real admissions interview rolls around, you will be confident, prepared and ready for any question that arises.

Final Thoughts:

Jobs are not forever, dance is not forever, but an education is. Continue dancing, performing and teaching. It is our passion and calling. However, do not sell yourself short! Challenge yourself to research a few creative graduate school programs and see what is out there. There is no harm or obligation in looking. You may surprise yourself and end up finding a perfect fit to compliment your work, family and dance schedule. Remember that an education lasts forever and more creative programs are being created for the creative mind to excel in. You have the power to shape your own educational destiny.

Dance Advantage would like to congratulate Roger on his acceptance to graduate school. Join us in wishing him well as he pursues his degree in Arts Administration!

What other tips would you place on this to-do list?

What are your top concerns regarding the application process for a dance or creative arts master’s program?

© Roger Lee for Dance Advantage, 2010. | Permalink | 4 comments | Category: Blog, College and Career, For Career Dancers, For Students, Toolbox

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The following article has been compiled and revamped from a two-part series on professionalism which appeared on the blog in 2008.

What is a professional?

A consummate professional is constructive, positive, is motivated and has the ability to motivate others, displays generosity, and takes the high road. If you want to be seen as a professional in your career and in your life, you must develop strong leadership skills. And leaders are most often defined by their reactions to situations, rather than their actions.

When someone makes a mistake

Do you like to be publicly called out when you’ve made a mistake? Neither does anyone else. Professionals resist the urge to be negative, point out a person’s faults, or undermine the authority of another. When it comes to making improvements, true professionals (and true leaders) use their energy to solve problems, not just identify them. They will approach someone with possible solutions to the issue at hand privately or through appropriate channels first. Though it is appropriate to stand up when injustices are being done, a professional recognizes the difference between what is pressing and what is petty.

When there is a need

Professionals have a strong work ethic. They anticipate the needs of others or what needs to be done. They do it even before someone asks or, where appropriate, asks permission before going forward. Anticipating a need sometimes means that you must humble yourself and do what is best for the group or for someone else. Unless asked for input, instructed to do something which is against core beliefs, or truly wanting to clarify and understand the directions given, professionals adhere to the request and later find a private moment to question if necessary.

Anticipating need also applies to time. “To be early is to be on time, to be on time is to be late.” In other words, starting “on time” means that everyone is ready to go the very moment the gathering is supposed to start. Being early ensures this. Inevitably there is something that needs to be done just before beginning, and arriving at the start time will put oneself and everyone else behind. Professionals get there well ahead of time to do what they know they need to.

It is harder to maintain professionalism when the situation directly affects YOU.

When you have a complaint

Yes, that's me on the podium.

Early August, even in Pennsylvania where I grew up, is HOT. Members of the marching band faced consequences (usually running laps) for uttering the words “It’s hot” during our summer sessions. Why such a firm stance? Because everyone already knows it is hot. Voicing this complaint only reminds everyone in earshot how miserable they are feeling. As a result, collective energy is spent focusing on the complaint rather than productively pursuing the task(s) at hand. If you are doubting the impact just voicing a complaint has on a group, consider what happens in a dance class when a teacher declares, “Sally, thank you for pointing your toes!” Suddenly pointed feet spread like wildfire throughout the class. This is a positive example of the power of suggestion. Professionals use the power of suggestion to bring a group up rather than down.

When you are corrected

Professionals do not make excuses. As with other requests, if they are offered ways in which they could improve or are reprimanded for inappropriate behavior, a professional accepts the correction (whether they agree or not), tries to consider, apply the suggestion or do better next time, and then moves on. They do not blame unfortunate circumstances or other people for their mistakes. As a result, positive and professional leaders have good things happen to them because they are prepared to take the bad things that happen in stride. They cannot and will not play the victim. They recognize that a negative person creates a negative world around themselves and instead choose to motivate others to join them in their positive outlook.

When you have been wronged

Inevitably someone will disappoint you, hurt you, or do something that is unfair or unjust. It happens. And, sometimes the results are catastrophic, the pain is tremendous, and the offender seems to hold a “Get Out of Jail Free” card. Trust me, everyone faces this at some point in their professional career and/or personal lives. A professional acts with dignity in response to these situations. They recognize that fears and insecurities can damage a person’s ability to think positively, act with generosity, and conduct themselves appropriately. When dealing with someone who is behaving unprofessionally, considering this will help you deal with him/her in a more compassionate manner. You can avoid behaving badly in reaction to their behavior without letting them take advantage of you or the situation.

