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

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

And HOW to stick it out…

Perseverance

Roger Lee; Photo by: Liora Kuttler © 2010

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

Winning Support

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

Ibn Snell

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

Faith, Hard Work, and Respect

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

I’mPossible Dreams

Nik Stasulli; Photo by: Liora Kuttler © 2009

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

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

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

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

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

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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.

Photo by Marjie

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | One comment - ADD YOURS! | Category: Blog, Featured, For Everyone Else, For Parents, For Parents of Competitors, For Parents of Teens, For Parents of Young Children, For Students, Technique, Toolbox, Wellness

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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

© Guest Contributors for Dance Advantage, 2008. | Permalink | 2 comments | Category: Blog, For Students, Toolbox

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Image by thinq4yourself

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?

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | CLICK HERE to comment | Category: Blog, For Students, For Studio Owners, For Teachers/Studio Owners

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Generosity

Photo by BombaRosa

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 self-aware.  Generosity can be extended to oneself by understanding one’s 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 to ask others to do their best but never expect of someone else what you can’t expect of yourself.  After all, you can’t lead others until you lead yourself.  Offer encouragement and lead them through example to fulfillment of their full potential.  I was once told that you are only worth what you give away.  And you can only give away what you have.  So, improve what you have to give by taking responsibility for what you know and then give it away.

When you’ve 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.  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, would you ever trust him/her?  It does not matter if the complaints and rumors are true, I guarantee that even those that go along or participate in this slander don’t trust your coworker farther than they can be thrown.  A person who goes about tearing down others is only opening themselves up to the same kind of scrutiny and backstabbing and is not someone that anyone would want to work with.  Who needs the drama and negativity that this person dishes out?  No matter what has been done to her, a professional will always be the better person. He/she will take action through appropriate channels instead of dealing out their own form of justice.

When you’re the one who has wronged

As I said before, no one is perfect. Even professionals have a bad day in which they do, say, or act in a way that is not only unprofessional but unbecoming.  I am no different.  Once in rehearsal for a musical for which I was not only the choreographer but a leading character, I very publicly blew my top at a director.  It was tech rehearsal, the cast and crew were tired from both building sets plus all the long hours of rehearsal, and we were running well-rehearsed scenes instead of jumping cue to cue (as is usually done during a technical rehearsal before the open of a show).  Essentially my professionalism went out the window for a moment as I attempted to express the collective frustration that was reaching boiling level within the room.  It was an outburst I immediately regretted, although it got results.  As a professional, however, 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 and I would have lost the respect he held for me because resentment would have had time to set in.  Being mature enough to recognize when you are out of line, say you’re sorry, and take responsibility for yourself is an important and necessary trait in someone that wants to continue to be viewed as a professional even when mistakes are made.

Final Thoughts

It is not always easy to conduct oneself as a professional but it leads to more positive and fulfilling experiences overall.  A negative person creates a negative world around themselves. 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.  Instead, they motivate others to join them in their outlook.

Also, age is not a factor in professionalism.  I’ve 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.

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 helps me to deal with him/her in a more compassionate manner.  Again, this doesn’t mean I won’t give it to them straight, but it does allow me to avoid behaving badly in reaction.

The ultimate question to ask yourself if you are uncertain if you’ve conducted yourself professionally is…

Would YOU want to work with YOU?

If not, take responsibility for your actions and work to be your best in all areas.  I guarantee the attitudes of the people around you will improve because their perception of you will have changed.  You will be regarded as the professional you want to be.

What are other qualities that define a consumate professional?

What are some examples of professionalism or unprofessionalism that you have witnessed?

Would you work with someone who had behaved unprofessionally again? – TAKE THE POLL!!

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 5 comments | Category: Blog, Toolbox

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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
• Realizes that touch is important in communication
• Enthusiastic
• Exudes self-confidence
• Appreciates successes and sympathetic to failures
• A keen sense of justice and injustice
• Sensitive to the needs of others
• Takes risks
• An air of mystery
• Optimistic
• Does not belittle or make fun of others
• Offers love and gives of themselves unselfishly
• Has a presence around which others find they like themselves more

The list may not be totally complete, but I think it offers some interesting tidbits.  There are a few things that I would like to add.  Some are directly related to the above and others are not, but they are all essential to succeeding in dance.

