Social Smarts LIVE Chat

Chat Archive:

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.

Surviving And Thriving As A Male Dancer

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

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.

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

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?

What To Look For in a Dance Studio

Opinions on the characteristics of a good dance studio or school abound. In previous posts I have outlined what I feel are important qualities to consider when assessing where you are currently or potentially studying dance.

Deal-Makers

These are qualities that I feel are of upmost importance and can or should be expected of a quality dance institution. These range from the structure of a class to elements of a studio’s core philosophy. Click here to read about these deal-makers.

Deal-Breakers

These are red flags that warn customers that the dance education at a school may not be of high quality. The size and location of a dance studio have nothing to do with the standard of education one receives. Sometimes even positive word-of-mouth cannot be relied upon as there are many reasons that one may choose to attend a school that is not creating an appropriate atmosphere for learning. For instance, there are schools that produce incredible dancers that have used tactics that negitively impact the well-being of their students – something I consider a red flag. Click here to read about other deal-breakers.

Middle Ground

Under certain circumstances, some studio practices that would otherwise be deal-breakers, are acceptable or at least satisfactory. If one has options, this list presents additional considerations to weigh when choosing a school. When options are limited, this list highlights some issues that be important to discuss with studio owners or administrators. Click here to see this list.

What are your goals?

An important aspect of finding a dance school is finding a dance school that is right for you. This can only be assessed by first determining your goals in dance. Because dance requires years of training to master, early discussion about these goals is useful. One’s ambitions can change over time. For instance, a recreational student may decide that they want a professional career and decide to intensify their training. To determine your goals it is necessary to know what kinds of careers or alternatives are available. Even if you are not planning a career in dance, this post aims to help inform and assist in finding a path that is right for you.

Guest Post: Body Image and Dance

Dancers of all disciplines struggle with body image. It is a reality that is sometimes exploited or aggrandized in the media yet ignored or aggravated by those that have a direct impact in the lives of dancers. Elena Ciccotelli is a new blogger but long-time dancer. In addition to her experience as a personal trainer and desire to encourage cross-training in dance, she has a passion for facilitating discussion about the role that body image plays in dance. She recently wrote Getting Past the Mirror: Body Image and Dance, and received numerous emails from young dancers, expressing gratitude for her willingness to approach this issue. In her guest post for today, she includes and addresses some of these responses, and speaks about her own experiences which have helped her to reduce negative self-talk.

Body Image and Dance: Part Deux

Since posting my last blog entry “Getting Past the Mirror: Body Image and Dance,” I have received numerous emails from young dancers who expressed an overwhelming gratefulness for the content of this entry. Here is one dancer’s response:

“Thank you, thank you, thank you for posting this blog!!!!!!!!!

I know many dancers who possess unimaginable strength but do not have the “ballerina body” -even though I think that they are some of the most beautiful girls that I know.  This is the one thing about ballet that angers me – all of the unfairness.  I know what it’s like to constantly think one’s body is inadequate – it is the worst feeling in the world.  Last year, I felt invisible like I blended into the wall, and I thought that losing weight would change that….

…Even though I lost all that weight, I still felt invisible, which goes to show that being emaciated will never get one anything in the long run, except a ton of health problems and a really hard time trying to get healthy again.  I wish so much that I can accept myself as I am – which is something (despite my inability to do so) that every ballerina needs to do.

Thanks for being so uplifting and inspiring…keep doing what you are doing.”

Another email that I received was also very poignant because it targeted some common fears that every dancer faces. Here is an excerpt from the email as well as the advice I suggested:

“…I think it is very important to feel good about your body and how you look. But lately, I have actually been feeling a little uncomfortable about how I look. I’m trying not to worry about it, but I still do sometimes.  I think it is because I am comparing myself to everyone else in my dance classes….I really want to feel good about how I look, but it’s hard.  And one of my friends is always saying that it is good for dancers to be small and she is glad she’s so small because it will make it easier for her to be a professional dancer someday.  I try not to believe her but she sometimes makes me feel bad about how I look.  Can you help me at all?  I want to feel comfortable when I dance and not worry about how I look.”