It is tempting to want to lash out or get revenge, but a true professional does not reduce herself to bad behavior because she knows that this is sure to backfire. For example, if a coworker complains and whispers about a peer at every opportunity and spreads rumors and gossip, they will earn a reputation for being untrustworthy. It does not matter if the complaints and rumors are true, I guarantee that even those that go along or participate in this slander do not trust this coworker. A person who goes about tearing down others is only opening themselves up to the same kind of scrutiny and backstabbing they distributed. No matter what has been done to her, a professional will always be the better person. She will take action through appropriate channels instead of dealing out her own form of justice.

When you are the one who has wronged

As I said before, no one is perfect. Even professionals have bad days. They sometimes do, say, or act in a way that is not only unprofessional but unbecoming. Once in rehearsal for a musical, for which I was not only the choreographer but a leading character, I publicly blew my top at a director. Feeling a responsibility to the cast, essentially my professionalism went out the window for a moment as I outwardly expressed a collective frustration that was (for legitimate reasons) reaching boiling level within the room. Although it got results, as a professional I recognized that I did not handle the situation well and that an apology was in order. After giving the director a few moments, I approached him and calmly apologized for my behavior and that it would not happen again. If I had not performed this simple act, the relationship would have been damaged, resentment would have set in, and I would have lost the respect he held for me. Being mature enough to recognize when one is out of line, apologizing, and then taking responsibility for the outcome is essential for someone that wants to continue to be viewed as a professional even when mistakes are made.

Leaders and Professionals Embody Generosity

The ultimate professional is a collaborator and contributor who brings out the best in others because instead of focusing on “I” and “me”, he concentrates on “we” and “us.”

• He is generous with his gifts, generous with his time, and generous in spirit. He is easy to collaborate with because he communicates with kindness.
• A professional wants everyone around him to be their best and helps them to do so by being supportive and encouraging.
• When a colleague is struggling, he does not belittle or put this person down. He is aware enough to look for moments in which help might be offered that will not be embarrassing to the individual or interrupt the rest of the group.
• He recognizes that help does not always mean showing or telling another how to do something, but rather an encouraging smile or a word or two to lighten the person’s mood and frustration level is most helpful.
• He does not lie to make another person feel good. A professional offers straight-talk but avoids hurting other people in the process.
• He responds with humor, sensitivity, and tolerance even under difficult circumstances.

Self-Awarness

Image by kevindooley via Flickr

In addition to awareness of one’s surroundings and of other people, a professional must also be self-aware. Generosity can be extended to yourself by understanding your strengths, weaknesses, and limitations. No one is perfect, and a confident and self-aware person does not expect perfection of himself or of anyone else, rather he does his very best, recognizes where the strengths of others can fill in the gaps, and allows them to shine as they do their part. It is alright for a professional to ask and expect others to do their best, but he will offer encouragement and lead others through example, to fulfillment of their full potential.

Dr. Tim Lautzenheiser, a leadership coach I encountered during my high school years often expressed that “you are only worth what you give away, and you can only give away what you have.” To be generous in spirit, improve what you have to give by taking responsibility for what YOU know and who YOU are… and then give it away.

Are you too young to be viewed as a professional?

No. I have met both very unprofessional people who have spent years and years in their career and amazingly mature children who act professionally whether they get paid to do so or not.

It is not always easy to conduct oneself as a professional but it leads to more positive and fulfilling experiences overall.

The Ultimate Question:

Would YOU want to work with YOU?

If not, take responsibility for improving your actions and, perhaps more importantly, your reactions to the situations and people in your work. I guarantee your new outlook will influence the actions of the people around you and their reaction to you. You will be regarded as the professional you want to be.

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 5 comments | Category: Blog, College and Career, For Career Dancers, For Students, Toolbox

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Is stretching part of your ritual?

While I was a dance major, I had a very strict routine that consisted of getting up at 6:00am, making coffee in my leotard, driving to school by 7:30am (to grab my super secret parking space in downtown Chicago), and entering the studio for morning ballet class before anyone else had arrived. The sun would peak through the windows creating a beautiful, peaceful place for me to be alone without the distraction of other dancers, teachers or fluorescent lights. Five days out the week I followed this routine, and without fail the first thing I would do is lay down on the ground, stick my feet over my head and stretch.

