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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Keep reading for two big contests in their final round. These feature some spectacular videos for your digital viewing pleasure. Make sure you get your say in the outcome! Then, stay tuned because these videos have inspired a follow-up article sure to ignite your imagination and invigorate your classes!

Vie For Video Domination

My Mutation

The Basics: As part of their Spring Dance festival the Sydney Opera House, in collaboration with YouTube presents this online dance competition. Create your own 40 second dance solo. The first 20 seconds are your interpretation of the starter solo (performed by Josh Mu), choreographed by Kate Champion, Artistic Director of one of Australia’s leading dance companies, Force Majeure and choreographer for the international stage production of Dirty Dancing. The second 20 seconds is a continuation of the solo in your own style. You have until August 10 to upload your video. Finalists will be chosen and will participate in two more rounds of challenges. Once narrowed to only 5 finalists, voters will choose the winner.

What You Win: The winner will score the ultimate prize of rehearsing with Kate Champion to bring his/her unique performance to life at the screening of Footloose on September 26. In addition to the thrill of performing live at Sydney Opera House, the winner will receive $2,000, a SONY HD flash Handycam camcorder, as well as a SONY ‘Bloggie’ HD snap camera.

Who Can Enter: The contest is global and there are no age restrictions!

Find Out More: www.youtube.com/sydneyoperahouse or visit Spring Dance on the Sydney Opera House website.

Dr. Pepper Cherry YouTube Dance Studio Contest

(that’s a mouthful!)

The Basics: Show off your amazingly smooth mooves. Submit a video of yourself dancing to one of the three approved songs, using the provided choreography for the first part and your own freestyle for the rest. Choose between a Jazz Funk, Hip-Hop, or B-Boys and B-Girls routine. Learn the moves, download the song, make your video, and submit, but hurry! Submissions must be in by August 2. Four finalists will be chosen, then it is up to voters to decide on the winner (to be announced August 31).

What You Win: You could win a trip for two to Los Angeles, where you’ll spend a day with Jon M. Chu (director of StepUp 2 and upcoming StepUp 3) at a jam session with some of the best hip-hop dancers around, and the chance to be in an upcoming Ultra Records music video.

Who Can Enter: U.S. residents 18 years and up.

Find Out More: www.youtube.com/dancestudio

Dance Your Ph.D. 2010

The Basics: I cannot resist including this unique contest which invites entrants to turn their Ph.D. thesis into a dance! Any scientist in the fields of physics, chemistry, biology, or the social sciences with some friends, a great idea, and a cheap video camera can win. According to GonzoLabs (a virtual research institution where art, science, and culture intersect), the best dances not only insightfully reveal the scientific content of the PhD thesis, they not only show artistry to create a compelling spectacle, but they also creatively combine these two aspects in a successful execution. Submissions are due by September 1, 2010.

What You Win: A cash prize of $500 goes to a winner in each category, with an additional $500 to the Best Ph.D. Dance of All. Finalists from each category will have their videos screened at Imagine Science Film Festival in NYC.

Who Can Enter: You have to be 18 years or older, have a Ph.D. in a science-related field, or be working on one as a Ph.D. student and you must be part of the dance.

Find Out More: www.gonzolabs.org/dance

More, more, more

• If you are a fan of Cirque Du Soleil and in the Boston area, you may want to check out the Cirque Du Soleil Bug Dance Contest!
• If you fancy yourself a choreographer, submit a dance routine for Big Girls Don’t Cry by Mik Brown for the chance to win $500.

Vote For Video Favorites

Global Dance Contest

International dance venue, Sadler’s Wells Theatre in London offers a cash prize and a chance to perform live at Sadler’s Wells Sampled, a yearly showcase of the best in dance from around the world. Ten entries are being selected by a judges panel right now. Voting will commence August 9, so keep your eye on www.globaldancecontest.com.

