Guest Post: Preparing For An Intensive Summer Program

Today’s Guest Post is from Nina Amir who blogs over at My Son Can Dance. I have enjoyed following Nina’s adventures in parenting a son who is pursuing serious study of dance. Dancers are receiving acceptance letters about now for intensive summer programs in cities all over the country. If this is your first big intensive, excitement for what lies ahead is probably charged with uncertainty and stress over preparations. Here, Nina shares what she and her son experienced their first summer at American Ballet Theatre’s summer program in New York City. No matter where you are headed this summer, these tips offer great advice from someone who has been where you are now.

You’ve just gotten the email. Your son or daughter has been accepted to the American Ballet Theatre Summer Intensive in New York City. This acceptance means so much—your child has enough talent to attend one of the premier (if not THE premier) ballet summer programs in the nation, your child has to be ready to endure the rigours of such a program and you have to figure out how to handle the logistics of an unchaperoned summer intensive in the middle of the Big Apple.

Last year I faced these same issues for the first time when my son was accepted into the ABT Summer Intensive program. We went to New York to spend seven weeks together while he danced and I worked. We had some idea what this entailed, but to some extent, despite the bright lights of the city, we entered into this adventure in the dark so to speak.

This year, we are going back to New York again for a second year at the ABT Summer Intensive. We will return with our eyes open and knowing more about what to expect and how to prepare.

Tips For A Successful Summer

For those of you going off to New York for the ABT Summer Intensive for the first time, here are some things to consider as you get ready for your experience—probably the best experience your child has ever had as a dancer—and some tips that might make the program more successful for both you and your dancer.

1. Choose your accommodations carefully.

Quite a number of children in the 15-18 age group stayed in dorms without chaperones. They seemed to enjoy this and handle it quite well. Many moms also stayed in New York University dorms with their daughters, although they aren’t a cheaper alternative.

The majority of the dancers arrived in New York with one or more parents who had sublet an apartment somewhere in the city or in the surrounding area. A few of the kids stayed with relatives in New Jersey or in areas that afforded them the ability to ride into the city by train.

We sublet a very small—too small—studio apartment in an attempt to save money. It was on a lovely, historic street in the East Village. However, we needed more space as well as Internet hook up and cable TV, neither of which did we have. I also failed to ask the owner of the apartment if the kitchen was well equipped for someone who wanted to cook everyday; it was not. So, don’t assume that all New Yorkers cook. Be sure to ask about the amenities included in the apartment. If at all possible, send someone you know to see the apartment, or ask for additional pictures to be sent to you via the Internet.

Also, if an apartment seems to good to be true, it probably is. Try to find a realtor to help you find a place, or be sure you are dealing with a real person. We almost got scammed by one person…I think. So, be careful about the people with whom you deal.

By far, finding housing is the hardest part of going to this summer intensive. It’s time consuming and housing is expensive.

2. Add extra classes, weight lifting or exercise prior to attending the intensive.

Unlike some of the other programs, the ABT summer intensive really is intense. The first week has the kids dancing, doing yoga and pilates six hours a day. They come out tired and sore. In particular, my son was muscle sore from “pressing” girls and partnering them.

Based on what I’ve been told by some experts, I’d suggest that kids add in some sort of cross training—running, jumping rope, swimming, or something else in the weeks prior to the program’s start to increase their stamina. See this post for additional advice from Rasta Thomas. (And this one…)

3. Be prepared for the difference in weather.

My son had some trouble with dehydration the first week. We live in California, and I didn’t really think that would be a problem since we were coming from a dry, hot climate. However, it was so hot and humid in New York that he sweated more than usual and didn’t drink enough. The kids need to have electrolyte packets and other sports drinks along with water to keep them hydrated.

Also bring a variety of clothing. We had tons of rain and some chilly weather early on. Then it got beastly hot.

4. Include vitamins, herbs, and nutritional supplements to the daily regimen.

I added in extra vitamins and herbs to my son’s regimen of nutritional supplements. I found some of that helped prevent overuse injuries. Despite the fact that he also danced on Saturdays and some evenings at other studios in the city, he had very few overuse injuries. Watch my blog for information on great supplements to keep your kids dancing healthy and uninjured.

5. Make use of wellness resources made available

Be sure your son or daughter takes advantage of the physical therapist provided by ABT if they run into any problem. (Most of the kids had some sort of foot problems or shin splints.) She is great and really helps. My son had one problem early on with his foot, and she solved it quickly with exercises. We also found a chiropractor who was a former dancer. He was super. (You can contact me if you need him.)

6. Take advantage of the city (but don’t walk too much)!

There is lots to do in the city, and the dancers have the weekends off. It’s easy to get around using the subway. It’s also pretty safe, despite what people think about New York City.

Be sure to have good walking shoes, and insist that your dancer wear them, too. ABT requires that the kids not wear flip flops or other sandals (but the kids don’t listen). Their feet are tired at the end of the day, and walking on the pavement doesn’t help. My son’s feet and legs were extremely tired the first two days we were in the city, and he refused to wear the good running shoes we had bought just for that purpose. He did wear them more after that.