Positive Attitude

Photo by Carl Johnson

Someone that has a positive attitude does not complain (click the link for one instance of how complaining can affect others).  To complain, by definition, is to express dissatisfaction, pain, uneasiness, censure, resentment, or grief, both informally and formally.  When I say that someone who is a professional does not complain, I mean in the informal sense.  Professionals seek to be constructive not destructive and complaining (or whining, whinging, grumbling, if you will) is not constructive, particularly if it is out loud to anyone that has ears.

Everyone has moments when they complain.  It is human nature to want to get things off one’s chest in that way.  “One time at band camp…”  Yes, another band geek story.  Band camp was always in early August which, even in Pennsylvania where I grew up, is HOT.  We were never allowed to utter the words “It’s hot” (or any variation of this) without consequences.  Sounds like a stupid rule, so why?  Because everyone already knew it was hot!  Voicing it only reminded everyone in earshot how miserable they were feeling, too. Don’t think so?  When your dance teacher says something like “Feet!” what happens?  Everyone immediately thinks about what they might be doing wrong with their feet.  In the same way, when it is 90-plus degrees (Fahrenheit) outside, it is almost impossible not to zero-in on how hot you are when someone else says they’re hot.  The collective energy spent focusing on the complaint is just better spent on the task(s) at hand.

A positive attitude is also exhibited through optimism, generosity, kindness, enthusiasm, and humor (even in humorless situations).  Someone that is positive does not display negative feelings toward themselves or toward others.  Even when someone is simply not doing his best, and even if it is negatively impacting you or others, it is still not appropriate for a professional to publicly point this out to others.  It’s not nice!  No one can truly walk in another person’s shoes, therefore it is always best to remember the golden rule.  Do unto others as you would have them do unto you. Suppose you’ve had a rough day, you are choreographing something that is just not working and you don’t know how to fix it.  All of your dancers are standing before you and probably each one of them has their own ideas about what you should do.  You are beginning to feel you are wasting their time.  Then, a frustrated dancer in the back grumbles under her breath.  Soon her dissatisfaction spreads like a virus and you know the rest of the rehearsal will be a waste unless you come up with something quick.  No pressure!  Maybe the dancers in this situation have a right to feel annoyed at their director, but negativity is infectious and rots every situation.  Knowing this, professionals resist the urge to be negative, grumble, and complain.  They don’t sweat the small stuff either.  Instead, if a problem has become serious or too often repeated, if someone is being hurt or an injustice is being done, they find an appropriate time to meet with those who have the power to improve the situation.  And true leaders use their energy to solve problems, not just identify them.  Therefore, it is a true leader that will, rather than just offer a formal complaint, approach someone with possible solutions to the issue at hand.

Work Ethic

A professional has a strong work ethic.  They anticipate the needs of others or what needs to be done and they do it.  They do it even before someone asks or they ask permission before going forward.  Anticipating a need sometimes means that you must humble yourself and do what is best for the group or someone else over what is best for you as an individual.  When something is asked of her, a professional does not question out loud.  Again, finding an appropriate time for questions is important.  Unless you truly do not understand the directions given or you are instructed to do something which is against your core beliefs, adhere to the request and later find a private moment to question if necessary.

Professionals are also prompt, or on time.  There is a saying that states, “To be early is to be on time, to be on time is to be late.”  In other words, starting “on time” means that you and others are ready to go the very moment the class, rehearsal, or meeting is supposed to start.  Being early ensures this.  Arriving at the start time will put you and everyone else behind because inevitably there is something that needs to be done just before beginning and it is unprofessional to waste another person’s time if it can be avoided.  Dancers in particular require a warm-up before moving.  Every body is different and sometimes the warm-up in class does not meet the needs of all.  Professionals get there well ahead of time to do what they know they need to.

Professionals don’t make excuses.  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 apply the suggestion or do better next time, and then moves on.  They do not blame unfortunate circumstances or other people for their mistakes.  I am reminded of a segment I saw in, I believe it was, last season’s So You Think You Can Dance during early eliminations.  A dancer, who had appeared before the judges in a prior season, completed her presentation and the judges complimented her improvement.  When they moved on to some areas that could still use work she began making excuses.  In my head I was thinking “Shut up, shut up!” but her mouth continued to get her in trouble as the judges became annoyed and wanted nothing more to do with her after that.  This is probably not someone who could have made it all the way but she may have at least made it another round.  And just think how much more she could accomplish if she could just learn to stop making excuses for herself!