First, I just want to say, you are not alone! Please do not think that you are the only dancer who faces this! Body image, especially among dancers is probably the least talked about issue, but it affects us all in so many ways. For years, I have struggled with body image because I was constantly comparing myself to others and I always felt that my body was inadequate. Of course it doesn’t help when all you see publicized in the dance community is emaciated girls leaping through the air and a lack of advocates for a healthy body image. Sadly, this “body ideal” just perpetuates body dissatisfaction and low self-esteem from generation to generation. But, why do we allow this to continue? Perhaps it is because we are all naturally demanding of ourselves and just accept that this “body ideal” is just the nature of dance. Or, is it an unspoken rule that directors, instructors, casting agents, and choreographers enforce but are afraid to admit due to political incorrectness? All of these questions come to mind when you voiced your concern and that is why I thought it was appropriate to post a blog based on this issue.

In terms of dealing with body image, there are so many ways we can become derailed in our quest to be happy with our bodies. It is hard to pinpoint exactly what steps you need to take. However, I can tell you what has helped me a great deal. As I mentioned in my previous blog, seeking an alternative training method in addition to dance, like strength and cardiovascular training, has allowed me to discover another way to take control of my body. Believe it or not, I realized that I was less obsessed with “what I looked like” when I trained and I found this to be extremely liberating. Training helped me to take away the constant critique and judgment I placed upon myself whenever I took class. For me the goal of training was more about achieving overall well-being, which diverted the focus from an appearance oriented mindset to a healthier one. Plus, training simply made me feel good about myself because I was challenging the way I was used to working my body. In turn, this actually helped change the perceptions I had about myself.

A simple technique you can try is to pick at least one physical attribute that you think is special and unique. The next time you take class, think about this attribute and how it contributes to your individuality when you dance. Do not dwell on the negatives! We can all generate a laundry list of defects that we see in our bodies without much hesitation. This is counter-productive! I know it may sound redundant, but a little positive thinking can really go a long way.

One final thought, when it comes down to it, dance is really all about what you can bring to the table. Do not let body image stop you from becoming the best dancer YOU can be….no one else, just you. By developing your own personal sense of artistry, people will notice. Do not be discouraged and think positive!

Visit www.trainerdiva.com to read more on body image and cross training for dancers by Elena Ciccotelli

Approaching Your Teacher or Studio Owner

I recently received a question from a reader who is interested in approaching her studio owner with a proposal. She felt that she and her fellow students could use a designated time each week for conditioning their bodies in addition to regular dance classes. Her proposal was to volunteer her own time and lead this conditioning class and wanted advice on how to best address the matter with her teacher/studio owner. I won’t get into the details of her particular situation or address whether or not a student is qualified to instruct such a class. Without knowledge of the student or the specifics, I cannot properly judge. However, I thought it was worth exploring this topic for the blog. At some point as a student or in your career, you may need to propose your ideas, questions, concerns, and suggestions to an authority figure. When doing so, take the following approach.

Be Prepared

When offering ideas or suggestions to a teacher (or boss, coworker, etc.) it is important to anticipate and consider any questions that he/she may have about your proposal. There are several reasons for this:

1. It helps to solidify your proposal. Sometimes we can be so excited about or positive of the value of our own ideas that we are blinded to some of the obstacles or negatives involved. Trying to think ahead and be the devil’s advocate will help you to discern the true value of your proposal.
2. It will increase your confidence when making the proposal. When you’ve looked at an issue from all sides, you are more equipped to handle scrutiny regarding your idea. You’ll feel better about the proposal itself and about addressing your teacher.
3. It will earn more respect for you and your idea. This is because your preparation will show that you have put time and effort into your idea and that you aren’t just complaining about what isn’t being covered at your dance school.

Questions To Ask Yourself

Here are some questions that may be important to consider before approaching your studio owner with a new class proposal. They ask the essential – Who, What, When, Where, How, and Why – that anyone creating a proposal should be prepared to answer or address.

