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Concerned parents sometimes send questions regarding their child’s dance education. Keeping in mind that email questions often paint a limited picture, I do my best to offer sound advice based upon my experiences as a teacher. Recently a reader approached me with a series of questions. Based on her daughter’s difficulties with listening to the ballet teacher, this particular mother was wondering if perhaps ballet was just “not right” for her four-year-old daughter and was considering discontinuing her involvement, but wanted a second opinion.

Without observing the class or the child, it is obviously impossible to offer more than guidelines or things to consider when a child is not responding or responding negatively to instruction. Knowing that other parents may be asking themselves similar questions, I am offering an expanded version of the advice I gave to the parent mentioned above.

My child is not listening to the teacher. Is this a developmental phase?

Children do test limits and this is not limited to preschoolers – How does one know where a boundary is and feel secure that it will always be there if one does not occasionally walk to the edge of it?

Teachers and parents help children by making boundaries and expectations clear (often before the child has a chance to test them). When a child continually resists or pushes, even when limits are clear and consistent,  I suspect that something is interfering with the child’s ability to respond accordingly. A wide variety of things could be the source of this interference. Taking steps to discover what is going on with an individual child and what does work for him or her is a big step toward improvement of the child’s behavior in class.

I suggest you make an appointment with the child’s teacher to discuss what he/she is seeing in class, as well as set up a time to observe the class if possible. It is important for teachers and parent(s) to work together on possible solutions.

Is a preschooler (under 5-years old) too young to be expected to listen?

Absolutely not – in fact, the benefit of an early start in dance has more to do with the practice of following instructions in a class format than it does with preparing for later success as a dancer (some of the greatest professionals have had “late” starts). I’ve rarely encountered a child that does not enjoy moving (and learning about the principles of movement) when it is presented in a developmentally friendly way. This, in my humble opinion, should be the focus of early dance education.

What can I do if my child isn’t following directions in class?

1. 

   Image by Oude School via Flickr

   Keep your routine at home as predictable and peaceful as possible. Make sure your child is getting enough sleep, eating well, and try to relieve any stress or anxiety he/she may have at home or in class (is this a new teacher from last year, is there conflict between your child and another, has the class environment intensified in some way?) Sometimes even small or unexpected things can affect a child’s attention and behavior.

2. Be clear and consistent with expectations at home and compare these to the class expectations. Of course, your style at home and the way your child’s teacher runs his/her class will not be identical. However, communicating and receiving (with an open mind) ideas about what works (or doesn’t) for a particular child can enlighten a plan for how to help a child cooperate, both at home and in the studio. If the rules/guidelines at home or within the studio are not in line with each other (for example the child is expected to not interrupt the teacher while talking but this behavior is pardoned at home, or at home a “countdown” warning is given before leaving or moving on to another activity and in class activities change without warning), the child may become confused about what is expected of him/her. Consistency is key.
3. Help your child establish a good relationship with his/her teacher. On her website, Dr. Laura Markham offers some tips on how to include your child’s teacher in daily conversation in a way that will help your child form an emotional and familiar attachment with him/her. Click here to read the article, which also includes other ways you can help your preschooler learn to listen to a teacher.

I have a bit more to add on this subject. Tomorrow, look for the continuation of this post in which I discuss class structure for young dance students and how certain experiences may discourage your child’s attentiveness in class.

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | CLICK HERE to comment | Category: Blog, Featured, For Parents, For Parents of Young Children

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Photo by Chris Hays Photography

Whether it is your first recital or your fourteenth, it never hurts to be reminded about proper backstage etiquette and behavior. Your studio owners and teachers may have specific regulations and procedures for you to follow. Adhering to these rules helps the performance to run smoothly for you and the others around you. Recitals can be hectic and stressful for those trying to make the day/evening go off without a hitch. I know your teachers will appreciate not having to remind you or your friends of these basics on recital day.

1. Don’t mess with other people’s props or costumes

This is a top directive of any backstage situation. Playing with or moving someone else’s props or costume pieces always results in one of the following: A) items will not be in the correct place when they are needed, stalling the show or leaving someone without, B) items get broken, torn, damaged, stalling the show or leaving someone without, C) someone being rather upset with you. If the prop or costume is not yours, don’t touch it! Even if you think it’s in the wrong place and are trying to help, you should just tell the person to whom it belongs or an appropriate adult.