7. Let your son or daughter enjoy being with the other dancers in the program.

Many parents are afraid to let their children leave the studio during lunch. However, the kids tend to go out for lunch in groups. The area is pretty safe and doing things together breeds friendships. My son regretted not doing more with the other dancers, such as in the evening and on weekends.

8. Take advantage of the dance happening all around.

Go see dance. Let them take extra dance classes on the weekend (but make your child take at least one day off to rest). We went to see modern and contemporary dance at The Joyce and The Joyce Soho as well as taking advantage of the discount tickets offered to us to American Ballet Theatre productions.

My son also took tap classes at least twice a week at Broadway Dance Center and hip hop classes as well. (We found that these didn’t use the same muscles as ballet; thus, we weren’t too worried about overuse injuries from the extra classes.) We then stayed in New York City for an extra week, and he danced every day for another six hours at Broadway Dance Center. Next to his time at ABT, this was the best experience he had in the city. Many of the dancers also went to Steps on Broadway for additional jazz or ballet classes; we just never made it there.

9. Offer encouragement to help your child through a rough beginning.

Dancers need to know the program is harder than anything else they may have done before. At the end of the first day they are tired. The next morning, they may be wondering how they’ll make it through the second day. At the end of the first full week, they will wonder if they can make it through the whole program. However, by week three, they have settled into the routine and adjusted to the strenuous nature of the program. At the end of the six weeks, they will be in great shape and wish the program weren’t ending yet. They’ll know they could dance for six hours a day every day…and they’ll want to do so.

10. Know that as a parent you’ll be in the city on your own while your dancer dances.

Parents are not allowed into the ABT building or up to the ABT offices in general until the one—yes, one—parent observation day. So, find something to do or bring something to do. I work from home, so I was busy every day in our tiny apartment. Other parents shopped or visited museums or went to Broadway shows. All the waiting around, walking back and forth from the ABT studios and hearing about your child’s day second hand will be worth it, however, when you see the final performance and see how much he or she has improved.

For more information on the ABT Summer Intensive experience, check out my blog, My Son Can Dance, and read the archived posts under the category titled “summer dance programs.”

Nina Amir is a journalist and author currently writing a book meant to mentor young boys (age 10-17) who dream of becoming professional dancers. She realized what a difficult road it was for young male dancers early in her son’s career. She interviews top male dancers and teachers asking for their advice, experiences, and tips so young boys who want to follow in their footsteps will have the strength, inspiration and tools to do so. My Son Can Dance is meant to chronicle Nina’s struggles, what she has learned and the experiences with her son in the hope that she might be a mentor other parents of young boys who want to dance.

Sunday Snapshot: Blizzard-Ready

In honor of Blizzard 2010!

Stay safe and warm, people! And enjoy your Super Bowl Sunday!

About the Photographer: Brian Mengini has been involved with the dance world for over 8 years, first as company management and now as a photographer. He is based in Philadelphia, PA and has shot the Royal Ballet of London, Pennsylvania Ballet, Ballet X and many others. His recent project Spirit of the Fallen, pays tribute to the fallen officers of the Philadelphia Police Department. The  photo exhibition, which depicts dancers from the Philly area wearing angel wings, also raises funds for the FOP Survivor’s Fund. You can find out more about Brian at his Facebook fan page.

From Brian’s website: “For over ten years now, I have been capturing Philadelphia’s creative pulse and am blessed to be able to blend two of my passions, photography and dance, into one wonderfully fulfilling journey. I credit my time spent as manager of Rennie Harris PureMovement, in the mid 1990’s, with not only my passion for movement but my eye for its emotion!”

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Add it to the DA Sunday Snapshot pool at Flickr

Learn more here

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Friendly Reminder: Please respect copyright online. Unless permission is granted through Creative Commons or other licensing agreement, please do not publish copyrighted photos without the permission of the owner. Thank you!

Sunday Snapshot: Chalk Dust Dancer

Dance Advantage is proud to announce a feature new to the blog in 2010!

It’s called Sunday Snapshot and the concept is simple. Each Sunday I will highlight a dance photograph selected from the Dance Advantage Sunday Snapshot pool on the photo-sharing site Flickr. Why?

• Because beautiful, unique, or fascinating dance images are not easy to capture and I’d like to give props to the photographers who make it look effortless.
• Because I’d like to share some of these inspiring photos with you.
• Because sometimes a picture really IS worth a thousand words!

Today’s Featured Photograph…

is by Austin-based professional, René Michaels of René Michaels Photo & Design.

From the website:
Other than his general photography work, René has been recognized for having a unique ability to capture dance action photography. Rene’s interest in dance stems from growing up in the Los Angeles, CA. area in the ’70s & ’80s where, working as a dance club Disc Jockey, he witnessed the birth of Hip-Hop and got his “fifteen minutes of fame” appearing on the nationally syndicated TV series “Soul Train” as a featured dancer for several years.