As I write, I find there is more to say on this topic.  Stay tuned for Part II and consider the importance of a generous spirit in professionalism.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 5 comments | Category: Blog, Toolbox

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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.

“Don’t Go!!”

Young children, when feeling insecure may insist (through body language, tears, or words) that they feel safer with a parent in the room.  It can be hard for parents to resist prolonging or avoiding their departure to comfort their child or avoid tantrums.  Often, the goodbye is the hardest part for both parent and child, however, many children who cry and become distressed when a parent leaves quickly recover once the class has begun.  For ideas on ways to make goodbyes easier, check out this article.  I have often found that children in dance classes have a tough time concentrating and fully engaging in class when parents are present. Children sometimes become shy in the presence of unfamiliar faces and it is a rare child that can resist either running back and forth between class and their own parent, showing-off, or acting-up before an attentive audience.  As a teacher who is also a mother, I feel strongly that parents have a right to observe classes**.  However, scheduling certain times throughout the year for this purpose allows all concerned to prepare the children for this special event so that they can be attentive and productive in class while their parents quietly view from the sidelines.  The first few weeks of class are not the time to do this.  This time must be spent establishing the routine students will follow during their session and the teacher’s authority and expectations in regard to the dancers.  Parents wanting to see a teacher in action should take or be given the opportunity prior to the start of the class/season whenever possible.

Parent Involvement

Teachers can also encourage parents to come early before their child’s first day of class (or at some other designated time) to look quietly around the studio and say hello to their teacher.  This helps the child to become familiar with their class environment and is just one of the ways parents can be enlisted to help smooth their child’s transition into a new class.  Another way parents can assist their child is to ask their student to become the teacher at home, instructing parents and even siblings on what they learn in class each day.  Parents can also make a ritual of providing hugs and kisses before and after class, offer to have a special toy or stuffed animal be a stand-in until class is over, or put together a special dancer’s outfit or accessory that will make the child feel stronger or perform better in class.  Children can even have a say in the matter.  Ask them what might help them to feel more secure even though Mommy or Daddy cannot be with them for this short time.  Facilitating parent involvement is beneficial to the students and teachers and reassures parents that their role is an important one.

Dance of Independence

As important as parents are to the development and learning of their children, as they grow kids also benefit from time apart from their parents. They gain confidence in their ability to make choices, learn new things, form ideas all on their own, and then proudly share them. As they witness these developments parents will learn to value and enjoy their child’s dance of independence, watching as he/she learns to appreciate dancing with and without them.  Remember, that in leaving their child with a dance teacher, parents are putting a great deal of trust and faith in the school and in the instruction being offered.  Making clear what is expected of parents and children, addressing any concerns with understanding and care, and demonstrating that the child’s needs are top priority among the professionals at the dance school will help maintain this trust.  On this last point (a child’s needs) the parent and school may not always see eye to eye, however, school administrators must be willing to stand firm in the principles that guide their decisions, even if it means that some pupils/parents will decide that their principles are not aligned and leave the school.  This does not mean that some parental concerns are not valid or deserving of evaluation.  However, schools that implement changes simply to keep customers damage the trust they have established among their larger body of parents and students.  It is important for a dance school to take great care in helping their youngest students adjust, to provide the best possible education so that a solid foundation is created on which to build, and to establish strong communication with parents.  This will give young dancers a great start to a long and positive future in dance.

**Observation Alternatives

Some dance schools offer alternatives to sitting-in so that parents may regularly watch classes.  I have taught under nearly all possible circumstances including, one-way mirrors, viewing windows, and video monitors.  Of all of these, I preferred the video surveillance camera.  I feel it allows visual access for the parent whose worry may be the overall safety of the child but is unobtrusive for the students and teacher.  Windows and mirrors, I have found, cause almost as much distraction as having people in the room.  Windows, because students can see and become distracted by activity outside, and mirrors, because students become distracted by what they know must be outside.  I also observed less critical or negative parent-talk in the lobby with video surveillance than I witnessed outside studios with windows.  Perhaps this was because the black and white video monitor more easily became secondary to conversations and business going on in the waiting area, rather than the main attraction.  If you have experiences with these or other forms of observational tools in dance studios, I’d like to read your comments below.  My assessments are based purely on my own experiences which may differ from yours.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 3 comments | Category: Blog, Featured, For Classroom, For Parents, For Parents of Young Children, For Teachers/Studio Owners, Perspectives

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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.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | CLICK HERE to comment | Category: Blog, College and Career, For Career Dancers, For Parents, For Parents of Teens, For Students, Toolbox

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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.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 2 comments | Category: Blog, For Career Dancers, For Students

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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…

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 3 comments | Category: Blog, College and Career, Dance Styles, For Career Dancers, For Students, Modern/Contemporary, Toolbox

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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?