Step Up 3D Dance Dub Contest

Vote now at www.youtube.com/StepUpMovie and help one of four American dance studios win a $7500 Best Buy gift certificate to improve their space. Broadway Dance Center (New York, NY), Focal Point Dance Studio (Miami, FL), Dance 411 Studios (Atlanta, GA), IDA Hollywood (Los Angeles, CA) are battling it out with their own energetic, single-shot dub to Club Can’t Handle Me, a song I actually didn’t mind listening to four times in a row!

And Don’t Forget…!

Okay, this one isn’t a contest but National Dance Day (a grassroots movement, spearheaded by Nigel Lythgoe and Dizzy Feet Foundation) is coming up on July 31. The effort is being recognized with an official act of Congress when Congresswoman Eleanor Holmes Norton (D-DC), a long-time proponent of healthy lifestyles, will introduce a National Dance Day resolution at a press conference on National Dance Day in Washington, D.C., to promote dance education and physical fitness across the U.S. If by chance you haven’t heard of National Dance Day, you can find more info at www.dizzyfeetfoundation.org.

Tabitha and Napolean have contributed a little choreography to help you get in the spirit and get up and move. It too is choregoraphed to Club Can’t Handle Me. Check it out below:

www.youtube.com/watch?v=zKUyp1GMQVg

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, For Fun, In the Spotlight, News and Events, The Dance World

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Teachers often use the image of a rubber band to describe muscles.  When you stretch a rubber band, it usually returns to its normal size; if you continuously pull it beyond the maximum that it can be stretched, the rubber band stays stretched out.  Using this metaphor, if you continuously stretch your muscles beyond their maximum range of motion (ROM), eventually they will stay stretched out…..

More Art Intercepts...

Sort of.

Muscles have two main jobs: generating power and responding to “perturbations”.

The rubber band/muscle metaphor is great in describing the body’s response to perturbations (such as the bus moving forward when you’re not ready for it, someone handing you something that you think is heavy but is actually light, being bumped into, etc).  In these instances, a reaction called the stretch reflex recoils muscles that have been stretched as a result of a perturbation.  In the example of standing on a bus that moves when you’re not expecting it, you’ll notice that you lean forward and then right yourself.  If the muscle is stretched too far, the muscle can’t recoil and instead you are forced to take a step forward to prevent from falling.

Try this: Stand up with your feet under your hips and eyes closed.  You’ll notice that you sway forward and back slightly.  In order to help you maintain balance, your brain triggers muscle action in the calf and ankle when you start to pitch forward, righting your stance .  This is the stretch reflex in action (in combination with structures in the inner ear that control balance).

While the image of a rubber band is useful in demonstrating the elastic nature of muscles in the stretch reflex, it’s not always as simple as the stretch/recoil and stretch-farther/less-recoil that we gain from thinking of muscles simply as rubber bands.

I’ll explain, but first, a brief anatomy and physiology lesson:

How do muscles work?

A muscle is built of bundles of lots and lots and lots of muscle fibers bundled together by a sheath called the sarcolemma.  One muscle fiber contains lots and lots and lots of myofibrils, and one myofibril contains two types of myofilaments (thick and thin). This is where the magic happens.

The brain sends a signal (a neural impulse called an action potential) to the muscle that says “Hey muscle! Contract!”  Through a complex series of chemical reactions, proteins on the thick and thin filaments bond to one another and create energy in a chemical form.  The chemical energy is converted into a mechanical (tensile) force that generates power to move bone.   Every time you point, jump, bend, etc. your body goes through the same brain-muscle-bone loop called Excitation-Contraction Coupling (in case you want to look it up on Wikipedia) and it all happens faster than you can snap your fingers.

Wow. That’s amazing. And not at all like a rubber band.

Apart from this complex process, there are a number of variables that impact muscle behavior, such as temperature.  Warming-up increases the body’s core temperature and also helps breaks any leftover bonds (what I refer to as “crunchiness”) that might be hanging around.  As mentioned in my previous post, Is It Okay To Stretch Before Class?, stretching before activity has a short-lasting (acute) effect on range of motion, but the effect of stretching is maximized if you are warmed-up. Warming up also increases the amount of power a muscle can produce, making movements more efficient.