2. Stay in your designated area

I know it can be annoying to be restricted as to where, when, or how you can go somewhere, especially when you are quite familiar with the building or backstage area. It can also be tempting to want to move from your green room (or waiting area) if your friends are required to be in another location. However, it is important to stay where you are supposed to be throughout the recital process. Why? Teachers and recital helpers have a lot of kids to keep track of during a performance. When their requests are ignored, you stand the chance of missing your entrances or causing someone else to miss theirs. Even worse, is that no one knows where to look for you should something unfortunate occur.

3. Bring something to do

Photo by Bo

Recital performances almost always involve a lot of waiting either during dress rehearsal or on show days or both. Even if you think you’ll be busy, it’s always a good idea to bring something quiet to do backstage as you wait (in your designated area). Some possibilities include a book, a simple card game, pens and paper, coloring books and crayons, puzzle books, even a hand-held video game if the sound can be turned off. It is alright to play games with friends as long as you can keep the noise levels down. Just make sure you are ready and in your next costume before engaging in an activity, and that you can drop what you’re doing immediately when asked to go.

4. Always stay one step ahead

Be on top of things and be responsible for yourself. Don’t rely on others to know what’s next, know where you are supposed to be, or what you have to do – not if you don’t have to or are old enough to do it yourself, anyway. This involves laying out your costumes ahead of time and knowing what order they go on, keeping track of where your dances are in the performance (and what’s before them), knowing what hair or makeup changes are made and when, being sure about which side of the stage you enter from, double checking that you have all you need before you leave the house.

5. Keep socializing to a minimum

There’s a lot of energy in the atmosphere at a performance. It is easy to get caught up in the excitement with your friends backstage, allowing noise levels to escalate and/or creating a distracting environment for yourself or others. To have the best show possible it is important that everyone stay calm and focused. After a successful show is the appropriate time to party. During the show choose calm activities (see #3) to occupy yourself and your friends and reserve your energy for your performance onstage.

6. Stay quiet in the wings

Photo courtesy Nazareth College

The immediate backstage area is not the place to go over choreography, have a conversation, or ask a question. Sound from backstage can carry surprisingly well to the “house,” or audience. If you are prepared, calm, and focused there should be no reason for talking in the wings. If a peer asks you a question, nod (if the answer is yes or no), and/or calmly remind them to be quiet with the universal symbol at left. Making noise in order to quiet others is not only unhelpful, it doesn’t make much sense! Which leads me to…

7. Be responsible for you and you alone

Unless you are specifically put in charge of a person or group, allow a teacher or someone in authority to take care of any disorderly students. If you know that someone missed being given an important direction, for example, when it is time to line up, calmly let them know and then move along yourself. Don’t waste time helping those who are not helping themselves because your only job is to be responsible for you. When you occupy yourself with what others are or are not doing, you risk missing your own cues, entrances, costume changes, etc.

8. Stay warm, stay safe

It is important to stay safe and free of injury backstage. If you know you have some downtime between numbers, wear a warm-up and/or legwarmers over your next costume (just remember to take them off!), staying active and mobile with full-body movements like noiseless jumping jacks or body swings, and doing some stretching to keep your body warm and limber while you wait. Other safety measures include not wearing soft shoes or bare feet in areas that have not been swept clear (especially in the immediate backstage area where often there can be shards of wood or glass, or things lying about from other performances). Your teachers will let you know if an area is safe to be barefoot but wear shoes/flip-flops if you are going to be moving about backstage in zones that may not have been cleared.

9. Be conscious of bleeding light

This is one that even those helping at a recital sometimes forget. If you’ve ever stood in a dark room when someone opens the door to a room that is lit, you understand that light has a way of “bleeding” into the darkness. This is why it is kept dark in the backstage area with only blue or other filtered lights illuminating the area. Being conscious of this means waiting until someone from the inside (who knows when it is “safe”) opens a door to the backstage area, or listening for the appropriate time yourself. Typically when you know that the dancers onstage are performing and being lit, it is safe to enter but do so quickly, quietly, and close the door behind you. Any light from backstage can affect the lighting design onstage.