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 4 comments | Category: Blog, Featured, For Classroom, For Everyone Else, For Parents, For Parents of Competitors, For Parents of Teens, For Students, For Teachers/Studio Owners, Perspectives

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I come from a small town and have taught in some small cities where dance studios struggle to maintain integrity and keep their business (or non-profit) afloat. Access to educated and experienced dance teachers is sometimes minimal. Below, I’ve listed some circumstances that occur in dance studios across the country. They are not absolute deal-breakers, but potential students should proceed with caution and armed with knowledge and awareness when such situations are present.

• Combo classes. Many say to avoid them altogether. However, they can be useful for exposing younger children to complimentary styles of dance, or providing an introduction to ballet for children who may not choose ballet as their one dance class per week. However, if combo classes are offered for anyone over 8 years old, this shows signs of an à la carte philosophy on dance training. Dabbling in dance this way often results in an unsuccessful and incomplete education. If a student wants to pursue many dance styles and still become proficient, they need to put in the time, something combo classes don’t provide.
• To many, following a ballet syllabus is extremely important so as not to confuse students (not all ballet is the same). However, basic technical principles should serve the recreational student as long as there is consistency within the class, or students are made aware of how the codified techniques differ should they encounter a need for this information.
• A proper dance floor is extremely important to the well-being of the dancers. Dancing on anything directly over concrete subflooring is unacceptable as a long-term situation and instructors must demonstrate precaution for the sake of their student’s bodies in the interim. For the sake of their student’s bodies studio owners should recognize if their current flooring is sub-standard and have a plan in place (fundraising or otherwise) to improve their situation. If they don’t see it as an issue (and they may not if it’s not hurting their business), move on. The same goes for studios that are too small for full-grown students to fully extend their arms and legs, setting up patterns and habits that will be hard to break later. In a perfect world no studio would open with sub-standard flooring. However, if the school is otherwise providing quality education, I consider this area middle ground. Ask questions and make it known that this is important to you. There is a flooring solution out there to fit every space and budget.
• Student teachers are a deal-breaker for some. As a teen, I assisted experienced teachers at my studio for three years before taking over my own classes, and the students were once-a-week students between 6 and 9 years old. Was I really prepared to have my own class? Maybe not, but I worked hard, took care in what I was doing, and learned an awful lot that prepared me for things to come. Therefore, I think a student assistant/teaching program certainly has value. Some guidelines to consider: Preschool classes are best taught by someone with experience in the classroom management of dancers this young. Also, teachers too close in age to their students can cause disciplinary problems. Again, students as teachers are not ideal but a school that is closely monitoring and evaluating their student assistants and teachers on a regular basis may be fostering tomorrow’s educators.
• Age alone is not a reason to move dancers to the next level of dance. In a setting in which students are taking only one or two classes per week and not attempting to learn advanced skills like pointe work, difficult turns, or leaps, advancing by age is not a deal-breaker. Otherwise, I would avoid any school that blindly moves up or holds back dancers because of age, or concedes to class-placement simply because someone requests to take class with a friend. If the school has clear ideas about what their curriculum includes and methods to assess if a student is ready to move on, subjectivity can be reduced and complaining minimized. If a school cannot point to reasons why they have advanced a student, they leave themselves open to question and speculation.

• 

  Image via Wikipedia

  There are those in the dance world that consider competitive dance studios a red flag in quality training. However, it is my opinion that competitive schools can, and some do, offer quality dance education. Be wary when, like performance, competition becomes more important than the training itself. I’ve witnessed, too often, superficial rivalry, tricks, costumes, and medals replace the reward of cooperation, hard work, self-improvement, long-term goals, and mastering a craft or art form. It is a fine line to walk, and a studio that chooses to compete must take extra care to ensure that students’ appreciation of dance does not depend on the thrill of winning alone. When their winning days are over, the 99% of students who do not become professional dancers still play a major part in the advancement or decline of the art through their support. And if winning and sport was all it meant to them, their dedication to dance may falter when the incentive is gone.