• When will the class be scheduled? (day, time, frequency)
• Who are the participants?
  • Is it for anyone above a certain age?
  • Only for ballet students or competition/company students?
  • Is it mandatory for certain students?
  • Open to recreational students or those with non-dance fitness goals?
• How will the class be advertised or “sold” to students and parents (particularly if it is going to cost extra money)?
• How much time are you willing to spend to see this put in place (especially if you are doing it for no pay)?
• What do you think would be a reasonable cost for this class, and if you suggest offering it for free- is it free for anyone, or just students that already take so many classes per week?
• What kinds of exercises will participants be doing and how are they beneficial? (If you are hoping to lead the class, you should definitely have a plan or syllabus of goals and exercises).
• Why does the studio or its dancers need an entire class devoted to conditioning?

Often when one makes a suggestion, they think that the suggestion is enough and that it is up to the person in authority to figure out the details. However, I’ve found that it always helps to have thought through these details if you plan on offering your suggestions. Again, it looks a lot less like complaining when you can back up your ideas and also, as I said in my article on professionalism, it is a sign of leadership.

The Approach

Put yourself in the shoes of your instructor. Would you rather hear about what is lacking at your school, or listen to a student that wants to give back and has thoroughly thought about ways in which he/she can do so. The former only gives the impression that you think your teacher is not doing a proper job in training, the latter is encouraging. Your instructor will feel that he/she has helped produce a thoughtful and dedicated student. Keep this in mind as you speak with your teacher – how would you like to be addressed?

Timing can be everything. Don’t approach your studio owner during hectic times of the year. Schedule a time to sit down and talk with him/her so that your proposal will get the full attention it deserves. Don’t wait until right before the new season or school year begins to propose something that needs planning and coordination of efforts. Your instructor will appreciate these small but important considerations.

Present yourself in a professional manner. Speak with clarity and confidence. Show that you have done your homework and even dress the part. While you don’t necessarily have to wear your best “interview” attire, your appearance during the meeting with your teacher can make an impact.

The Outcome

Be prepared for any outcome and be respectful even if things don’t go your way or the way in which you expected.

1. Your teacher may love the idea and give you the green light. She’ll want to know that she can rely on you if she allows you to go ahead without much of her own input.
2. Your teacher may really like the idea, but she may not have the time to put the extra effort behind it.
3. Your teacher may have her own ideas to contribute or want to fine tune your suggestions. Be flexible in your vision and you’re more likely to see it happen.
4. She may like the idea but feels she or someone else may be better equipped to lead the class. Decide if you are willing to see this done even if you are not the one teaching and/or be prepared to state why you are qualified to teach this class.
5. She simply may not like the idea and, since it is her school, that is her prerogative. You should be prepared for that response also.

What are some additional things this student could consider?

Have you ever been in a similar situation? What was the outcome?

How are my thoughts applicable to situations outside the dance studio?

How to Conduct Oneself as a Professional – Part II

This is a continuation of Part I of How to Conduct Yourself as a Professional which dealt with leadership, positive attitude, and work ethic.

Generosity

When I think of someone that displays ultimate professionalism, I see a person who is generous with their gifts, generous with their time, and generous in spirit.  This person is easy to collaborate with because he/she communicates with kindness.  This professional wants everyone around them to be their best and helps them to do so by being supportive and encouraging.  When a colleague is struggling, this person does not belittle or put her down.  He/she is aware enough to look for moments in which they can offer help that will not be embarrassing to the individual or interrupt the rest of the group.  And, help does not always mean showing or telling another how to do something.  Often an encouraging smile or a word or two that will lighten the person’s mood and frustration level is most helpful.  Also, being generous does not mean that you must lie to make another person feel good.  A professional still tells it like it is but avoids hurting other people in the process.  A generous and professional performer, collaborator, or contributor brings out the best in others because instead of focusing on I and me, a generous person concentrates on we and us.