10. Be conscious of sight lines

Photo by Ed Luschei

This is another one of which novices to the stage may not be aware. Sight lines are imaginary lines that distinguish what is visible to the audience and what is not. A good rule of thumb is that if you can see an audience member, they can see you. However, you must be aware of your whole body, not just your eyes. When waiting in the wings, it is a good idea to stand close to the curtain (without moving it) and back from the very edge. Some studio owners will place a line of tape for students to stand within or behind when waiting backstage. Though it can be tempting to try to see everything happening onstage, stay out of the audience’s line of sight. If your cue for entering cannot be seen from where you are waiting, dress rehearsal is the time to figure out a new cue!

11. Don’t argue

Last but not least, it is important to be courteous and respectful toward others, especially during a performance. This includes the teachers, parents, and others who are helping backstage at a recital. By showtime you should know (by face, name, or by an identifying badge or button) teh people who have been designated as helpers and what role they play in helping the performance to run smoothly. If you are instructed to do something or go somewhere, asked to quiet down, or are otherwise asked to respond to a request – just do it! Don’t question, don’t argue, don’t grumble.

If you happen to be absolutely positive that you are being misdirected, ask nicely to check the facts – “I am sure that I am to be in Room C, not Room A right now. Can we double check, just to be sure, please?” People’s patience can run thin during a high-stress situation like a performance. If your respectful response is not appreciated, don’t react. Simply do your best to comply with the direction given.

Photo by Chris Hays Photography

For those of you who still have recitals ahead, I hope that this list will come in handy. Remember that everyone backstage at a performance wants the same thing – a great show that runs smoothly and is fun for the audience and participants. Though the show’s organization may not be something you can control, you still have the power to make sure you are fulfilling your role to the best of your ability. Following these eleven rules of thumb will help to ensure that. Have a great performance!

What are some other things students should do or remember when they are backstage?

What are some things your studio does to keep things running smoothly at a performance?

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | 6 comments | Category: Blog, Featured, For Everyone Else, For Juniors, For Parents, For Parents of Competitors, For Parents of Teens, For Parents of Young Children, For Students, Performance, Toolbox

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Photo by Tommy Hemmert Jørgensen

One of the desires of a teacher or a parent is to create an environment within which self-esteem can grow in a child. The goal is to build confidence in a healthy way so that they can better deal with the every-day adversities and challenges that life brings, both as children and adults. Often, parents and teachers take action by providing children with plenty of praise, accolades, and awards. But, is there such a thing as too much praise? Is it possible for praise to backfire? How can one instill confidence without creating a dependence on external approval?

Too Much of a Good Thing?

Most experts seem to agree that empty praise like “Good job!” or “You’re awesome!” is ineffective because children recognize that these statements are not always accurately or sincerely offered. It has been found that students praised for being smart are less motivated to achieve than those appreciated for working hard. They believe their intelligence to be unchangeable rather than something that can be improved upon, in turn affecting their performance:

“Kids who get too much praise are less likely to take risks, are highly sensitive to failure and are more likely to give up when faced with a challenge.” – Why Praise Can Be Bad For Kids, ABC news

As you can see, because of such findings, it has often been surmised that too much praise can be a bad thing (as noted in the quote above). However, similar outcomes might also apply in students who are continually criticized. So is too much praise really the problem or is it something else?

Descriptive and Appreciative vs. Evaluative

A statement is evaluative any time we use “good,” “poor,” or “excellent” to label a person, skill, or effort.  Assigning a judgment tells the dancer how they should feel about themselves or what they did. Faced with continuous evaluation (be it positive or negative) by others, a student begins to depend on this feedback for forming opinions about themselves (self-approval/disapproval).

Evaluative Statements provide only temporary results. Sooner or later a student will find they cannot live up to your assessment. They may try to prove you wrong or, become discouraged, remembering all the times they weren’t “great” or “sweet,” or, feel disappointment any time their pirouettes are not deemed “wonderful.” Children labeled as “good” at something are less likely to discover exactly what their strengths or weaknesses are and therefore cannot build upon these things. Their improvement may slow or stop altogether or, they may focus only on this area, striving for more approval.

Photo by Wesley Fryer

Why Do We Evaluate?

There are many reasons we fall into a cycle of evaluative praise or judgments. One, it’s easy and requires little thought. Another, more subliminal reason is because it creates dependency. It makes our opinions about what is good or bad matter and encourages the student to conform to our ideals, keeping us in a position of authority.