I never gave much thought at that time as to whether or not stretching before class was beneficial. It is just something we dancers do. We arrive early (never on time) and stretch.  Many ballet teachers give a warm-up or stretching exercises to the class before even beginning the barre. I remember being told as a young dancer “you must be fully warm before you ever do your first plie.” You feel that morning crunchiness in your joints, the little tug in your hamstrings, and just “stretch it out.”

To stretch or not to stretch?

The idea of stretching before physical activity is not unique to dance.  I recall those days of P.E. where we would all stand and stretch together before going to play whatever sport was featured that day. In fact, studies performed as recently as 1989 have declared stretching to be “essential” in preventing injury and enhancing performance by increasing the elasticity and range of motion (ROM) of the muscle (1). It is by this presumption that we came to believe that you must stretch before completing any sort of vigorous physical activity, and this opinion is still held by a great many P.E. and dance teachers, not to mention personal trainers, physical therapists, sports physicians and athletic coaches (2).

More recent research has questioned the commonly held belief that stretching before activity is beneficial to performance and prevents injury. In fact, there is some evidence to suggest that stretching can have detrimental effects on performance, and may even INCREASE the risk of injury…

But aren’t there different ways to stretch?

There are five major types of stretching: static, dynamic, proprioceptive neuromuscular facilitation, ballistic stretching, and eccentric lengthening.  For the purpose of this article, we can work with the two most common forms of stretching (static and dynamic). You may see both types in your dance classes or do them on your own. The other types of stretching are usually employed in a therapeutic setting with the help of a clinician. Here’s a summary of the difference between the two types:

STATIC STRETCHING

Now, let’s assume that you aren’t lucky enough to be one of those hyper-flexible Gumbi-type dancers that can walk into a studio cold and plop down into the splits. That is a whole other issue that carries its own set of benefits and challenges. Instead, you are a dancer of average flexibility. You have no problem extending to 90-degrees, and once you are warm you can easily accomplish the splits and higher extensions. However, when you first enter the studio, you feel that pinch and that crunch. In the traditional thinking, you are like me: the dancer who comes in early to sit on the floor in a straddle, or plow, or forward bend until the pinch slowly begins to ease and feel less pinch-y. This type of stretch is called static—where you choose a position at the end of your ROM (range of motion) that targets a particular muscle, and hold it.

DYNAMIC STRETCHING

Dynamic stretching is a series of or active motions that increase joint ROM and stretch the muscles more passively than static stretches. Examples include leg swings (or balancoire), grand battement, and arm swings.  Some people believe that this is a more natural way to stretch and increase your range of motion, and it simultaneously warms the body. Dynamic stretching is rather trendy right now because it somehow fulfills our moral obligation to stretch and isn’t uncomfortable like static stretching.

So, can I stretch before class, or can’t I?

That depends on the goal…

If you are stretching with the goal of long-term changes in your flexibility (for example, you can’t do the splits and would like to), save your stretching routine for after class or between barre and center when your muscles are “warm.” See more about this in Nichelle’s post about Stretching Safely For Splits.

Generally speaking, both of the stretching techniques above have acute (short-lasting) effects on your range of motion before activity, but don’t really increase your overall flexibility.

If you are stretching to chase away the “crunchiness,” there isn’t really any reason to believe that stretching before class can hurt you, but then again, it doesn’t necessarily help you either. Stretching doesn’t inevitably mean that you will not be sore or will be less sore (3).  Some researches have found that pre-stretching might result in a small decrease in muscular strength and power, and this may be of importance to elite dancers requiring exceptional strength and endurance, but there is no current evidence suggesting that stretching while cold leads to injury (3,4).

Image by stevendepolo via Flickr

Bottom line:

Ultimately, if stretching feels good, then stretch. If it’s part of your morning routine or class-time ritual, then do it. Just take care…

• Stretching should never hurt.
• Don’t reach past your natural range of motion unless your body is completely warm.
• If you find that static stretching is very uncomfortable for you, try some dynamic stretches.

Your body is a complex series of chemical and mechanical processes, and while we imagine that muscles are as simple as stretching a rubber band, there is a lot going on in there that is still not fully understood by scientists. But for more on muscles, you’ll have to wait!

Next month: How do muscles work?

References:

1. Safran, M.R., A.V. Seaber, and W.E. Garrett, Jr., Warm-up and muscular injury prevention. An update. Sports Med, 1989. 8(4): p. 239-49.
2. 

   More Art Intercepts...