Awareness of one’s surroundings and the other people in them is important but a professional must also be Read more

How to Conduct Oneself as a Professional – Part I

What does it mean to conduct oneself as a professional?

Someone that is consummate professional in their career and in their life is essentially a strong leader.  Years ago I was the drum major for my high school band (Yes, I know my geek quotient just went up but I wear it proudly).  In preparation for that role I was sent to a week-long camp to essentially learn how to be a drum major.  While there, I learned many valuable lessons during leadership training.  In fact, I kept the Leadership Seminar packet and will now offer its list of Quality Leadership Traits:

• A sense of humor
• A passionate interest in more than one thing
• High energy levels
• Tolerance of changing moods
• Knows how to listen
• Creative Read more

Dance of Independence

As children prepare for preschool and begin to participate in more structured activities, dance class may be the first time some are separated from their parents.  Parents of these young children may be unfamiliar with the procedures of a dance class or operations within a particular studio.  These parents, whether they have had experience with dance in their youth, as an adult, or not at all, will each have their own expectations for their child, the class, and the teacher.

Jumping In

For a child new to dance, his/her initial days and weeks can be quite daunting.  This is particularly true for a very young student who has yet to even attend formal schooling.  The new environment and unfamiliar faces can be frightening at first.  While some children jump right in with both feet, many children take a more cautious approach, using the first few classes to watch or participate minimally. It is important to reassure this student and his/her parents that taking time to warm-up in a new situation is quite normal.  In fact, children may take several weeks to feel comfortable in a class.  Much can still be absorbed and learned through this observation, therefore, pushing or forcing the child is not necessary.  Gentle encouragement may help shy or frightened children adjust but most will participate when they are ready because often, no matter how intimidated, few kids will endure missing out on the fun for very long. Read more

A Dancer’s Guide: How to Decide on a College

Recently, I was contacted by a dance parent whose child was considering majoring in dance at a university. This family was taking a very important step in selecting a college – visiting campuses! Any resource for prospective college students will stress visiting a university before you invest your time and money. Here is a good list of things to consider when choosing a school. Below, I’ve included some things you may want to think about as you consider a major in dance at a college or university.

The decision of where to attend college should be influenced by what you’d like to do for a career. Do you want to be a performer in a modern dance company? On broadway? Do you want to teach? If your goal is to perform with a professional company and make a living at it, the more rigorous the technique requirements at your school, the better. If your goal is theatrical in nature, a program with a strong theatre/musical theatre program will be an asset (combined programs will require a smattering of theatre/production classes that will benefit you on this career path). If you want to be a teacher or own your own studio, look for schools that offer more than one teaching course in the curriculum, or better still, look for one with a teaching/pedagogy track, and look into ways you can perhaps incorporate business classes into your coursework. If you’re unsure which school can get you where you are going, I would suggest trying to find out where alumni from the programs have ended up – get actual names if possible and see what they’re doing. It is a good indicator of where the program will lead you. If you’re unsure about what you really want to do, don’t stress. As you pursue your college education this may change anyway. Look for a school that you feel sure will provide you with a solid education and in which you feel comfortable but challenged. Should you decide that your goals have changed and warrant leaving your school, know that transferring is an option. I myself was a transfer student, and succeeded in graduating “on time” regardless.

The audition process can tell you a lot about what a particular school is looking for in prospective students and what you can expect from the program. Most dance departments require an audition of some sort. Sometimes the audition can be sent via video/dvd, however, most programs will want to see you in person. An audition may determine your entrance into the dance program or it may be a placement audition which helps faculty decide in which technique levels you will begin your study (provided, you meet requirements for general acceptance to the university). Either way, an audition will typically consist of an interview with faculty and participation in a dance class (usually both modern dance and ballet). Some schools will ask to see a performance of choreography either of your own making or set on you by another, but this is more rare. Dance departments who require an audition into their department are usually looking for skillful dancers who will benefit from polishing and perfecting their technique for a professional career in performance or choreography (often these schools offer a B.F.A degree versus a B.A but this is not a hard and fast rule). Those that require a placement audition or no audition at all expect to have varying levels of ability and experience within their classes and provide a less-specialized education for those seeking employment in a more diverse range of dance-related careers.

