Top 10 List: Reasons Teachers Should Continue their Education

Is the expense to attend a teacher training or summer seminar worth it?

Particularly when money and times are tight, dance educators wrestle with this question. It seems we find it hard to justify spending money or attention on our own development, though we would encourage it for our students. Below is my top ten list of reasons you would want to seriously consider some continuing ed for yourself this year.

1. New Classroom Tools

Teacher workshops directly provide curriculum, music, or methods for your use. As a participant  in technique class, there is opportunity to experience new ways of combining steps, of structuring a class, of delivering a concept. Take notes throughout your experience, borrowing the best from your observations.

2. Remembering What It’s Like

Students feel pressure to do well, they get nervous, they are sometimes afraid to try something new, they struggle with physical or psychological challenges. The occasional reminder of what it feels like to be a student, to push oneself through challenges, to risk and take on something new will bring added depth and understanding to your teaching.

3. Physical Exercise

If you are a teacher, you probably recognize that the physical demands of instructing students is very different from actual dancing. You spend time moving but not as you would as a class participant or performer. A challenging program or class can help keep you in shape.

4. Mental Exercise

Ditto on giving your brain a workout. Teaching can become routine and repetitive. Demanding more of your brain is stimulating and refreshing.

5. Creative Input/Output

Teachers do a lot of giving. Choreography, class exercises, working with students – these things require creativity. However, consistent output without refilling the well of creativity can cause the source to dry up. And creativity does breed creativity. Sometimes even taking the opportunity to create something for your own pleasure (an art class, a writing workshop, crafting, even a choreography workshop) can replenish your reserves.

6. Improved Business

Each new experience adds credibility. Parents and students will appreciate that you’ve made an effort to improve your teaching, expand your repertoire, study and grow. The more diverse your education, the more marketable you become as a teacher. You want to be able to share what you did over summer vacation, too!

7. Networking

A dance-related conference or seminar offers the chance to interact with other teachers and professionals from all over the country or world. Making these contacts strengthens your ties to the dance world beyond your studio, creating opportunities for you and your students. Events in your own backyard can still add benefit. You may develop friendships or connect with those that are willing to donate, offer sponsorship, or collaborate on a project. You just never know.

8. Validation

If you ever feel like others in your life (husbands/wives, friends, relatives) don’t understand your passion and commitment to dance and teaching, here is a chance to be among others that get it! Not only is sharing your thoughts and ideas with these folks restorative but the affirmation you receive among comrades can sustain you through the coming year.

9. Personal Growth

Address your own need for development. Mastery and accomplishment serve to increase self-confidence in your pupils and will do the same for you. And, this could be a separate point but, your willingness to grow and learn will inspire the same in your students!

10. Staying Ahead of Change

The quote below, really says it all. New theories and practices in physiological science are changing the ways dance teachers teach. Dance training, though rooted in tradition, is a vast field – there will always be something new to learn and discover. Staying on top of your game will benefit you and your students.

“In a time of drastic change, it is the learners who inherit the future. The learned usually find themselves equipped to live in a world that no longer exists.” — Eric Hoffer, US philosopher

Though it is a great idea to set aside some funds for you and/or your teachers to attend workshops or summits, I want to emphasize that growth experiences do not have to be pricey or far away. In fact, they may not even have to be dance-related! There is much to be gained from observing teachers who specialize in other disciplines, from opening yourself to new experiences, from simply taking time to create or learn something just for you.

Do you have a reasons or benefits you’d like to add to the list?

What are some experiences you’d recommend to other teachers?

What inexpensive or even non-dance activities have informed and supported your teaching or helped you through the year?

Why and How to Encourage Students to See Concert Dance

Last weekend I attended the final day of the Dance/USA conference held in Houston this year. The first morning session was a topic that is near to my heart – cultivating dance-literacy. Included in the discussion were thoughts and experiences on increasing awareness and knowledge of dance art through dance on the Internet, dance on television, dance in community building and engagement initiatives, dance in politics, and dance in our K-12 and university educational systems. Though I found the discussion enriching, I was a little disappointed that no one mentioned the population of dancers and dance educators that exist in private studios.

Why private studios were not part of this discussion is an interesting topic, but one that I will save. Instead I’d like to share some thoughts about why creating opportunities for students to see live concert dance should be a priority for teachers, studio owners, and parents, and some ideas about how to make concert dance more accessible.

Read This…

Power of Performance: Building inspiration in students through concert dance

in DanceStudioLife Magazine’s May/June issue.