   Shehab, R., et al., Pre-exercise stretching and sports related injuries: knowledge, attitudes and practices. Clin J Sport Med, 2006. 16(3): p. 228-31.

3. Herbert, R.D. and M. Gabriel, Effects of stretching before and after exercising on muscle soreness and risk of injury: systematic review. Bmj, 2002. 325(7362): p. 468.
4. Thacker, S.B., et al., The impact of stretching on sports injury risk: a systematic review of the literature. Med Sci Sports Exerc, 2004. 36(3): p. 371-8.

© Lauren Warnecke for Dance Advantage, 2010. | Permalink | 2 comments | Category: Blog, For Career Dancers, For Everyone Else, For Juniors, For Students, Performance, Technique, Toolbox, Wellness

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A parent recently wrote me, explaining that her 14 year-old daughter started ballet at 10 years old. Her concern was that when her daughter goes to auditions, she is behind her peers technically and she wondered if I had any advice. In response, I want to address some of the emotional obstacles that those who come ‘late’ to dance often face. I’ve taught beginners of all ages and I’ve observed that these mental hurdles are often harder to overcome than the physical.

Also, because nearly all dancers, at one time or another, encounter situations where they feel behind or challenged I think it may speak to other young dancers, too.

Steps A Dancer Can Take To Crush Comparisons

Image via Wikipedia

Possibly the worst thing dancers can do when there is a strong desire to improve is make negative comparisons of themselves to other dancers.

As Dianne of Ballet Shoes and Pointe Shoes recently pointed out, sometimes comparisons help us create a realistic picture and provide awareness of where we are and where we still have to go.

See her post on Late Ballet Starters for a few pointers on where to look to form this realistic picture.

However, comparisons must stop there. Once you recognize where you are, let it go, and focus on what you need to get yourself where you’d like to be. It’s easier said than done, I understand.

So, here’s a plan (not THE plan) but a plan that I hope will be a help to you. Use what resonates most for you and leave behind what does not.

Step 1 – Change the Way You Think

Expecting perfection, overnight results, or for everything to come naturally leads to frustration.

Read this: I Can’t

If you begin to feel negative thoughts creeping in or start to feel badly about a correction you just received, tell yourself to STOP (seriously!). Then replace these thoughts “I am learning,” “I am patient,” “I deserve to succeed.” For more on thought-stopping and building success…

Read this: It’s In Your Head: The Power of Thoughts on Performance by Sanna Carapellotti (Dancer; Jan09)

Step 2 – Get Real About Your Strengths and Weaknesses

• Recognize that everyone has both and that weakness only really matters if we allow it to turn us off our goals.

Read this: Mastering Strengths and Overcoming Weaknesses

• Have a conference with your teacher and have an open and honest conversation about the areas in which you need the most work. Explain that you are feeling the need to “catch up” with your peers technically and that you are willing to put in some extra work to improve.

Step 3 & 4 – Set Goals and Make A Plan

The best way I know to get beyond comparing oneself to others is to set personal goals and make a plan to achieve them.

• During that discussion mentioned above, have your teacher help you define some things you may be able to do outside of your regular class; an additional class or private lesson perhaps (if that is in your budget), some “homework” that strengthens, conditions, and supports what you are learning in class.

Read This: Setting Goals

• As the article linked to above demonstrates, be sure that you create a plan that will help you reach your goals and determine a “backup” plan: what you will do or say to yourself when the going gets rough.

How Parents Can Help

Parents, your child must desire the additional work and goal-setting it will take to reach his or her dreams. Make sure your child’s dreams are her own.

Read this: Finding The Balance Between Friend and Fanatic

While you can certainly help guide your child through this process, remember that your primary role is to support your child. Be careful not to become another voice of criticism (it is likely your child has more than enough of their own negative thoughts to tangle with).

Read This: Accentuate The Positive

Praise your child in a way that will further their skill development and feelings of accomplishment.

Read This: Appraising the Value of Praise

Disappointments along the way are inevitable, even if they are only the momentary ones when your child lets negative thinking or comparisons get the better of him/her.

Read this: Dealing With Disappointment

Know Where You Are Going

I’d be remiss to not point out that, if you are auditioning and feeling that you are not up to par with your peers, or are just not where you’d like to be technically, that it may be time to reassess.

Part of knowing where you are in your training includes determining if you are on the correct training path: studying the material and working with the teachers who can get you to where you’d like to be. Form that realistic picture, mentioned at the top of the article.