Other considerations should be the school’s location, facilities, and campus life, and how you feel you will fare within these. If you are a small-town kid, the transition to a large, inner-city school can be quite a culture shock, and visa versa. (This can be a positive or negative.) When visiting campuses, make sure that you are able to see the dance facilities (maybe even see some classes in progress or talk with faculty) and get a feel for the campus in general. Talk to other dance students if you can and trust your instincts. While auditioning for college programs, I experienced both ends of the spectrum. I suffered through an audition before faculty and students who received me with an aloof manner and seemed to eye me with cool distance before auditioning at a school in which I was immediately greeted by a dancer within the department and treated with warmth by faculty members. Can you guess which school I attended? Both are excellent schools but School A was not for me. Some thrive in a competitive environment, I needed to be where I felt welcome and supported in order to succeed.

If you are concerned about grades, as was the parent who contacted me, it is important to know that (assuming you’ve got another year or so to go) you have time to improve. Grades are usually not all a college looks at for entrance, however, poor grades often result in required remedial classes (taken over the summer) – not fun! Right now, you may think that academic work is not as important (or interesting) as the work you do in dance class. However, keep in mind that in the professional world, good dancers are intelligent people that could do anything they want but choose dance. Intelligent dancers are curious and want to learn and grow even in areas outside of dance. High school grades don’t always reflect the potential that lies within many students but it won’t hurt to, right now, begin to practice the kind of dedication, perseverance, and self-discipline that a major (and career) in dance will require of you, and work to bring up those grades!

Making the Transition

Dance in college is different from what most young dancers training in studios have experienced thus far. It requires the dancer to think about dance more academically, begin to see themselves as a dance artist, and explore the art of making/watching concert dance. Young dancers that come from competitive dance (which pursues dance from an athletic or sports-like perspective) sometimes have trouble adjusting to this, but those that make the adjustment can find a rich experience in this new focus on dance and it can reinforce a love of dance that will truly last into adulthood (even if the student doesn’t plan to perform professionally). My advice to young dancers entering a college dance department, is no matter where you decide to study, to keep an open mind and be willing to let go of some of what you have previously been taught and allow in some new ideas about what dance is. If you do this, you may fall in love with dance all over again in college.

A Dancer’s Guide: Tips for College (Part III)

This is the third installment in my Tips for College series. Please see Part I and Part II for more of my thoughts and advice on the college experience. This post will focus on academic classes both within and outside of a dance major, as well as general advice about life on campus.

Theory and Liberal Arts Classes

In addition to classes in which you further your education as a performer of dance (technique classes), as a dance major or minor, you will be required to expand your academic understanding of dance. This is done through theory classes like Dance History, Anatomy or Kinesiology, Music Theory for Dancers, Composition or Choreography, Teaching or Dance Pedagogy, etc. Some of these classes will provide hands-on learning similar to that of your technique classes and some may follow more traditional methods of study (i.e. attending lectures and studying texts). This area is where many promising students struggle, particularly if academics was not their strong suit in high school. I have found that dance faculty often have a more engaging approach than many professors within other realms or specialties, offering more opportunities to explore and discuss topics rather than just talking about them. However, in some subjects, a certain amount of memorization, reading, and writing is inevitable.

Classes outside of your major in a traditional liberal arts setting provide an opportunity for expanding your interests and knowledge as well. Some courses will be required because someone has decided that no college student should enter life without a basic understanding of say, algebraic equations or a second language. In other areas you may have quite a bit of choice as to what type of course you’d like to take to fulfill a particular requirement, so choose classes that truly interest you whenever possible. At some point in your college career, you may be one of the many nameless faces trying to stay awake in a lecture class auditorium or, if you are fortunate, you may be part of a lively discussion in a class of five. No matter what course you are taking and regardless of whether the class is in your major or not, here are some tips to keep in mind.