Please remember that when looking for the studio or teacher that will suit your needs, it is important to shop around, armed with questions and knowledge. I’m always surprised that students and parents spend so little time choosing a dance school (many dancers spend more years at a dance studio than they will a college). Dance instruction is an investment of time and money, and you don’t want to waste either. The guidelines you’ve read here about quality instruction are no more than my educated opinion, offered so that you may thoughtfully consider the topic for yourself.

What are some of your experiences? Do you disagree or agree with some of my opinions, or with my assessment of deal-makers/breakers? I’d like to hear your thoughts.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 5 comments | Category: Blog, For Everyone Else, For Parents, For Parents of Competitors, For Parents of Teens, For Parents of Young Children, For Students, For Studio Owners, Perspectives, Technique, Toolbox

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photo by e-magic

When researching dance schools or studios, there are certain things I consider, instruction deal-makers. Here I will investigate the possibly more controversial deal-breakers:

• An instructor is consistently condescending and sarcastic, frequently uses put-downs or yelling to get results, or is insensitive to safety and health/weight issues.
• Classes appear out of control -
  little ones have no order, rules or expectations and older ones chatter, lean on the barre, etc.
• Classes are too long for small children (more than 45 minutes is too long for preschoolers) and too short for older dancers. (An ideal class length for ballet in particular is an hour-and-a-half. For dancers over 12 or who are preparing for pointe work, classes should be no less than an hour-and-a quarter.)
• Pointe work is offered to students who take less than 3 hours of ballet per week and dancers are not assessed for pointe readiness.
  Three hours is the absolute minimum, and should include those in pointe prep classes who are not yet wearing pointe shoes. Hours, days, weeks, and years spent doing ballet have no true bearing on if someone should or should not be doing pointe, however. The quality of the training itself is essential and great care must be taken to assess each individual’s core, turnout, and foot strength to determine if they can begin pointe work. (Lisa Howell offers some wonderful resources for students, teachers, and parents for determining pointe readiness.)Ask to observe a pointe class. If the dancers look unstable and precarious when away from the barre, it is not simply because pointe work is hard – more likely, their training thus far in ballet has not been sufficient for working at this level. A truly quality establishment will not place dancers en pointe before they are ready, or at all if they cannot provide an appropriate course of instruction to safely prepare their ballet students. Dance studios in the U.S. (I can’t vouch for other countries) feel pressure to make pointe available to those who want it, even if it is not in their students’ best interest. Sometimes otherwise good schools succumb to this pressure. I encourage you to evaluate or re-evaluate if a pointe program is really right for you or your school. Only those considering a professional career truly need extend their work in ballet to pointe and, if you are considering a professional career, then you need instruction that will get you there.
• A class consists of nothing but drilling or repeating “tricks” (turns, jumps, leaps, etc.).
  This is only conceivable outside and in addition to a normal, thoughtfully planned technique class.
• The teacher uses improper terminology for movements with children older than 7 or 8.
  Even in preschool or creative dance classes, children can be taught the correct term. Imagery can, and absolutely should be applied for these young dancers, however I see no need to completely replace the vocabulary used by older dancers.
• Classes spend more than half the class on choreography and/or spend more than half the year preparing for recital dances.
  If this amount of time is required, the dances are too hard for the students. And it is probably too hard because the dancers have not been given a consistent opportunity to improve their skills and technique. Rehearsal for competition choreography should take place outside of regular technique classes. Some would argue that even recital choreography should be done outside of class. I personally feel, however, that if the choreography is representative of what the class has been doing (the purpose of a recital), composition of the dance need not be overly invasive and can take place during the last 15 or 20 minutes of class which would normally be spent learning combinations or variations.
• Owners of the school are not upfront about additional costs.
  Many schools charge extraneous fees for costume purchasing (on top of what you pay for the costume), recital fees, competition fees, required purchase of dancewear from their own store, etc. Make sure that it is clearly presented what you are expected to pay, tuition included, and don’t be afraid to ask exactly what the money goes toward. Some studios use such fees (or a portion of them) to keep the school afloat during summer months and to keep tuition low. Know what will be expected of you so that you have the opportunity to decide if these are fees you are willing to pay. Although this trend is increasing, not all schools require such fees. Look into this before a sense of obligation to yourself or your child forces you to pay more than you had intended.
• Students display a myriad of injuries.
  Some injuries do occur when dancers are pushing themselves as athletes. However, it is a red flag when a large number of students are dealing with injury, especially at a recreational studio. Usually, these students are either not being trained properly in technique or are consistently attempting skills that are beyond their technical ability (i.e. working and drilling “tricks” that only advanced dancers should attempt). Intense and less conscientious pre-professional programs also may be overworking or pushing students to the point of injury. No matter the type of school, the occurrence of multiple students with chronic or serious injuries is a clear sign that something is missing or not as it should be within the training.