Think about this: What would it feel like to do grand allegro first in a ballet class? I don’t care to find out, but you can imagine that your ability to produce power, and therefore height, in your jumps is much better at the end of class when your muscles are warm.  Muscles also react differently when they are sore, strained or fatigued and all of these topics are complicated enough to deserve their own posts, so I won’t delve into them here…

More than anything else, I want to emphasize that rubber bands don’t have brains. The key point in all of this is that you have a brain, and that your brain drives everything that happens in your muscles.  It senses unexpected events and recoils muscles back into place.  It sends neurological impulses to muscles, causing a series of chemical reactions, producing energy that is converted into force that makes you move.  I said it once, and I’ll say it again:

That is amazing.

Reference: Enoka, R. M. Neuromechanics of Human Movement, 3rd. edition

© Lauren Warnecke for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, Technique, Toolbox, Wellness

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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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Today’s guest post is from Tiffany Braniff, who you’ve “met” before when I covered her blog Dancing Branflakes. Though we didn’t go into it much in our interview, Tiffany has spoken quite openly on her blog about body issues, her experiences growing up, the influence others had on her body image, and her continuing struggles. I asked Tiffany if she would be willing to provide an article for Dance Advantage that might encourage and support young dancers who are struggling. I know you’ll take away something from this article whether you are a student, a parent, or a teacher.

What will I look like if…?

There is a website that allows you to see what you will look like if you lose or gain weight.  It is quite simple: you upload your picture and move a knob on a  scale up and down depending on what you want to see.  What will you look like if you lose those last 5 pounds?  Voila!  And what about if that scale goes up after a few weeks without exercise?  Your new, heavier look is right in front of you. It is smart marketing for a diet and exercise website but bad for the self-esteem.

I am ashamed to say that not only did I try this tool but I also obsessed over it for a while.  When I moved the scale down 5 pounds I looked the same.  When I moved it down another five pounds I found the same body but with a slightly larger head.  Even at a 20 pound weight loss the only thing that seemed to change was my outrageously large head and randomly skinny elbows.  This was not exactly the beautiful, new image I was hoping for.

My next step was to see what every person fears.  I moved the scale higher so that I “gained” five pounds.  Bad idea.  I moved it again to ten pounds and I became physically ill at how heavy I looked.  I could not handle seeing myself that large and quickly moved the scale back to my real weight.  I fear few things in life but gaining weight is at the top of my list.

I began to wonder why I looked the same when I “lost” weight yet when I gained a mere 5 pounds I suddenly became overweight and a horrific sight to be seen.  Was this how I would really look or was the website defective?  After much consideration I realized that maybe it was neither.  Maybe my fear of gaining weight prevented me from seeing reality.

Objects in mirror may be….

Psychologists call my episode with this website many things, namely body dysmorphic disorder and according to the Mayo Clinic of Health [link] it is also referred to as “imagined ugliness.”  A person may not have a firm grasp of reality due to a false perception that is already established in the mind.  Basically, this disorder prevents people from seeing who they really are.

As dancers we face our reflection so much that you would think we know what we look like. We spend hours every day in front of a mirror in nothing more than skin tight clothing and a skirt if we are lucky. But I have found that the opposite is true. Most of us have a distorted idea of our image.

There are dancers striving to lose a “last 5 pounds,“  that does not exist.  There are perfectly healthy dancers obsessing over thighs that touch or a stomach that rolls when sitting. They do all they can to lose weight but, much like the scale, nothing happens.  Some dancers then label themselves as fat out of frustration and desperation.  The fact is that they do not need to lose weight and that is why nothing happens.  The body reaches a point where it fights to hang on to everything it needs to be healthy.  At this point the truly desperate turn to unhealthy measures that inevitably shorten their dancing careers and drastically reduce their quality and quantity of life.

How do we improve our body image and prevent or combat “imagined ugliness“?