Tip #7: Develop a study and note-taking method that works for you. In a college setting there can be many additional distractions that you did not have at home so, even if you had a system in high school, you may find it needs some refinement. It is important to know yourself and be willing to experiment if what you’re doing isn’t working. If you know you need quiet in order to process information, for example, the library may be a better location for study than your dorm room. If discussion helps solidify concepts for you, join or create a study group. If highlighters, flashcards, or speaking out loud to yourself works – do what you need to, not what your friend does. Because in the end, while college is and should be a social experience, the “all play and no work” trap that many students fall into is a waste of money and a wasted opportunity to better oneself.

Tip #8: Be present in your classes. Join in when there is discussion, turn off your cell phone, sit up, and listen. You’ll be amazed at how much more you will absorb, lessening the amount of time you need to study or cram. There will be lots of other students sleeping, arriving late, skipping classes, complaining about the teacher’s thick accent while spending most of the class chatting with a friend in the back of the room, and in general making excuses for their poor performance. If you need help, ask for it from teachers or other students before you get really behind. If you hold yourself accountable for your education, you will have no need for excuses.

Tip #9: Embrace learning. You are fortunate to have the means and opportunity to be surrounded by knowledge, to have those who are specialists in their field around every corner, to be provided with resources and experiences that will serve you for years to come. This is a chance that comes pretty much just once during a typical lifetime. Don’t squander an opportunity of which so many around the world can only dream.

Tip #10: Take care of your instrument. It’s easy to stay up late for a variety of reasons and your body will adjust to less and less amounts of sleep. However, you will not be at your best without a decent amount of recuperation, particularly in very physical endeavors such as dance. Be kind to yourself and sleep. If you can sneak in naps, do it – just try not to oversleep and miss your next class! In addition, eat well and nutritiously. And, although it’s not my place to tell you to stay away from drugs, alcohol, or smoking, I do want to encourage you to be careful not to find yourself regularly abusing these substances. It will take a toll on your physical and mental performance so make wise choices in how you spend your “recreational” time at college so that you can be at your best.

I hope these tips have been helpful and will make your life as a dancer in a college setting a little easier.

Trying to decide on a college or determine if pursuing dance at a university is right for you? Check out this article.

A Dancer’s Guide: Tips for College (Part II)

Tips for College Part I dealt with what to expect in technique classes and performance rehearsals, as well as some tips for success in these areas. In continuation of the series, I will highlight two aspects of dance in higher education with which many incoming students have little experience.

Improvisation

Improvisation may be an entirely new concept for some of you (if we’re not counting the off-the-cuff choreography you’ve performed in front of your bedroom mirror). I count myself very lucky to have had early experience in creative dance and improvisation at my hometown studio. At the time, I did not realize it was a rarity. However, it was not long into my first year as a dance major that a professor introduced the concept of improvisational movement and began leading the class in some beginning exercises. I could feel tension among the students. Some were nervous to appear so vulnerable in front of their peers and instructor and others had no idea how to start or what to do. A few that had before been asked to move as they’d like in a dance studio class had perhaps had no guidance and had always used the moments to re-hash their favorite moves or try something they’d seen the older kids do. It seemed likely that this was not what the professor was looking for. Fear suddenly paralyzed some of the most talented dancers in the class. If you are an experienced improviser, your background will serve you well in the college environment. If you are in the other group, don’t panic! Improvisation, just like technique, takes practice to move comfortably and confidently. And you will get plenty of practice now that you are entering this new phase in your study of dance. So…

• Tip #5: Don’t be afraid to just take a deep breath and go for it. You may feel like a fool, but the only people that looked foolish that day in my class were those that were too afraid or insecure to make the most of the opportunity. They giggled, marked their movement, or froze altogether rather than bravely being willing to appear awkward or even unsophisticated.

Modern Dance, Contemporary Concepts

Modern dance may be new to many of you as well. It is a very important part of many dance programs because it was within academic establishments that Modern techniques were developed and the art form found its foothold in America. Despite its prominence at universities, few dance studios offer Modern Dance techniques in their curriculum. Some of you may compete in (or witness) Modern at competitions. However, often only some of those that compete in this category are studying modern dance techniques and usually even less are utilizing the choreographic processes typical of Modern Dance. If you are one of the few, kudos to your dance school.