There are some things that deserve mention that I have not yet listed. These are what I consider middle ground – not ideal, but in certain circumstances not deal-breakers either. I will list these in my next post.

What are some deal-breakers for you? Have you or do you attend a school where these things take place? Tell me about your experiences.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 5 comments | Category: Blog, For Everyone Else, For Parents, For Parents of Competitors, For Parents of Teens, For Parents of Young Children, For Students, For Studio Owners, Perspectives, Technique, Toolbox

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People don’t usually open a studio or attend a dance school if they don’t think it is a quality product being offered. However I’ve found that those in the dance world have strong opinions about what is or is not quality dance instruction. I consider myself a pretty diplomatic person and I try very hard to see things from all angles. Therefore, I’d like to stick to what I consider the deal-makers and breakers of a dance education relationship. Some may think I’m being too nice and others may argue I’m expecting too much. Either way, please try to have an open mind and consider the points I’m trying to make. After all, it’s just an opinion.

“Deal-makers”- qualities students should expect to find at an institution or business that educates/trains dancers:

• Ballet and other traditional dance forms have a clear and appropriate format. For ballet students older than seven, this means a full session at the barre, followed by work in the centre and across the floor. All dance styles should include a warm-up and cool-down period.
• The teacher offers individual attention, correction, and help by breaking down new or difficult movements for beginners or young dancers. With more advanced dancers, teachers may expect students to have more skill in picking up movements quickly and may spend less time explaining, however, teaching a class still involves refining all details of the movement. Just leading the class without offering input or corrections is rarely helpful to a dance student.
• There is focus and attention given to the upper body, including arms, head, and face even at beginning levels.
• The instructor has an understanding of anatomical terms and their application to dance and explains and shares this knowledge with the class.
• The students and teacher move well, are pleasing to watch (students with a solid foundation can make even new or difficult movements less awkward), and are dressed neatly and appropriately.
• Praise, encouragement, and humor – all positive reinforcements, are used frequently but not indulgently in class.
• Dancers are encouraged to be expressive in their movement and facial expressions without forcing plastic smiles, to listen and understand the musical or rhythmic aspects of the dancing.
• Instructors ask the students to use critical thinking in their classes. This means that they are regularly required to analyze, deduce or problem solve to come to a conclusion about something rather than simply regurgitating an answer.
• Students are encouraged in, or given regular opportunities to view dance performances, observe or participate in master classes, learn about other art forms, and reach out or volunteer in their community.

Look for these attributes when researching, observing classes ,or touring a dance school. When seeking out instruction, don’t just join the studio with the largest ad. Arrange a time to observe or even sample classes, talk with the owner and/or instructors, and ask questions. Do all of these things before making your choice because sometimes observation will reveal more than speaking with the owner, or visa versa. A studio interested in your business will make time for potential customers, however, approaching a studio owner right before performances or recitals may not be the best time.

When looking for quality dance instruction, be aware that some studios spend a large amount of in-class time on rehearsal for a show that is months away. A studio’s best instruction should be on the menu at all times, performance or not. Occasional breaks from the routine class structure are important and sometimes necessary, but learning how to dance should always take precedence over learning a dance number.

Next up, deal-breakers and “middle ground“!

What other qualities do you consider “deal-makers?”

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 2 comments | Category: Blog, For Everyone Else, For Parents, For Parents of Competitors, For Parents of Teens, For Parents of Young Children, For Students, Technique, Toolbox

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