I wish I could link to this wonderful article by my friend Nancy Wozny, but it does not yet appear on the magazine’s website. If you can pick up a copy or, better still — subscribe to the magazine — please do so! In the article three teachers from very different locations within the U.S. describe how and why they encourage students to see live performance.

It’s a topic I’ve discussed in various ways before. However, the quotes in this article richly support my own thoughts. Therefore, I’ve decided to feature several of them here.

Why Encourage Students to See Concert Dance

• Inspiring increased drive and dedication in class

• “When they come back after seeing a show, their focus and drive are off the charts. They see what they can become if they work hard. Although students might be the best in their class, they don’t often see how much further they need to go.” – Melissa Dobbs; Metropolitan Fine Arts Center in Washington, DC.
  

• It is good for your business
  • These experiences show that you care about educating whole and well-rounded dancers. Parents really do appreciate dance studios that make education (not just performing, competing, or even training) a priority.
    
• Seeing dance principles applied

• “There’s something about seeing professional dancers do the things that I am telling them all the time that makes it really sink in. Honestly, I see better dancing after they have seen the magic that can happen onstage.” – Louanne Courtright; Louanne Courtright Dance Studio in rural Michigan
  

• Promoting the ability to discuss dance intelligently
  • Should students plan to dance at all in college (as a major, minor, or otherwise) they will need to be able to critically discuss and write about concert dance. Developing these skills in a topic of interest (such as dance) will help students in whatever academic and career paths they choose.
    
• Learning about theater etiquette
  • As students go out into the wider world, like it or not, they are representatives. What they do or do not learn about etiquette, manners, and conduct reflects on the teachers, communities, and institutions that have reared them.
    
• Exposing students to different dance perspectives, aesthetics, and cultures

• “She recalls the case of one student, Spencer Ramirez, who was committed to jazz dance — that is, until he started going to see modern dance. ‘His whole world opened up after seing contemporary dance,’ says Dobbs. Now a student at The Julliard School, Ramirez was changed by what came into his awareness while sitting in the audience.”
  

• Opening students’ minds to the greater dance world

• “I also want our students to know that dance is more than what’s on television and at competitions.” Melissa Dobbs; Metropolitan Fine Arts Center
  

• Developing lifelong supporters of the arts

• “I want to develop students who grow into lifelong supporters of the arts. If you are not doing that, you are not giving a full dance education.” Michelle Spezio; Spezio’s Dance Dynamics in western New York

A neglected relationship or not, dance artists and dance art feed and influence the work and training within dance studios. And, dance studios are training both the artists and audiences of the future. Choosing to foster this relationship is better for all.

How to Encourage Students to See Concert Dance

Ultimately, I feel encouragement is about removing resistance and making concert dance forms more accessible.

• Organize excursions to local university or dance company performances, or weekend trips to larger cities for live performance opportunities
• Hold fundraisers to cover costs
• Invite touring artists to conduct master classes or workshops at your studio (Students are more likely to attend concerts featuring artists with whom they have a personal connection)
• Announce and post flyers at your studio about upcoming events
• Work within your local community to bring arts opportunities to the area
• Watch and discuss performances on video/DVD. (Viewing parties could be organized as a special event or excerpts could be viewed in class to supplement what is being covered.)

There are more great ideas in the DanceStudioLife article. I will link when/if possible.

You might also take a look at the following articles on Dance Advantage. They offer methods of facilitating concert dance experiences and how to incorporate exploration of dance art in your classes:

• Live Dance Challenge
• Teaching and Exploring the History and Evolution of Dance
• What I Did Over Summer Vacation
• Watching and Discussing Dance

Role Reversal: So What Does It All Mean?

I am still in the midst of my performance. Saturday will be the final show. So, in the meantime, I thought I’d open the floor for another Role Reversal discussion topic. The following video has had a few incarnations (this one was newly revised a few months ago) and perhaps you’ve seen it circulated on facebook and elsewhere online. If you haven’t, take a look:

Obviously, if you’re reading this blog, you use a computer, so maybe I’m reaching out to an already converted audience. However, I know that the technology we use in daily life does not always translate to use in our work or business (or visa versa), and perhaps the rate of change is more rapid than we thought or than we are prepared for. After viewing the video, I’d like to pose the same question the video asks: What does it all mean for dancers, dance teachers, studio owners, movement educators? Does this change the way you look at your job, the way you run or advertise your business, the way you reach out to or interact with students? Are dance educators and studios staying on top of ever-changing technology? Do they need to be? What steps have you taken to change with the times, if any? There is no right or wrong way to answer the question. You don’t even have to stick to the ones I’ve posed. In fact, maybe the video raised some questions of your own you’d like to ask. I’m simply curious to hear your thoughts.