Want to have your photo featured on Dance Advantage?

It’s easy! Flickr users, head over to http://www.flickr.com/groups/danceadvantage/. Join the group (this ensures that you’ve had the opportunity to read the rules and are allowing your photo to be published at Dance Advantage). Then click Add Photos and pick a few of the best from your photostream! This is brand new so now is a great time to get your photos noticed! Just make sure you read the rules, please!

What kinds of images will be featured?

Anything dance related! The subject matter could range from performance shots of professionals to students working hard in the studio, even spontaneous acts of dancing! All styles and dance forms are welcome and I will even consider your artwork or graphics! You need not be a professional to submit your work to the pool!

Though Dance Advantage deals mainly in concert dance, I’d be happy to showcase other dance forms in this weekly feature. I’m looking for photos that wow me, inspire me, or speak to me about the lives of dancers and this artform we all love.

Dance, Dance Everywhere!

Dance is HOT!

And, you know what? I don’t see that changing in 2010.

Even astrologer, Susan Miller agrees. She appeared on The Early Show before the new year to make some predictions. This additional new year conjecture was published on The Early Show blog:

“Interest in dance on TV will increase. In the summer there will be reality TV — but as Jupiter goes into Pisces better ideas will be brought to TV because it’s an artistic time.”

I don’t know a thing about astrology but I do like the sound of that. More dance, better ideas, and artistic times ahead.

Gazing into my crystal ball…

My prediction for 2010 is that we’ll see dance artists and companies making better use of technology and the internet to distribute their work in a way that is artistically and financially beneficial.

I don’t know about you, but in my home we download music to our devices. We browse our AppleTV when we want to rent or download a movie. Missed TV shows are viewed online or purchased through iTunes. Though I live in a large metropolitan area and attend a lot of live dance performance, I’d welcome being only a few clicks, flips, or bleeps away from dance content in my living room… that didn’t feature over-scripted “reality,” frenetic camera cuts, and nails-on-a-chalkboard-thank-goodness-for-fast-forward judges.

There are a few aspects of televised dance that I find annoying but what I truly love about the success of dance on television is its potential for building awareness of what it is to be a dancer and for expanding the dance audience. I don’t think filmed productions can replace live performance, even the flashy stuff on TV doesn’t come close. It is my hope though that, as its small-screen cousin has done, dance which makes its home in live-performance venues will begin to embrace its inner “hottie” in the coming year.

Digital Schmigital

I have to share something I read on the TenduTV blog because there has been a lot of talk in the dance world about a recent NEA report that presents a decline in dance audience numbers (the same report says online viewing is up, by the way):

The Real Dance Audience isn’t Really Declining.

We know what the surveys and studies say, and we don’t believe a word of it. Sure, it’s fair to say that attendance at dance performances is declining. However, to leap from attendance declines to an overall audience decline is a huge and counter-productive stretch. Millions of people are watching dance on television every week. 10 year old children can accurately compare dancers’ attributes. If anything, the dance audience has grown faster in the last few years than in any other period in dance’s history.

The problem is that dance companies aren’t effectively reaching those audiences, if they’re reaching them at all.

I encourage you to read the post at the TenduTV blog. The article doesn’t place all blame on dance companies, it goes on to describe the catch-22 of dance film production – costs vs. distribution – and touches on copyright legalities, all of which make it difficult for artists to get their work out there for even dance-lovers to consume, let alone the general public.

I have talked before about the work TenduTV is doing. In addition to my earlier prediction, I’d like to add that I am confident that this all-dance channel, which already makes streaming and downloadable content available online and via on-demand television, will continue to find more ways to enter your home, your computer, and your devices in 2010 and bring some fabulous dance artists with it.

Dance, Dance Everywhere!

Will the goal in this brave new on-demand world be getting the dance to the people? Perhaps! Despite fears, it may even improve those audience attendance numbers. So You Think You Can Dance doesn’t sell less live tour tickets because the dancers appear on people’s television set each week and movie-goers don’t stop going to movies because they get NetFlix at home or on their computer. Let’s have a little dance, dance everywhere!

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Smart Moves

When it comes to 1) reaching a wider audience and 2) benefiting financially from the creative work itself, dance companies large, small, known, and obscure face a few obstacles.

These are are the biggies:

1. Limited to live performance venues
2. Limited funding

So will the funding issue (#2) improve if dance companies are smart about how they expand beyond the confines of the proscenium stage (#1) and move forward in the digital age?

What would be the smart moves to make in 2010?

If companies cling too fearfully to the small audience that pays to come see them, do they risk missing the larger audience that would pay to have the dance company come to them?

Will a larger, home-viewing audience ever make it to the theatre?

What are some of the other obstacles concert dance companies face?

You know what to do, leave your comments below!

DVD Review: My First Ballet Collection

Do you have a ballet student or young child interested in all things dance on your gift list this year?