Professional ballet, in particular, requires intense study of the form. How much time spent in the studio and the quality of instruction matter in this field. The good news is that there are many wonderful careers available to dancers and that there are multiple paths to getting to where you’d like to be. Just know which path you are on!

Read This: Finding The Right Teacher

Are you a late beginner?

What words of encouragement can you give others?

What helped you to get beyond those late-beginner blues?

What have I missed? What advice would you have given this dance mom?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 40 comments | Category: Blog, For Career Dancers, For Everyone Else, For Juniors, For Parents, For Parents of Teens, For Students, Performance, Technique, Toolbox

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Click here for more My Dance Homework

Particularly over the summer it is nice to have a few simple exercises that are easy to remember. This particular series builds arm endurance and strength, and is good for a little light toning. It’s also versatile, allowing you to make additions, increase repetitions, or add hand weights when it becomes too easy. Make it a point to do it once daily and I think by the time you get back to a full schedule in the fall, you’ll see a difference in your ability to carry and maintain those arms throughout long barre exercises.

www.youtube.com/watch?v=A73Yen_hHnA

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, For Everyone Else, For Students

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Let’s get something straight. I’m not a teacher who recommends practicing dance at home. Practice is what happens in the studio under the watchful eyes of instructors. On the other hand when it comes to sections of choreography, which generally contains movements already mastered, I’ll recommend that my students go through it at home (I suppose physically if they truly have the space, but mental rehearsal is equally beneficial). However, I almost never recommend practice of actual dance technique at home.

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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Be Encouraged!

In the first installment of this article, I relayed the sad stories, hardships and pressures the young male dancer faces. Here’s WHY it is important to stick it out despite the challenges…

Young male dancers have the opportunity to be leaders within their communities. They can stand out in a crowd and encourage other people to follow their dreams. Young male dancers are inspirational, hardworking, dedicated and sensitive individuals who can use their power to transform the lives of their peers and audiences.

And HOW to stick it out…

Perseverance

Roger Lee; Photo by: Liora Kuttler © 2010

As soon as I embraced my unique qualities as a young male dancer, I began to acknowledge my own creative voice and use it in my dancing. Fellow male dancer Michael Meadows says, “Being a male dancer can be hard due to stereotypes, the best advice would be to stay true to who you are. Dance because you love it and never give up due to people who may not understand your art.” Ibn Snell echoes, “Stay true yourself, and don’t let anyone get to you. Whatever you want to do, you can do it. You have to portray an image of self confidence and not arrogance. And never get discouraged.” Although discouragement creeps in from time to time, remember to never give up on your dance dreams. Ibn and Michael never gave up on theirs. Ibn is now concluding his junior year as a dance major at the magnet performing arts high school of Philadelphia. Michael is the Public Relations Director at Nexx Level Dance and Theater in Toronto and also directs Step Up 2 the Nexx Level Summer Dance Intensive.

Winning Support

If you recall, Michael was the snowboarding team’s captain when he was encouraged to join the dance team at 18. He says that once competition came into play, the attitude of his snowboarding teammates changed. “Once we started winning competitions and bringing home hardware, people started to support my dance habit and realized that they could enjoy viewing it for what it was…entertainment.” Although it took Michael winning dance competitions for his friends to accept his dancing, they still supported him in the end. The point is not how people come to grips with your dancing, it is more important that they do it.

Ibn Snell

Remember Ibn’s story about hiding his dancing from his classmates? I promised I’d tell you the rest of this story. Ibn learned that honesty goes a long way. “Soon as my friends found out, they began to love my talent and appreciate me for being such an artist, so it wasn’t as bad as I thought!” Ibn had legitimate fears about exposing his love for dance, but his fears were not confirmed. People did not look down on him, rather they embraced him as a talented dance artist. It is shocking to discover that people can be much more open and accepting than we give them credit for. It is important for the young male dancer to keep an open mind and allow room for people to accept and admire his dance talent. Remember, not everyone will approve, nor does everyone have to. But there are many art supporters, family and friends who will accept your dance talent as a gift and encourage you to use it to the fullest.

Faith, Hard Work, and Respect

It was during that rough time as a beginning ballet student that I pulled from my faith. I prayed to God that I could get past this rough patch and learn to enjoy my dance environment. The harder I worked, the more people in the class began to accept me. The more respect I gained from my peers, the more confident I became. The confidence translated into stronger dancing and focus in class. I learned to embrace being the only male in the class. Sure, I felt pressured to be a strong lifter, a charismatic performer and a virtuosic technician because I was the only male dancer in my class, but the pressure helped give me the drive I needed to succeed during those hard beginning years of my dance training.