A FREE Download for Parents of Dancers

It often starts innocently with that first preschool dance class. A year or two later, one class becomes two, or three, or four. Before you know it, your entire household’s schedule begins to revolve around classes and rehearsals or competitions. Work, phone calls, and sometimes even meals take place in a studio lobby. Your purse contains bobby pins, hair nets, and bandages. Your taxi (er… car) is littered with stray dance shoes, water bottles, and sequins. Your wallet, on the other hand, is empty! If this sounds familiar, you’re probably a Dance Parent!

If you are a family that has welcomed dance into your household and your hearts, you may have had no idea when you began this adventure that it could become so all-consuming! You receive direction, advice, and even… ahem… orders (nicely stated orders) from other parents, teachers, and even your own child. Yet, despite all of this input, there may still remain the questions and concerns of a parent whose focus is the welfare, health, and happiness of their own child.

Objective Answers

It can be difficult to know where to turn for objective answers to these questions. Fortunately, I’m happy to announce a resource that contains some excellent information and solutions to the frequent concerns of dance parents everywhere. The offer is a free, download-able manual, written by Lisa Howell of The Ballet Blog specifically for parents of dancers. I recently highlighted some of Lisa’s work with Deborah Vogel of The Body Series. Lisa is a physiotherapist in Australia that works specifically with dancers. However, her mission and message reach a worldwide audience through her work online. She is the author of several manuals and resources that are aimed at helping students stay healthy and injury free and arming teachers with a strong base of information with which to guide their dancers toward this aim.

Her Parent’s Manual is certainly geared to those parents who have daughters embarking on a serious and intense study of dance, and particularly ballet. However, much of the information is quite useful for recreational students that take multiple classes, male students, or students taking classes in other disciplines. This is due to the wide variety of topics covered in this 100+ page e-book, which begins with lots of nutrition guidelines and concerns, goes on to speak about the physical development of a dancer, discusses injuries and their prevention, psychological issues in dance and dance training, choosing a school or teacher, and frequently asked questions about beginning pointe work.

A Knowledgeable Parent

Parents play a huge and important role in the education of dance students. A knowledgeable parent is one prepared to make decisions, offer mindful support, and ask informed questions. Ms. Howell’s manual is a quality resource that offers knowledge on important topics. I have read the material and appreciate Ms. Howell’s other work. She offers informative and professional guidance to the dance community.

The Parent’s Manual is not only great for parents but can be a useful tool for teachers in communicating with the parents of dancers. In fact, I have referenced Ms. Howell’s materials in my teaching and when working with parents. That is why I feel comfortable in sharing this resource with you.

To be clear, there are other materials available for purchase at Lisa Howell’s website. I do not currently receive any compensation for sales on these items. This manual has been made available for free to dance parents (and teachers) and I  simply hope you will take advantage of the information offered. I also want to be clear that Lisa is asking that you submit your name and email address in order to reach the link for downloading this e-book. You will be subscribed to newsletter updates which will often contain articles and answers to readers’ questions. I have enjoyed the information contained in these articles, however, you can unsubscribe from these additional emails easily via a clearly marked link at the bottom of the newsletter.

Okay, here’s the link:

Go Here to Download

Lisa Howell’s Perfect Pointe Parent’s Manual

Teaching Piqué Turns

A question was posed during a recent DanceStudioOwner teleseminar – When and how should piqué turns be taught? Given my recent Piqué Turn How-To, I thought I would expand into my process for teaching this turn. I am offering my own thoughts and method which are based on my experiences as a student and teacher and not on a particular ballet syllabus. In fact, much of this approach could be applied to jazz or other dance forms as well.

When and How

As this was the nature of the question, I believe, I am going to stick to explaining my methods for teaching piqué tour en dedans (or pirouette piquée).

My timeline for introducing and teaching both the elements of this movement and the movement itself:

Preschool-8yrs: Students add a passé in their ballet walk practice across the floor. With young ones, I sometimes refer to these as “flamingo walks.” At the preschool level, students practice these in parallel (stretching the knee and pointing the toe on each step). At age 6 students can practice these turned out and later I have them practice pas marché across the floor (with a small piqué onto demi-pointe but without plié on the descent). At this stage I encourage stepping onto a straight leg for pas marché, however I’ve found that not all students do this consistently and need lots of reminding as this requires a lot of control to do well.