Let us take a few steps back and deal with the real issue at hand.  There is a hesitancy among some dancers to accept and love their bodies because they are not perfect.  From an early age we are taught that perfection is the goal and anything short of perfection is unacceptable and needs to be worked on.  I want to tell dancers everywhere that although this might be true about technique it is certainly not true about our bodies.

The fact is that your body, your great and marvelous gift, is what got you to where you are today in your dancing career.  Give it a high five and a pat on its back.  It deserves to be praised.  And loved.  And accepted.  Celebrating your body will not hurt your career but it may in fact help it.

Say 5 Positive Things

Image by Jean-François Chénier via Flickr

A few months ago I began complimenting myself as a way to not dissolve into a puddle of tears as I lamented over my body during a particularly difficult rehearsal.  Any time I thought a negative thought about my body I forced myself to say five positive things.  I began this during tech week and it was much more difficult than I anticipated.  From costume fittings to criticisms from the directors I did my best to find five things I loved about my body any time I thought negatively about it.

This exercise was simultaneously humbling and helpful.  I began to appreciate things about my body that I never noticed before because I never took the time to look in the mirror in an honest way.  I realized that my attitude toward my body was already so negative that by the time I looked in a mirror I had prematurely made up my mind not to accept it.  I had essentially set myself up for failure.

Do I think my body is perfect because I have started to finally try to love it?  Absolutely not.  I clearly see my imperfections and everyday I work on my tight hips, not so hard belly, and slightly curved back.  But as I aim for perfection my body and I have an understanding that it will never be perfect and I have to accept that.  I also have to treat it well.  In return, my body has promised to take me to my fullest potential as a dancer and to help me reach my highest goals.

To those that care for dancers:

Not all dancers have negative body images but if you know any who do please help them.  Please show them that there is a difference between staying in shape and punishing themselves.  They need to know that there is a difference between being hard on themselves and beating themselves up. One is productive and shows dedication to the art form while the other is destructive and stems from self loathing.

To those who are struggling:

My plea to you is simple: love your body.  Do not let a negative body image take away from the joy that is dance.  You have gotten to where you are today not despite your body but because of it.  Treat it well and learn how to compliment it without hesitation.  I promise you that you will have a happier, better, and more fulfilling dancing career.

Tiffany Braniff is a dancer, teacher, and choreographer based in Sacramento, California.  She began her dance training at Pamela Hayes Classical Ballet Training in Sacramento.  She has also studied with Ruth Rosenberg, Loretta Livingstone, Tanya Lockyer, and Nolan T’Sani.  She received her B.A. in Dance with a composite emphasis in ballet and modern dance from Brigham Young University in 2007.  At BYU she studied under certified movement analysts the Laban and Bartenieff techniques.  She performed with both the ballet and modern dance companies at BYU and presented three of her choreographic works in concert.

Some highlights of her career have been working with the incredible Dr. Linda Goodrich, Nzinga Camera, and Tanya Lockyer.  This past summer she also had the wonderful opportunity to learn works by Anna Sokolov and Zvi Gotheiner under the direction of Repertory Dance Theater and Linda C. Smith.

She is currently in her fourth season as a company member of Dangerous Lorraines Dance Theater.  She is excited to perform at the San Francisco Fringe Festival with DLDT this coming Fall.  Tiffany is also on faculty at Northern California Dance Conservatory where she teaches ballet and contemporary dance.

I would love to hear your thoughts on body image and the quest for “perfection.”

What do you have to say about the line between pushing and punishing yourself or your body?

I challenge you to say 5 positive things about your body or yourself on a daily basis!

Dr Katharine Phillips, a psychiatrist based at Butler Hospital in Rhode Island, USA, estimates that as many as one in 50 people may have the disorder, most of them men and women in their 30s (from a BBC report in 2000).

Eating disorders affect up to 24 million people in America, anorexia is the 3rd most common chronic illness among adolescents, and many more individuals display disordered attitudes and behaviors toward eating. (Eating Disorders 101 Guide: A Summary of Issues, Statistics and Resources (doc), published September 2002, revised October 2003, www.renfrew.org).