Be More Specific

Professionals in the field of education encourage teachers and parents to be specific when offering praise and, to avoid labeling children. Recognizing that students respond better when the focus is on the effort or work involved, it is presumed that the type of praise, not the amount, affects performance and motivation. “Your pirouettes look great!” is more specific than “Great job, Alison!” “Brooke, you’re spotting really well.” is clearer still. Even more effective, because it focuses on the work involved, might be something like “Hayden, you’ve been working hard on your alignment at the barre. Your pirouettes look wonderful!”

However, consider the power of a statement that avoids evaluating even the skill itself and, instead, simply describes and appreciates their accomplishment. For instance:

EVALUATIVE — “Hayden, you’ve been working hard on your alignment at the barre. Your pirouettes look wonderful!”

DESCRIPTIVE — “Hayden, thank you for working so hard on your alignment at the barre. Your turns have really improved!“

Descriptive and Appreciative Praise may seem unnatural or more cumbersome at first. It is likely that you will occasionally find yourself offering an evaluative statement – don’t be too hard on yourself! As you know, practice is key to forming positive habits and change. Like the comment to Hayden above, many times only a slight change is needed to make a remark more descriptive and less evaluative. It won’t take long until you’ve mastered the technique!

Here are some simple guidelines:

• Use “Thank you for…” instead of “Good job.” to show your appreciation for their work/attitude.
• Describe specifically what you see, hear, or feel - “Your spotting was really crisp and clear.” vs. “You’re a great turner.” or “Your comment to Jill hurt her feelings.” vs. “What a mean thing to say!”
• Stick to the facts about how you feel - “When you talk in class, I feel frustrated that I have to talk over you to be heard. It concerns me that you won’t hear what I have to say.” vs. “It is really rude to talk while I’m talking. You obviously don’t care about your dancing.” (I, I, I instead of you, you, you)
• Present a bigger challenge – “Now, try a triple pirouette!” vs. “Excellent double!” This works for a negative, too. If the students are spinning like tops but not maintaining their turnout don’t congratulate them for getting a quadruple, ask “Can you keep your legs turned out and still do the quad?”
• Avoid labeling – “Thanks for helping me put away the props!” vs. “You are so sweet!” or “I don’t appreciate your tone.” vs. “Alright, Ms. Attitude, that’s enough!”

Photo by Gemma Longman

With your conscious effort to select words that are encouraging without being controlling, that focus on the deed not the doer, your students will be able to form their own opinions about themselves, their actions, and abilities. By fostering, rather than fashioning their healthy self-esteem, your students can feel secure, capable, and supported and will become more confident and responsible as a result.

Further Reading

• Praise That Builds a Child’s Self-Esteem
• The Power of Praise
• Why Praise Can Be Bad For Kids
• Montessori Classroom – Descriptive and Evaluative Praise
• Can Adults Praise Children Too Much? (some alternative opinions presented here)

Practice some Descriptive Praise right now!

1. List three things that you might want to praise your students for in your next class.
2. Then, select ways you might state your praise descriptively.
3. Look for opportunities to use the phrases you’ve prepared/practiced in your next class.

Be sure to list your three phrases below in the comments so that others can see some more great examples!

And, let us know if you use or try this technique in class and share your results or thoughts!

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | 3 comments | Category: Blog, Featured, For Classroom, For Parents, For Parents of Competitors, For Parents of Teens, For Parents of Young Children, For Teachers/Studio Owners, Perspectives, Toolbox, Wellness

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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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Welcome! Thanks for checking out the Teach-a-thon. We’re going to blog our way into a new dance season with some great information from dancers and instructors across the web! Dance students, I know you will find some valuable information here. New posts and links will be added each day of the thon, so keep checking back!

Bloggers, there’s still time to get posts in, just contact me and send the link!

Ok, here goes!!

Tuesday, August 19

Organize Your Life and Nurture Your Spirit: Dianne from Ballet Shoes and Pointe Shoes offers tips on dancewear, visualization, journaling, and getting back into class!

Scholarships for Dancers: Heading to college? Seniors, now is the time to start working on applications for school and financial aid. DanceHere offers great advice!

Strengths and Weaknesses: Everyone has them. Here are some tips and encouragement as you attempt to master your strengths and overcome your weaknesses!

Wednesday, August 20

Sarah at What a Wonderful World! writes about one of her favorite belly dance students. A heartwarming reminder that you’re never too old to learn something new!

Challenges In Professional Dance: DanceHere offers the first in a series about dance careers. If you are thinking about a career as a professional dancer, don’t miss this post!