A brand new video, released in September, would be a wonderful addition to their dance library. My First Ballet Collection is exactly what its title indicates, a treasury of excerpted performances which are particularly suited for introducing children to the world of ballet. Youngsters will immediately recognize some of the better-known tales; Sleeping Beauty, The Nutcracker, Swan Lake, and Cinderella are all included in the compilation. However, ballets such as Coppelia, Giselle, Sylvia, A Midsummer Night’s Dream, and La Fille mal gardée, present characters and moods that will appeal to all ages.

My First Ballet Collection offers high-quality film and sound production, however the DVD is not frilly. Played straight through, each of the 26 ballet excerpts are introduced with a caption indicating the ballet’s title, music composer, and excerpt heading. The DVD also conveniently offers the option to view by chapter for easy navigation among the selections. The excerpts are highly accessible and are well-chosen to stand alone. The video even captured the attention of my two-year-old. He was motivated to move to the energetic music and particularly enjoyed imitating the dancers as they jumped and balanced.

A collection such as this would ideally inspire further investigation of the ballets, their stories, their choreographers or dancers, and the physical movements of which they are made. Parents hoping to plop their child in front of the TV or expecting the DVD to connect all the dots, may be disappointed in its lack of interactivity. My First Ballet Collection goes as far as bringing a variety of real ballet performances into the home or studio in one tidy package, providing the opportunity for parents or teachers to assist children in their continued exploration of ballet. This may be scary for some parents who feel they don’t know much of ballet or the dance world. However, exploring together is fun and encourages enthusiasm for learning.

Bottom Line: My First Ballet Collection is a great choice for those wishing to nurture enthusiasm for ballet among children of all ages. Younger children will enjoy being introduced to colorful characters and beautiful dancing. Older children will benefit from the opportunity to sample a mélange of ballet specimens.

For more info visit www.myfirstballetcollection.com. The website features additional info about the Royal Academy of Dance training program, where to find instructors, and a listing of North American dance companies. Purchase the video here.

Teachers, My First Ballet Collection works as a classroom tool as well. Skip easily among the snippets to illustrate a step, try on a variation, or to visually aid a discussion of ballet history.

In Detail

• My First Ballet Collection is the result of a collaboration between Naxos of America, Opus Arte, and the Royal Academy of Dance (RAD).
• The DVD features excerpts from 10 different productions with performances by ballet stars such as Darcey Bussell, Carlos Acosta, Patricia Barker, Maria Kochetkova, and more.
• Showcased are four different ballet companies from both sides of the Atlantic: The Royal Ballet, The Paris Opera Ballet, San Francisco Ballet, and Pacific Northwest Ballet.
• San Francisco Ballet’s Nutcracker, Balanchine’s A Midsummer Night’s Dream (performed by PNB), and The Nutcracker (The Royal Ballet), feature performances by children and student dancers.
• Diverse locales and archetypes are explored on the DVD: woodland creatures, mythological landscapes and beings, pastoral settings such as an 18th century farm (complete with dancing chickens), a toy shop with life-sized dolls, enchanted kingdoms, and 1930’s Hollywood (via Nureyev’s updated Cinderella).
• The 26 excerpts range from dramatic to romantic to comedic.

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Listening to Dance — An Exercise in Viewing Art

I’d like to have you try a short exercise.

Look over the questions/suggestions below:

• Do any images or pictures come to your mind? What are they?
• Does the song cause remembrances of something, someone, or somewhere? If so, what?
• In what environment, if any, does the music place you?
• What kind of feelings does the music evoke?
• If you had to pick a color to represent this work, what would you choose?
• Give three adjectives that describe the work.
• Which instruments do you hear?
• Describe the tempo, the rhythms, the melody or musical quality (thundering and aggressive, or soft and soaring for example)

Now grab a pencil and paper or close your eyes…

Listen to one of these clips:

(don’t worry, you can try this with both if you want)

As you listen, quickly jot down (or think about) your responses to the questions above.

How did you do?

Did you find the exercise easy or difficult? Even if you didn’t particularly like the song, I’m sure you were able to answer some of these questions. In fact, you may not have needed much prompting to visualize during the music.

I’ve used this exercise with students before (usually in preparation for moving to the chosen selection). What I’ve noticed is that when listening to music, the students easily observe and express their reaction based upon what they’ve heard coming through the speakers. With very little prompting, they come up with vivid ideas, even without the benefit of lyrics as clues to the song’s intention. The natural instinct to experience music with their minds and hearts, as well as their ears, seems second nature for most. When viewing art in a visual medium, such as dance or painting or sculpture, it seems the process is inhibited. Perhaps it is harder ot let go of preconceived notions or expectations regarding the art form.  Perhaps it is more difficult to allow oneself to visualize or expound upon something that is already very visual. Whatever the problem, I’ve discovered that students, rather than simply letting the art affect them, get hung up on “What does it mean?” “What is this about?” “Am I the only one who doesn’t get it?”