The art form of Modern Dance (and Contemporary dance forms in general) is more than just performing the techniques and steps with which it is associated. That is the “how” but Modern Dance also asks “why.” Without the process or investigation of this question, a dancer or choreographer is offering their interpretation of Modern Dance. In other words, a dance may look expressive or emotive, contain un-balletic poses or rolling on the floor, and be accompanied by unconventional music choices, but can lack the artistic intent of contemporary dance forms that you will be asked to explore in college and beyond. I believe I’m safe to assume that many of you will find what is expected of you in your study of Modern Dance (and perhaps other dance forms as well) in a university setting to be very different from your studio at home. There will be more emphasis on dancing with an understanding of how the body functions and how something feels (as opposed to how it looks), on working apart from or even against the music as you dance, on presenting abstract meaning or intent through movement, and on discovering ways of moving that are new or even unflattering. With all of that in mind…

• Tip #6: Embrace the task at hand. Focus simply on the task your teacher, who is guiding you in your exploration, has charged. When you are uncertain or just learning, solving one problem at a time will keep you from getting wrapped up in trying to make something spectacular instead of discovering something spectacular. A direction as simple as “dance with one elbow attached to the ground” or “let your breath guide each movement” may seem silly at first and you may be tempted to think that you don’t need this exercise to be a good dancer. But, don’t think, just try it, because these silly little exercises will help you grow from someone who makes dance into someone who can express themselves through dance.

Filling in the Gaps

There may be a point during your college career that someone may imply that there have been gaps in your dance education and you are faced with breaking old habits or learning something in a different way. If or when this occurs, I encourage you to resist becoming indignant. Refer back to Part I and learn to trust your new instructors, letting go of any assumptions that you “already know how to do” whatever they are asking you to do. As a college instructor, it was often frustrating for me to see talented students holding on so tightly to what their teachers “back home” had told them that their progress in my class stalled. In fact, the students who improved most rapidly in my beginning level classes were those who had little to no dance experience because they held no preconceived notions and could absorb all that I offered them. I encountered students with 14 years or so of studio experience which had yielded many bad habits from repetition of poor technique. Unfortunately in some cases, these “experienced” students seemed unsatisfied with re-examining the basics after having been considered “advanced” dancers at home. It would have benefited these students to remember that even professionals consistently work to better understand and perform the basics of their technique.

I hope that my wording in this post has not made anyone feel that their instruction up to this point has not been worthwhile. While it is wonderful when dance schools for young students take steps to provide an understanding of the more creative or artistic side of dance (and as you may know, I highly encourage this), I realize that teaching students to execute dance is the primary function of a studio. You should not feel shortchanged if your school has provided you with a solid technical foundation and performance experience. You have plenty of time to dig deeper in your understanding of movement and to mature as an artist.

Read on to Part III…

Bullying in Dance Class

What does a bully look like?

We tend to picture a bully as a big, tough, boy that picks on those smaller or younger than himself. However, there has been a lot of discussion lately within educational circles about bullying and we are slowly learning that bullies come in many forms. Although dance can foster understanding and a sense of community among young people, dance classes are not immune to episodes of bullying.

Boys in dance often receive taunting, teasing and physical harassment from sources outside their dance school. Sometimes the effects of this bullying can have serious consequences as they did for one young man in Derby, England. It is not as widely recognized, however, that male students can sometimes be bullied by females in their dance classes. After all, boys are typically outnumbered and often a subject of fascination for the females in a typical studio environment. In fact, girls are every bit as capable of bullying as boys, however their style or methods of tormenting usually differ.