© Guest Contributors for Dance Advantage, 2010. | Permalink | 8 comments | Category: Blog, Toolbox, Wellness

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©Bryant Gover

As America recognizes and celebrates it’s independence today it seemed appropriate to feature a photo decked out in red, white, and blue hues. I am thrilled to showcase these vibrant and energetic swing dancers captured so beautifully by Bryant Gover.

A note from the photographer, Bryant Gover: “Swing Dance was born out of American jazz in Harlem in the late 1920s through the 40s and is now being cultivated in more than fifty foreign countries. Capturing the peak moment in dance is a challenge for photographers. Being a dancer myself, I listen to the music and know when that split second will occur. That’s when I snap the shutter. I traveled for two and a half years photographing this phenomenon in order to share my enjoyment of swing dance with you.”

For more on Swing, check out:

• www.savoystyle.com
• www.sharonandjuan.com
• daxhock.com

For more on capturing movement and dance, check out Bryant’s article on Digital Photography School

If you are in the U.S. celebrating the 4th of July, have a happy and safe holiday!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 3 comments | Category: Blog, For Fun, In the Spotlight, Other Dance Forms, Toolbox

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Seven Reasons Why I’m Psyched

• We’re all in this together. I’ve spent summers at intensives and dance artist workshops, but there is something especially validating about sharing ideas, taking class, and continuing your education with other dance instructors.
• The line-up of dance artists, master teachers, and presenters. Every single one has contributed so much to the dance world and to dance training. Legends and long-time educators like Frank Hatchett, David Howard, Bill Evans, Finis Jhung, Zena Rommett, Denise Wall and my former professor at Slippery Rock University, Thom Cobb. Plus luminaries like Sean Curran, Mandy Moore, Travis Wall, Mike Minery, and Andy Blankenbuehler.
• I’ll be meeting up with some of my best online buddies. Suzanne Blake Gerety and her mom Kathy Blake of DanceStudioOwner.com are presenting again this year and will share their extensive knowledge about running and growing a successful dance studio. Plus, I’ll be seeing my friend, fellow SRU alumni, and blogger, Maria Hanley, and plenty of other Twitter pals.
• Uh, hello! New York City! I’m sad to say since moving to Texas and having a child, I just don’t get back there enough. The Summit will be held at The Hilton near Rockefeller Center and well, all the other great stuff in Midtown Manhattan. (P.S. The Hilton NY has VERY few rooms remaining at the discounted rate for attendees – book now!)
• The event keeps going and going… The hardest part for me will be choosing which of the seminars and master classes to attend. I know that I’ll have to make some coin-toss decisions. Making this just a little less painful will be the post-event Summit-To-Go online access.
• Parties, Performances, and Goody Bags. Need I say more?
• Last but not least, YOU! With something like 900 other attendees, I know at least a few of you will be there and I am thrilled that I will get to thank you in person for reading Dance Advantage! But even if you won’t be attending, I know I’ll be inspired with plenty of new ideas and thoughts that I can share with you and I’m excited that, in that way, you’ll receive a valuable portion of the experience as well.

Wanna Go?

It is not too late to reserve your spot for the Dance Teacher Summit. If you are the last-minute type, you still have time to register. There’s no deadline but it is better to reserve in advance so that everything is ready for you when you get there.

I’ll be sending out a message to Subscriber Plus members via email tomorrow with an exclusive Dance Advantage discount. There’s a quick sign-up form at the top right of the blog if you want to make sure you’re on the list.

If you register THREE teachers from your studio the fourth can come for free.

If you’ll be in New York but cannot attend the seminars and classes you can still walk the Exhibit Hall for free (and get a goody bag). Tickets to the Capezio A.C.E. Award competition, Fashion Forward and the Cocktail Party, and the closing night Gala are available for individual purchase.

There are 4 ways to register, including online. Go to DanceTeacherSummit.com to register now.

If you haven’t made summer plans

Let me encourage you, whether or not you attend the Dance Teacher Summit as I am, to seek out a workshop or conference this summer.