It seems to me that the art of dance would prove more accessible if people viewed dance like they listen to music.

What do you think?

Introducing the Iliopsoas

Ladies and Gentlemen, children of all ages!

It is my particular pleasure to introduce to you, the iliopsoas, a thrilling group of three muscles which are exquisitely fundamental to the function of the hip joint. As an indispensable stabilizer of the lumbar spine and pelvis, and the one and only muscle group that has within it a sufficient power to flex the hip joint and lift the leg above, with appropriate amazement, 90 degrees, it seems a gloriously gigantic understatement to call this muscle merely important. It is clear this wondrously complex muscle group not only deserves but demands your supremely scrupulous attention. I am outstandingly overjoyed to dazzle your eminently esteemed self with the following…

Okay, sorry to get all Barnum & Bailey on you. I promise the rest of this article won’t be nearly as dramatic.

Some of you, I would bet, have never even heard the term iliopsoas (ill-ee-oh-so-az) before. Meanwhile others of you have teachers who are devoted advocates for these miracle muscles but perhaps you still have questions. I’m going to try to answer some of the basic ones.

Why is the iliopsoas important?

1. The iliopsoas has a profound influence on alignment of the pelvis. Because of this it has a great affect on posture and coordination in dance. A dancer that moves smoothly and efficiently is utilizing the strength  and stability of their center or core, of which the iliopsoas is an essential component.
2. The iliopsoas is the primary hip flexor for the leg when it is above 90 degrees. The coveted “extension” of professional dancers is powered (in part) by these mighty muscles.
3. The iliopsoas can be a source of injury in dancers who repeatedly perform movements which flex (crease) the hip joint. Strains in the lower back, snapping hips, and leg pain are known outcomes to an imbalance of movement patterns which can be caused when a dancer compensates for a tight or weak iliopsoas.

Let’s get something straight, through. The muscles which make up the iliopsoas play an important role in a few crucial components of dance. While increasing your awareness, understanding, and proper use of these muscles can have enormous benefits, please note that the muscles of the hip, pelvis, spine and upper leg are complex. No single muscle group could possibly be the root of or solution to all of the issues that arise in these areas. With guidance from a teacher who has a firm grasp on the power and function of this muscle group, however, your increased awareness has the potential to lead to those wonderful “ah-ha” moments which can change your dancing.

What and Where is the Iliopsoas?

The iliopsoas is the only muscle (well, technically group of muscles) that attaches to the spine, pelvis, and femur (or, thigh). There are three muscles which make up the iliopsoas. The iliacus, the psoas major, and the psoas minor.

Though it has some involvement in the “lifting” of the pubic bone to correct alignment, the psoas minor has been found to be absent in a large percentage of people (a bi-product it seems of our more sedentary lifestyles). The major players are the psoas major and iliacus. Psoas major is attached to multiple points along the lower spine. It then meets up with the iliacus, which is attached to the illiac fossa (For reference, when you put your hands on your

“hips” you are placing them on the crest or upper rim of the ilium. The iliacus attaches to the inner, concave surface of this large, bony structure). The muscles then cross the front rim of the pelvis and the hip joint to attach to the lesser trochanter of the femur (thigh bone).

Lengthening and Strengtening

When standing, a person with a chronically short, tight iliopsoas will stand with hollowed or swayed arch to the back (which in turn limits turnout and causes other inbalances). Therefore a lenthened iliopsoas in important to alignment of the pelvis and health of the lower back.

Sometimes dancers are trained to engage muscles which are not necessary to hip flexion (lifting the leg) and this leads to a weak ilopsoas. Sometimes the iliopsoas is weak and stronger muscles take over to compensate for this weakness. Either way, practicing techniques that simultaneously strengthen and lengthen the iliopsoas are of benefit to dancers. In addition, making the most of the iliopsoas in your dancing will require visualization and awarenss of how this muscle functions.

How Can I Build Awareness?

The iliopsoas is a deep muscle, running very near the spine and beneath other major muscle groups. Therefore, awareness of the iliopsoas must come through visualization. You will not necessarily “feel” the muscles working and no single image will spark understanding in every dancer. Therefore it is extremely helpful to have a knowledgeable instructor that can guide you through this exploration.

First steps include locating the attachment points of the iliopsoas, visualizing the muscle that runs between these points, and analyzing how the muscle affects the bones and structures to which they are attached. Picture the muscle contracting from the center, moving the attachment points toward each other along the path of the muscle. How would this affect the leg? the spine? the pelvis? Now picture the muscle lengthening with the attachment points moving away. What are the affects?

As you move (in a deep plié, or as you lift or swing your leg), use your mind’s eye to transfer your knowledge to the moving body. Again, a teacher can help you discover and experience images that will help you to use the muscle with ease, fluidity, and power. These visual images may involve water, sand, strings, mechanics – anything that will help you engage the appropriate muscles and release the unnecessary ones.