Why The Competition?: A post about the reasons dancers compete. Carl, a lindy hopper, competes in partner dancing but his post is applicable to all forms of competitive dance.

Thursday, August 21

Start The Year Off Right: Leslea, assistant director at Uptown Dance shares with students how to be prepared and productive in the coming year of classes. Written as though you were right there in her classroom, she hits all the highlights of the first month of classes.

Jobs in Dance Companies: Considering or researching a career in dance? Performing professionally is not the only option open to dancers. Check out this post from DanceHere.

What to expect from your first ballet class: If you are taking ballet for the first time, Selly from Dance Outlook offers a thorough article on how to prepare and what to expect, complete with some great video.

Negativity: Could your complaining, insecurities, and negativity affect others in your dance class? My experience with a student whose negative attitude was turned around with positive reinforcement.

Friday, August 22

Careers for Dancers in Media and Communications: Continuing their series, DanceHere highlights careers in film, photography, and more that combine an interest in or knowledge of dance.

Improve Dance With Your Eyes Closed: Sanna, a performance specialist who blogs with dancer, Janie at DanceMind, expresses the importance of sleep for dancers who want to be at their best.

Vertically Challenged: My own tips and suggestions for improving your technique, height, landing, and musicality in vertical jumping (or, sauté).

Saturday, August 23

Do You Have Your Splits?: Treva, the dance guide at about.com, wants to know. Check out her blog for posts on a wide range of dance topics.

Jobs for Dancers in Medicine and Health Care: DanceHere gives us another great post for those with a passion for dance that want to explore alternative (but related) careers.

The Core or Center: I’ve updated this post (one of my first) from Dance Advantage. Understanding what exactly your core is, the muscles involved, and why its important to know and use your center in dance

Students, there’s lots more here at Dance Advantage!

Check out these posts, written with you in mind

Tell us what you think of the Teach-a-thon and the participating posts in the comments below!

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 2 comments | Category: Blog, College and Career, For Students, News and Events, Performance, Summer Study/Workshops, Technique, Toolbox

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At their best, negative comments accomplish absolutely nothing and, at their worst, succeed in increasing doubt and even hurt feelings throughout the class.

Once I had a teen in ballet class that seemed so unmotivated and negative. I could tell she liked barre but felt uncoordinated in center work. Her confidence was low in areas outside of dance and it was reflected in her lack of presentation with her upper body. I was determined to see her succeed in class, mostly because I could see that she didn’t believe she could. There was just no ignoring her, either! She was very negative about anything in class that she “couldn’t” do and used her quick wit to complain or put herself down, ruining everyone’s experience. I often felt horrible about the class afterward but, I knew that there was more to her actions than what was on the surface. I didn’t give up.

That year we did a dance with a variety of characters and I decided to play up the strengths in her lower body and letting her arms free flow as it fit for that particular character. Obviously we still worked on upper body in class but in the dance she was just as important as all the other characters. From that point on she was a different kid and improved her port de bras by 200%.

To illustrate how far she’d come, I wrote her a note at the conclusion of the year and encouraged her to avoid taking a step backward next year. You see, I was leaving and wanted her to keep going forward with a new teacher. I reminded her that a new instructor would have different and important things to teach her and asked her to imagine her progress if, from the beginning, she willingly responded to guidance without any negativity or fear.

Maybe you can identify with that student. Perhaps you are feeling insecure or uncertain. It’s easy to be afraid of something new, something untried, and of not being good enough at what you do try. Your strengths can and will shine more brightly than any weaknesses if you allow them. This is a lesson I think every dancer has to learn, myself included. In fact, it’s something I still struggle with every time I take a class that is challenging. Once you learn to truly appreciate what you do well, the areas in which you need improvement (which can seem overwhelming at times) will become less of a hindrance. Feeling good about yourself will unlock your full potential as a dancer, and possibly in other areas.

Others have lots to say on the topic of negative self-talk and/or positive thinking:
Dance (in this case belly dancing) and negative self-talk (the themes in this article can apply universally)
Psychology of Dance (also see an excerpt of this book here)
The Power of Positive Thinking
Enhancing the Body/Brain Connection
Train Your Brain: A Teen’s Guide to Well Being
Improve Your Attitude in Dance Class

How has negativity (yours or someone else’s) affected you in a dance class?

What are some things you can do to help “positively charge” the atmosphere?

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | One comment - ADD YOURS! | Category: Blog, Toolbox

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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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