Here are my Top Ten Reasons Teachers Should Continue Their Education.

If you just can’t get to a conference this summer (believe me I’ve been there), here are fourteen other great ways to Activate Brain and Body During Summer Break

I’ll be doing a bit of “live blogging” during the event via Twitter and Facebook so if our geo-locations are crossing, please take a moment to say hello while you are at the Summit.

Don’t forget to let me know in the comments if you are going, too!

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, For Teachers/Studio Owners, News and Events, Summer Study/Workshops, The Dance World, Toolbox

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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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©Allanah C.

Foot Phrase is a section in the ballet A Pulse Stolen by Ted Seymour (see more in an interview and clips from A Pulse Stolen on YouTube), which had its world premiere on May 21, 2010. This section of the ballet is done in total darkness except for three sets of illuminated, moving feet. The two shown are the feet of Ashley J.( in sous-sus) and Brittany H. (in tendu derriere).

About the photographer: Allanah C. is a dance and college student currently living in Indianapolis, IN and spending the summer as an extra dancer for Gregory Hancock Dance Theatre. She started taking pictures of her friends at her home studio for fun and it has since developed into a hobby of sorts. Of capturing the shot, she says, “I love the challenge photographing dance presents because my subject is almost always in motion, even on my digital camera without a delay the picture can easily become blurred by the motion of the dancer or the lighting.”

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 2 comments | Category: Blog, For Inspiration, In the Spotlight

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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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The archive to the chat can be found at Chatroll (you do have to be have to register for free with Chatroll to view the archive online)

Here is the archive from today’s chat, available for download: Social Smarts Live Chat

Check back for more links and useful info.

The purpose of of Social Smarts Chat

Marc, Suzanne and Nichelle all enjoy using social media and believe it can be a great tool for dancers, dance studios, dance companies, and dance teachers to grow their businesses and their online presence. We are not social media “experts.” There won’t be any surprise invitations to join a mailing list or buy an e-book. We are consumers of social media and like most consumers, we have our own ideas and experiences regarding what is effective and not in social networking. Though these ideas will come through in our chat, our purpose is to share our methods for making informed choices when it comes to social media, marketing ideas, and forming relationships online. Much of what we’ll be talking about is just good business sense but we will also give you some online tools and know-how that will hopefully help you see beyond any internet mumbo-jumbo and serve you as you navigate online encounters with would-be business partners, consultants, or affiliations.

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 2 comments | Category: Blog, News and Events, The Dance World, The Internet, Toolbox

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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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I wanted to do something interesting for Father’s Day so I’m changing it up a bit just for today. Below are two videos of a father and son, both spectacular dancers. You don’t get images of that very often, I’m sad to say!

The pair are Dimitrij and Daniil Simkin. Daniil joined ABT as a solist in 2008. He’s been featured as Lankendem in Le Corsaire, the Son in Prodigal Son, Benvolio in Romeo and Juliet, and danced leading roles in Allegro Brillante and One of Three. He’s won numerous international awards, and I might mention he’s a premiere member of the ballet world’s Twitter etoile (you can follow him here). His father, Dimitrij danced with Novosibirsk State Theatre and later toured with the Bolshoi Ballet. He received first prize in both the National Ballet Competition and, in 1988, the Ballet Competition in Varna. In 1990 he moved to Germany where he performed as a Principal in the Deutsch Oper in Düsseldorf and later the Wiesbaden StaatTheater.

The following is a pretty adorable film created in 2001 when Daniil was just 13.

Simkin vs. Simkin

www.youtube.com/watch?v=bBxxLlV6ni4

This one is a 2006 performance in Prague.

My Way

Happy Father’s Day

to dancing dads and the dads that support dancers!

More dance dad moments:

• Team up for ballet
• Dance Dad Joy
• Dancing With Daughters

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | CLICK HERE to comment | Category: Blog, For Fun, In the Spotlight

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Image via Wikipedia

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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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 | 31 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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