Further Reading

		On Dance Advantage see also: Lifting the Leg “From Underneath” and Other Impossible Feats

I won’t pretend to be an expert on anatomy or kinesiology. College classes, books, resources, and experiences have shaped my knowledge of the subject. I welcome and encourage the sharing of your own experiences and ideas below in the comments.

Help! My Child Doesn’t Listen to the Dance Teacher!

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.

YouTube’s Young Dancers

Dancing babies and YouTube seem to go together like peas and carrots. And there are some really funny and cute videos out there. Here is a fun little collection of videos featuring talented young dancers that are beyond the baby stage. Some are still pretty darn cute and a few are guaranteed to wow you.

YAGP Junior & Senior Winners

Outfits aside, these two young men have a different style:

Baby Bang – Talang 2007

George Sampson – Britain’s Got Talent 2008

Putting in the practice time

Five-year-old Tap Dancer

Arianalyn in the Studio

Personality! These kids are all a little cheeky.

Jalen Testerman on Ellen

Anaheim Ballet’s Tiny Dancer

The Cheeky Monkeys

This guy gets honorable mention just because he cracks me up every time:

Low, low, low, low

Okay, I have to post one baby video. These kiddos have had their talent digitally enhanced, however.

Roller Skating Babies

I’m sure you have some of your own favorites! Share them in the comments below!

Gracing the Stage — My Interview with Houston Ballet’s Joseph Walsh

I do a bit of writing and reviewing in Houston and it has been my pleasure to have the opportunity to interview some of the area’s finest dance talent. I don’t always cross-post my stuff here but when I get to talk with someone about their training and experiences, I like to share that with Dance Advantage readers. Last season I interviewed graduating HBII dancer Garrett Smith. This season I was fortunate to speak with one of Houston Ballet’s rising stars. Enjoy!

Houston Ballet corps de ballet member Joseph Walsh is having a great season so far.

This summer it was announced that he had been recognized as an emerging talent in dance with a Princess Grace Award. As a recipient he’ll be joining the esteemed company of past winners such as Ethan Steifel, Robert Battle, Gillian Murphy, as well as five previous winners from Houston Ballet (Yin Le, Carlos Acosta, Tiekka Schofield, Li Cunxin, and Martha Butler).

Now, hot on the heels of a performance in Manon which kicked off Houston Ballet’s 40th Anniversary season,  Walsh will perform this weekend as the company unveils Without Boundaries. The program features three works that traverse that sometimes tenuous line between classical ballet and modern dance and will include the world premiere of Artistic Director Stanton Welch’s Elements, as well as company premieres of Twyla Tharp’s In The Upper Room and Jiří Kylián’s Falling Angels. Despite his busy schedule, Walsh took a moment to speak with me about developing as an artist, performing classical versus contemporary works, and attracting young audiences to ballet.

Dance Advantage: First of all, congratulations on being honored with a Princess Grace Award.

Joseph Walsh: Thank you so much! This has been quite the whirlwind start to the season. I cannot say enough about how honored I feel to have even been nominated for this award by our artistic director, much less how amazing it feels to receive it! I will be attending the award ceremony in New York City next month, which is extremely exciting.

DA: I read your essay which was part of the application process for this award and was impressed with your candor. You describe the feeling that the stage sometimes feels safer than the studio. It is said that we are our own worst critics, do you think that is particularly true for dancers?

JW: Absolutely!  Dancing professionally, there is not as much instruction or coaching on a daily basis as there might be in the school in terms of really showing the dancers exactly what to do.  In that respect, self-critique is important because there are so many company members and our instructors can’t possibly focus on every individual as much as they would like. As a student we become accustomed to getting critique in class, but in a company you are in charge of your development; it is up to the dancer to understand how their body is working, what he or she needs to work on.  The mirror is sometimes the tool that helps us to understand that.

“The lesson for me to learn is how to bring the stage to the studio. It is finding the same level of confidence that I have on stage even with all of those “faces” in the studio standing before me, including the one I see in the mirror.” — To view Walsh’s essay visit Houston Ballet’s blog.

DA: You give examples of lessons you are working to internalize so that you can more fully trust your instincts as an artist. Are there steps you take or things you say to yourself to stay focused and confident when doubts creep in?

JW: Although I am still figuring out better ways to keep my focus throughout the process of rehearsing and performing in roles, something like the Princess Grace Award has really shown me that I can have confidence in myself and in the choices I make in classical or contemporary roles, so long as I deliver them in a way that I understand. Also trying to really open myself up to feedback from the artistic staff and other dancers from Houston Ballet has helped tremendously.

DA: In your essay you also mentioned overcoming a fear of leaving home to attend a boarding school for the arts in Massachusetts. I’m a Pennsylvania native and to my younger self, I might well have gone to school on the moon as to leave home for Boston. How old were you?