I’mPossible Dreams

Nik Stasulli; Photo by: Liora Kuttler © 2009

Michael notes that a male dancer must have tough skin to succeed as a dancer of any sort. “The industry can be cut throat so if you can’t handle the fire, get out of the building,” he warns. Nik Stasulli adds, “I think young male dancers should keep dancing if they really enjoy it because it becomes a part of your life and you can meet so many great people through dance.” Nik was so impacted by dance that he continued training and performing after college. As a graduate student he still finds time to dance. “There are so many avenues to keep dance in your life, and even if you don’t want to stay in a studio or join a company there are plenty of ways that you can stay involved.”Ibn Snell offers his words of encouragement to young male dancers worldwide. “Nothing is impossible, because impossible really spells I’m possible!”

As a young male dancer, there are so many amazing opportunities out there waiting for you. All you have to do is hold on, channel your faith and keep your eye on the prize. Your dance dream is attainable and closer than you believe. So to the young male dancers out there, hold on to you dance dreams and never let go. If you do, your dreams may one day grow beyond your wildest imagination.

What have been the rewards or positives for you as a male dancer?

How have you persevered? What has gotten you through the tough times?

© Roger Lee for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, College and Career, For Career Dancers, For Everyone Else, For Juniors, For Students, Toolbox, Wellness

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The Pressure is on for the Young Male Dancer

As the curtain rises on the brightly lit stage, the young male dancer is exposed to the audience. His head spins as he worries about the costume he is wearing, the big power-lift with his female counterpart and what the audience will say about his masculinity. These fears are not only a part of the young male dancer’s performance experience– they are his reality each day in rehearsals. In fact, the male dancer faces similar fears outside of the dance studio. In essence, the young male dancer has a lot to worry about as he enters the world of dance.

Just as the discouraged young male is ready to quit dance and throw in the towel, he should remember that there is a light at the end of the tunnel. It is a light worth dancing towards. I know from personal experience that dancing towards the dream is easier said than done. The dream lies at the end of a tunnel filled with obstacles along the way. The struggles the young male dancer faces only makes him stronger if he can endure the not so easy early years of dance training.

Through my own personal account and the stories of 3 successful male dancers at different stages in their careers, I will describe the common struggles young male dancers face, tips for survival and why dancing towards the dream is well worth the fight!

My Introduction to Dance

Reflecting back on my pre-adolescent years, I can recall my first formal dance class. After spending some time on a hip-hop dance team that performed regularly for local news, I was no stranger to commercial dance. I grew up watching the greats—Michael Jackson and James Brown. I tuned in to Soul Train and was surrounded by dance music. It was only natural that I entered the world of dance. Once I was chosen for the hip-hop dance team, I was embraced with open arms by my fellow dancers! The young ladies on the team loved having a male around and would often ask me to assist them with the unfamiliar hip-hop vocabulary they were being taught. As a young male, I felt that I had it made. I was naive and believed that all dance environments would be as accepting of male dancers. Boy was I wrong!

Stories of Struggle

© 2010 Liora Kuttler

Early obstacles

When I finally took my first ballet class at a dance summer camp for ages 9-17, I was surprised that I was the only male in the class. The young ladies had a ball laughing, pointing out my flaws and lack of training. My masculinity was questioned, my dance ability was challenged, and my dreams of becoming a serious dance student were slowly diminishing.

A similar story comes from male dancer Ibn Snell, a junior at the Philadelphia High School for Creative and Performing Arts. This young male dancer felt the need to hide his passion for dance while in middle school. He admits, “I had troubles of people judging me in middle school. My mom would tell the principals about my dance competitions and saying vote for me and I didn’t want my friends to know.” Ibn’s story has an unexpected outcome. However, you’ll have to wait for the conclusion in the follow-up to this article.

Lost Potential

Ursinus College alum and UNC Graduate Student Nik Stasulli says, “There were definitely kids that would make fun of me when I was younger, but my real friends didn’t care and encouraged me, especially the girls that I danced with that were my age.” Nik encourages young male dancers to surround themselves with positive people who support their dream. He also encourages young dancers to follow their own heart’s desires and not listen to the negativity around them. Nik remembers a potentially brilliant male dancer from his studio who gave into the pressure. “He got made fun of a lot for it and he eventually quit because of it and i always thought that was a shame. He had so much potential, but he let the negative people around him get to him too much and he quit.” The moral of the story is to never let people destroy your dream.