Girls tend to practice what is called relational aggression. They manipulate, taunt, and tease on an emotional level that often flies under the radar of teachers. Here are some sources that will help you spot and understand relational aggression in action:

• Girls Bullying Girls
• Girl Bullies
• Relational Aggression (defines some of the “types” like Queen Bee, Bystander, etc. and offers additional links)
• The Ophelia Project

A Teacher’s Role

In all cases of intimidation, there are usually adults that excuse bullying with, “boys will be boys” or “girls will be girls,” feel that bullying is just something everyone must deal with at some point in life, or consider the behavior as part of a phase that will pass. Even though certain age groups are more prone to experience or exhibit bullying behavior, students deserve to learn in an environment that is safe from abuse. Dance classes for pre-teens and teens are a social, as well as an educational environment where cliques and competition can flourish. In addition, students often bring their school-lives into the dance studio despite being urged to “leave it at the door.” Dance teachers can help to combat problems by learning to recognize episodes of bullying and adopting a no-tolerance policy on destructive behavior in their class even before it becomes a problem.

Why stop bullying?

It’s been my experience that students thrive when they are free to create, succeed, and fail in a class without the stress of facing snickers, rude comments, or pressure to join in on bad behavior from other classmates.

Need more reasons?

The Stop Bullying Now! website has a concise list (please visit their website for details and more information on bullying).

1. Many children are involved in bullying and most are extremely concerned about it.
2. Bullying can seriously affect the mental health, academic work, and physical health of children who are targeted.
3. Children who bully are more likely than other children to be engaged in other antisocial, violent, or troubling behavior.
4. Bullying can negatively affect children who observe bullying going on around them–even if they aren’t targeted themselves.
5. Bullying is a form of victimization or abuse, and it is wrong. Children should be able to attend school or take part in community activities without fear of being harassed, assaulted, belittled, or excluded.

If your pre-teens or teens are already engaging in bullying behaviors,

What can you do in your dance classes right now?

Take some time out of an upcoming class to sit down with the students and create rules about bullying. Having a heart-to-heart right after an episode occurs may embarrass the bullied student (which is not the point) of the exercise. However, now is better than never. Essentially, as soon as you feel prepared to address the subject calmly and objectively, go for it!

Start out with a discussion about what constitutes bullying.

1. Ask the students to come up with a list of actions that they would consider to be bullying (whispering and giggling, rolling eyes, etc.).
2. Next, have them create a set of rules to follow in class that will stop bullying.
3. And finally, come up with appropriate consequences for breaking the rules. Make sure the rules are clear and concise so that the bully can’t talk their way out of punishment. For example, No Whispering. That means no whispering… period. Doesn’t matter what the whispering was about because they will try to convince you that it wasn’t malicious. Stick to the rule and the consequence every time.

I’ve also found it helpful to create, in general, a supportive environment in class.

1. Encourage students to clap for other groups after they’ve crossed the floor or performed in front of the rest of the class.
2. Offer comments like “good try,” “don’t give up,” or “you nailed the timing, Susie!” in addition to corrections is helpful, and don’t forget to praise students who exhibit supportive and positive behavior.
3. Demonstrate constructive criticism, teaching students to look for positives and “needs improvement” in others’ work, then make it a point to provide opportunities for students to practice constructive criticism (Teach students how to properly offer constructive criticism. Be careful! If there is already a lot of negative behavior running through the class, do not allow bullies to use this exercise as another opportunity to intimidate or belittle. If this is a problem, consider holding off on allowing students to practice criticism until behavior and attitudes have improved overall.)

What to do if bullying continues.

Pull aside the offender after class. Provide specific examples of his/her bullying and/or breaking the rules, make it clear this is not acceptable, and let him/her know that this is a warning that will be followed with specific consequences if the behavior does not stop. It may also help to pull the bullied student aside and let him/her know of your plans to end the bullying so that he/she feels some reassurance that you are aware of the problem and are taking action to prevent it.

There are lots of ways for parents and teachers to deal with and prevent bullying. The links I’ve included above offer suggestions, as well as support for victims and even more links on the subject of relational aggression.

Have you been bullied in a dance class? If you are a teacher, how have you prevented bullying behavior in your class/school?

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