JW: I was 15 at the time.  I knew ballet was what I wanted to do.  I also knew I had to leave home to achieve my goals in dance by getting exposure to the best training I could. The initial fear was really a perceived fear.  Once I became fully involved in the program there was no time for fear, only hard but exciting work and a chance to perform in a significant way.

DA: Where did your interest in ballet originate?

JW: I have been attached to ballet for virtually my whole life, starting at age three when I was exposed to it while my sister was dancing.  It is actually hard for me to think that there was a time in my life when I did not dance. My interest in dance flourished over the years through intense training and exposure to amazing instructors and great people in the profession.

DA: You are certainly flourishing at Houston Ballet, this weekend you’ll be dancing in two of the three works on the Without Boundaries program; Stanton Welch’s world premiere of Elements and Twyla Tharp’s acclaimed In the Upper Room. Can you tell me a bit about your role in Elements and how it differs from the more classical works you’ve performed?

JW: I am the Element “Air.”  As Stanton Welch recently explained to us, Elements is a minimalist ballet piece, where character is not conveyed so much through acting, but through dancing.  When I contrast that to classical ballet pieces where there is a story line, the dancer thinks of giving more in terms of acting. In Elements we are trying to give exactly what the choreographer wants.  If we give any less or any more, it will lessen the integrity of the piece.

Elements — Choreography by Stanton Welch

Dancer: Ian Casady // Photo: Pam Francis

Dancer: Jonathan Davidsson // Photo: Pam Francis

Dancer: Peter Franc // Photo: Pam Francis

DA: In the Upper Room originally premiered in 1986 and is one of Tharp’s signature works. Why is it significant for Houston Ballet to finally have a Tharp piece in the repertory? And how is this opportunity significant for you personally?

JW: In my view, the introduction of Tharp’s work continues the efforts to bring to Houston Ballet world-class choreography.  Tharp is in that category and it is great to have her work as part of the resume of the company. For the same reason, it is just as important for a dancer personally, to dance in pieces of as many great choreographers as possible.

DA: The work can be pretty fast and furious, driven by the Philip Glass score. What has been the biggest challenge in learning and executing the choreography?

JW: As in most Philip Glass scores it is minimalist, but with much repetition.  Tharp also went along those lines In the Upper Room by introducing a lot of repetition and speed to go along with the score. There are many moments throughout when I will almost lose my place in either the choreography or the music purely because of the repetition in both. It can be a little disconcerting at points, but as we have started to put the piece on stage it has become much easier to handle.  It is an exciting and challenging piece.

DA: Do you think works like those being premiered in Without Boundaries can serve as a gateway for younger audiences to discover and delve deeper into the art of ballet?

I think what you are saying is really the basis of our company at this point; keeping the integrity of the art form while improving on it by bringing new life and energy through these types of pieces.

DA: Offering a little incentive doesn’t hurt either. In fact, Houston Ballet has been trying some new things lately to reach out to a younger audience. They recently launched their Young Professionals program for the “under 40″ crowd. And they have Under 25 Friday night performances for which 18 to 25 year-olds get a steal on tickets – $15 for one or $25 for two. I don’t think it is a secret that patrons of ballet and often dance in general are a more “mature” crowd. Why do you think it is harder to get younger “butts in the seats?”

JW: Young people are simply not as exposed to ballet as they are to popular sports and other forms of entertainment.  There is not the same level of cultural awareness of ballet.  Many younger people still see ballet as a stale art form. This is one reason Houston Ballet is doing exciting and fast paced ballet pieces like the triple bill next weekend.  And of course, approaches like the Under 25 program are helping to make it much more affordable.

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Originally from Pennsylvania, Joseph Walsh trained at Walnut Hill School for the Performing Arts near Boston, American Ballet Theatre and Houston Ballet’s Ben Stevenson Academy. He was a member of Houston Ballet II prior to joining the professional company in 2007, and since then has been featured in a variety of contemporary and classical roles including Lensky in John Cranko’s Onegin, Charles d’Artoise in Stanton Welch’s Marie, and William Forsythe’s The Vertiginous Thrill of Exactitude.

Houston Ballet will give six performances of Without Boundaries at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713 227 2787 or by visiting www.houstonballet.org

In Sleep a King — Farewell to Michael Jackson

For those who are too young to remember him at the very height of his career, I’m sorry. There’s no questioning Michael Jackson’s influence on our current pop music and dance culture. His life was somewhat of a tragedy but his talent was a gift. So, in honor of this icon, I’m taking a moment to celebrate that gift.

A few videos.

First a collection of footage that clearly demonstrates the icon’s signature movement style and its relationship to today’s popular dance.

Second, one of my favorite Jackson tunes. It is impossible not to move when you hear a Michael Jackson song. That is the legacy within his body of work and the part of his life and career that will outlive everything else.

This song’s original music video is on YouTube and worth a watch. It is not embeddable. However, you can find it here.

UPDATE!

“Jackson was constantly nodding to the people before him while breaking ground ahead of him. I think this is the reason why all dancers have a special love for him. He was a dancer to be loved and a lover of dance himself.”