Fellow dancer, Micheal Meadows recalls his introduction to the world of dance. He says, “I started dancing at the age of 18 in high school and got asked by teachers to dance for our school’s team.” Michael was the captain of the snowboarding team and found difficulty in getting support from his fellow athletes. “If you feel like you are ready to quit take a deep breath and realize your potential.”  A young male dancer with potential to become amazing at his craft, must hold on tight and look beyond the negative comments that are thrown his way… Remember that lost potential is something you cannot get back in life.

Strength, Courage, and Thick Skin

“Being a male dancer shows character and being able to stand above the rest. The industry is lacking strong male dancers, so there is a definite market for males in the dance industry,” says Michael. Indeed, it is my experience that being a young male dancer takes strength and courage. It teaches you a lot of hard life lessons while thickening your skin and preparing you for the real world.

Catch Part II of Roger’s article, Surviving and Thriving, tomorrow on the blog!

Are you a young man who dances? Have you had similar experiences?

Have you witnessed the taunting of boys in dance class?

© Roger Lee for Dance Advantage, 2010. | Permalink | 7 comments | Category: Blog, College and Career, For Career Dancers, For Everyone Else, For Students, Toolbox, Wellness

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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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I’ve had my eye on JAM Cosmetics for a while now. Owner, Jessica Dupont (formerly Jessica Ann Michaels… hence J.A.M) is a dancer. Though she has retired from performance, she appeared on and off Broadway and toured across the world throughout a 10-year professional career on stage. During that time she pursued another passion and supplemented her income as a makeup artist, freelancing in fashion, theater, and photography. Prior to creating and developing JAM cosmetics, Jessica was even a dance teacher and studio owner and it shows in her desire to provide the dance community with the educational tools needed to look their best on stage.

So, when Jessica approached me about reviewing her products on Dance Advantage, I was eager to try them out for myself and share my findings with you.

A Palette For Every Palette

Though on the website, individual colors, pencils, liners, foundations and more are sold separately, I sampled some of JAM’s most popular products: the Prima Diva Essentials Kit, the Stage Siren Palette, the JAMglam Recital Palette, and the 7 Piece Brush Kit. The palettes themselves are not drastically different. All three contain a blush, a creamy lip pigment, white highlighting shadow, one or two neutral eye colors, and (with the exception of the recital palette) a black shadow eyeliner. These colors have been selected for their versatility – they are designed to work for all skin tones and can be used in a variety of stage looks. The advantages:

1. Groups can purchase the same self-contained kit and it will work for every member of the company and for any dance number.
2. No need to carry around a ton of loose compacts and makeup tools – everything you need will fit in one little makeup bag.
3. Stress-free selection… the professionals have already done the work and chosen suitable color combinations for all.

The Essentials Kit, in addition to the palette of your choosing (Prima Diva, Stage Siren, or Mod Squad) comes with a lip pencil, a white highlighter pencil, a professional and attractive tapered half-lash set by Elise, Duo eyelash adhesive, and a free makeup bag. The silver and black palettes are attractive, with foam construction protecting the contents inside, and they have no clasp but seal magnetically. They are a good size for holding with one hand and can be refilled when one item is used up.

You can visit the JAM Cosmetics website for further details about the palettes and kits, just “Choose Your Look” or, if you aren’t sure, select from the How-To Videos for Ballet, Jazz, Hip Hop etc. and the appropriate kits will be listed with each video.

Quality and Cost

Let’s talk value. A lot of you out there are using street makeup for the stage and aren’t even really sure of the value of “stage makeup” in the first place. I’ve been dancing among professionals in the modern/contemporary dance world for more than 10 years now and, believe it or not, many of these folks are using street makeup too. Growing up as kind of a theatre brat, this has always kind of bothered me but I understand that a lot of it has to do with the feeling that greasepaint is just too heavy to wear for recitals or intimate venues.

Investing in makeup that doesn’t need constant reapplication is a better value and looks better on stage. What I liked most about JAM is that it is lightweight like street makeup but “reads” well onstage and doesn’t absorb or sweat off as easily as street cosmetics. The pigments are much stronger than street makeup, meaning you need less to pull off a more intense look. Even after reading the clear instructions that come with each kit stating “less is more” and that one can always build and increase color, I was heavy-handed with the blush on my first use. I was just so used to much weaker street cosmetics.

Sometimes less really is more. Are these the cheapest kits available? Not necessarily. Some of the big names in professional stage makeup like Ben-Nye and Mehron tend to throw color options, cosmetic tools, brushes, and sponges into their kits. However, I’ve been a long-time user of “greasepaint” kits for stage and its inevitable that there are colors and extras I simply don’t use because they don’t look good on me. The JAM kits may not include a ton of extra stuff, but they’ve got what counts. I can’t say how long each palette would last, as it depends on how often you are performing but, I’m pretty confident one palette would easily sustain you through competition and recital season.

I'm no master but even I can follow instructions.

Healthy skin is in. It is important to note also that JAM cosmetics are mineral-based, hypoallergenic for sensitive skin and non-comedogenic, which means it won’t clog pores. They are completely talc and paraben free and, as a company that does not test on animals, the company is on the PETA “friends” list. Technical jargon aside, it just feels better on my skin. I’m prone to breakouts. I’ve used greasepaint and suffered the consequences. After using JAM’s products and not feeling like a wax sculpture about to melt, $25 – $50 seems like a great investment. Even if you can’t afford the additional gear, $25 for the basic recital palette is a good start.

Instruction and continuing education. I first became aware of JAM Cosmetics about two years ago while writing and reading blogs over at Dance.com. Jessica was providing instructive articles that were authentically and specifically educating dancers (and dance moms) on makeup and application. That effort caught my attention, even then, as being a unique and refreshing way to utilize a blog for business. She continues these efforts. The JAM website is overflowing with crisply done videos like the one below that cover makeup application for a variety of dance styles (not for actors, or for Halloween costumes… for dance), tips for everything from applying false eyelashes to finding the right foundation shade, and blog posts on recital makeup for students of every age, making it an informative resource (i.e. a must-visit) for dancers, parents, and teachers even if you don’t buy JAM products.

View on YouTube

You Know You Want One

For reviewing JAM cosmetics on the blog, Jessica has offered to give away THREE Prima Diva Petite Kits to Dance Advantage readers.

This giveaway is now closed. Winners announced soon!

From the website: This classically gorgeous stage makeup look is recommended for Ballet, Jazz, Dance Team, Cheer, Recital, Ballroom, Belly Dance and even Theatre or Vocal performances. Easily go from good girl to glamorous in no time flat! Prima Diva Petite Kit includes:

Prima Diva Palette (see Prima Diva Palette description below): Warm Brandy Lip Pencil NEW silver REFILLABLE Prima Diva Palette includes: One (1) Mineral Lip Stick: Fierce One (1) Mineral Blush: Superstar Three (3) Mineral Eye Shadows: Innocent Me, Elegant Me, Fear Me One (1) Mineral Eye Liner: Double Dare Me MISTAKE PROOF APPLICATION with easy to follow face charts/instructions and FREE online how-to videos.

Here’s How You Enter

If you are in the U.S. and 18 or older, place a comment on this post. That’s it! We would love to hear how badly you want the kit, or your most embarrassing stage moment, or a horrific makeup tale. Just know that winners are randomly chosen so it won’t help you one little bit. And please make sure you use an email address at which I can contact you should you be a winner. (If you are under 18, tell your parent about the giveaway and have them enter). If you have questions, check our giveaway policy.

Additional entries:

Tweet about this giveaway (you can use the tweet button at the top of the blog post) and make sure your tweet contains @danceadvantage (this is how I’ll verify you’ve done it). Then – this is important – add another comment on this post telling me you tweeted the giveaway and put your twitter address (ex: http://twitter.com/danceadvantage) in the website field.

Reblog (see below at right) or blog about this giveaway and add another comment on this post telling me you blogged it and – this is important – put the link to your post in either the website field or the body of your comment.

Additional entries are completely optional. You can do one or both for up to three entries per person but you must comment for each entry… three entries = three comments, capiche?

Also my apologies to faithful fans of Dance Advantage on Facebook. I’d throw you a little extra entry love if it weren’t against Facebook rules.

This giveaway will close at Midnight EST on Wednesday, March 24!

Let’s JAM!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 26 comments | Category: Blog, Dance Bag, For Everyone Else, For Parents, For Parents of Competitors, For Students, For Studio Owners, For Teachers/Studio Owners, Giveaways, In the Spotlight, Performance, Product/Website Reviews, Toolbox

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