DanceNOWChicago has compiled an excellent series of YouTube videos that illustrate Jackson’s ties to the past. Visit the article NOW! You won’t regret it.

“Thy self thou gavest, thy own worth then not knowing,

Or me, to whom thou gavest it, else mistaking;

So thy great gift, upon misprision growing,

Comes home again, on better judgment making.

Thus have I had thee, as a dream doth flatter,

In sleep a king, but waking no such matter.” – William Shakespeare; Sonnet 87

Farewell, Michael!

Beyond Butterfly Kisses — 12 Tunes for Dancing Daddies and Daughters

Father’s Day is this weekend so in honor of Dance Dads, I’m adding a list of songs that might just be perfect for a father/daughter recital choreography, a wedding dance, or other performances. These range from sentimental to spirited. Hopefully you’ll find something new or a song you’ve never considered before. (And in case you think I’m neglecting these — look for father/son, mother/daughter, and other combinations in the future!)

Father and Daughter — Paul Simon; Surprise

Audiences will enjoy this bouncy tune with its affectionate message without overdosing on sugar:

“I’m gonna watch you shine; Gonna watch you grow
Gonna paint a sign so you’ll always know
As long as one and one is two
There could never be a father who loved his daughter more than I love you”

Daddy — Kristen Chenoweth; Let Yourself Go

This one is a cute jazz number that would be tongue in cheek since the “daddy” in this song is not necessarily a father figure. However, the singer wants “a diamond ring, bracelets, everything” and tells Daddy “You oughta get the best for me.” Play up the superficial stereotype of having Daddy wrapped around his little girl’s (gilded) finger and you could have a cute number on your hands.

My Heart Belongs to Daddy – Sophie Milman; self-titled

There are lots of versions of this song and you could pick one you like but I’m suggesting this version by Sophie Milman because this recent update has a tempo that moves yet maintains the feel of a jazzy standard.

Colorful — Rocco DeLuca; I Trust You To Kill Me

Not an obvious choice, perhaps. The lyrics are ambiguous but couldn’t every father say that his little girl is “the most colorful thing that I’ve seen…”?

Daddy’s Girl — Katey Segal; Room

If you’d prefer something that’s a little bit country, the genre is not wanting for daddy-daughter tunes. But this one from actress Katey Segal may not be as familiar or overdone even though she performed it on the popular sit-com 8 Simple Rules.

She’s a Dancer — Phil Keaggy; Way Back Home

Christian artist Phil Keaggy has a Beatles-esque sound. With lyrics like “As you reach for the sky, love, and pirouette ‘cross the room, just remember that you are my love, and no other can replace the face of you” this one seems pitch-perfect for a dance recital. Keaggy’s lyric is not without Christian references, particularly in the last stanza, so it may not be for everyone but, it is sure to charm most.

To Make You Feel My Love — Billy Joel; Greatest Hits Vol. 3

Lullabye (Goodnight My Angel) — Billy Joel; River of Dreams (or Greatest Hits Vol. 3)

There’s a father/daughter two-for-one deal on this Billy Joel Greatest Hits album. To Make You Feel My Love is actually a Bob Dylan tune and has been covered by numerous artists over the years, including most recently American Idol’s Kris Allen and British singer Adele. These versions are sweet but I’ll always have a sweet spot for Joel’s version. Pick whichever you’d like but a male vocalist will accentuate a fatherly interpretation of this lyric, especially when performed with teen or older dancers.

Lullabye is perhaps more appropriate for choreography pairing a daughter (or daughters) with her father, and could work for both younger or older students. The song has a bittersweetness that any parent in the audience could appreciate.

Sweet Child O’ Mine — Guns n’ Roses; Appetite for Destruction

Dads will feel like the rock stars they are when dancing to this tune. It’s not your average little girl theme but could be a super sweet number all the same.

Winter — Tori Amos; Little Earthquakes

Tori Amos will put a contemporary/lyrical dance spin on the traditional father-daughter dance. It would be interesting to see how fathers could be incorporated into the dance and movement with this one. It is tender without being overly sentimental and if done well might just be a show-stopper.

Wild World — Cat Stevens; Tea for the Tillerman/Greatest Hits (or try the Mr. Big version)

This one may not be specifically written for a daughter but the lyric is close enough that it could work in this setting. Plus, those familiar with the song may enjoy this unique interpretation of a favorite tune.

When The Stars Go Blue — The Coors (with Bono); Dreams: The Ultimate Coors Collection

Again, this lyric is somewhat ambiguous but as a duet that mentions dancing in a wedding gown it could be a lovely father/daughter choreography or wedding dance. Though the Ryan Adams song has been covered by others, I’m partial to The Coors version (and not just because I will be a fan of U2’s Bono “until the stars go blue”) but because of its crisper tempo and the complimentary vocal tone of the duo. This is often found as a live track but the studio version is on the album listed above.

Have your own song suggestions? Add them below!

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