6-8yrs old: Students enrolled in a Pre-Ballet class/Ballet class practice retiré facing the barre, then with one hand on the barre (on flat and later demi-pointe), then during centre practice (usually flat only). They also be practice pas marché (as mentioned above).

8-9yrs old: At around age 8 (maybe 7 for experienced dancers) I begin teaching piqué retiré facing the barre. I have students move sideways one at a time down the length of the barre so that they have the support of the barre while trying to find the right reach of the toe that will allow them to step onto a straight leg without lifting the working hip. Later, partially because piqué turns include a swivel of the hip which squares the hips toward the direction of travel (see my explanation of this in a former post), I have the students move their piqué retiré forward with one hand along the barre. In this exercise the hand that is on the barre is the same as the supporting leg, opposite the gesture leg. This allows students to practice the closing of the arm to 1st position (5th en avant – Cecchetti). Be sure that students are keeping the barre arm in front of their body as they move forward.

9-10yrs old: When most students in the class show understanding, control, and good placement while executing their piqué at the barre, I then move this practice to the centre. I encourage the students to try and find their balance on the leg each time, occasionally “surprising” them with a FREEZE! and challenging them to maintain this balance until I say GO! It is important during this stage to remind them to draw the foot down the leg as they descend and to utilize the same working-leg preparation as they would in the turn. (Note: Around this time, I also begin teaching piqué arabesque along the barre and across the floor.)

10 and up: When most students demonstrate good control, placement, and balance in piqué retiré without turning, I then add the turn. If the students have been solid in their practice and progression up to this point, generally this transition is relatively smooth. However, adding a turn is a big change and can “throw off” or “psych out” some students. In this case, be encouraging and remind them that all of the same principles apply, going back to the more simplified version if and whenever necessary.

When piqué tour en dedans has been mastered, I will begin to teach other versions of this turn including piqué tour en attitude, en dehors, and en arabesque (usually in that order).

Progression for older beginners

When working with students brand new to piqué turns (or those who perhaps need some re-training in this area), no matter their age, I begin their study just as I would my pre-ballet students: facing the barre, working on a proper retiré. Older students my be able to progress more quickly, but I follow the same progression, always looking for understanding and application of concepts from the majority of the class before moving on.

Perhaps in contradiction to myself, I want to add that there is something to be said for just giving something a whirl. What do I mean by that? It is OK to occasionally break from this seemingly strict progression and let students (at whatever age or skill level) try things once in a while, particularly in turning. This is because sometimes students’ instinct in turning can take over and actually be a useful tool in teaching or correcting the version without the turn! Also, taking too rigid a stance with your structure may bore students. It is important to find a balance and allow students to see how care and diligence in “the basics” improves and informs their execution of more advanced steps.

A Note on Using Imagery

I’ve found imagery to be an extremely useful tool for aiding understanding and performance of the technical aspects of dance. Some of the images I present to students regarding piqué turns can be found in my last post, but there are certainly others.

I hope you found this helpful. I welcome your thoughts on this progression of study and any other ideas you have on teaching piqué turn. Posting in the comments here opens discussion and allows others to see varying methods of instruction. My way, is certainly not the only way!

Fostering Artistry in Young or Beginning Dancers

I came across a new blog, Design Dance, that coincided with something I’ve recently been thinking about. The blog is for a dance school in Chicago that has a mission to offer classes that not only teach technique but also create an environment that encourages the young artist. Let me just quote a bit from their first post:

After 7 years of being a dance educator and seeing what goes on in studios, I’ve begun to make some guesses as to why this [a drastic shift in focus from dance as hobby/exercise/competition to dance as art form at the age of 18] exists. It’s possible that the reason dance is rarely viewed as an art-form for children the way other art-forms are is quite possibly because the dancers are rarely asked to be artists until they are adults. A painting class for children would never teach a class without asking the young artists to express themselves through painting, so why is it that dancers are not asked to make their art form personal and creative until they are adults?

This was a “Yes!” moment for me and in my comment on the blog, I explained why… Read more

Finding Quality Dance Instruction – Middle Ground

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

• Combo classes. Many say to avoid them altogether. However, they can be useful for exposing younger children to complimentary styles of dance, or providing an introduction to ballet for children who may not choose ballet as their one dance class per week. However, if combo classes are offered for anyone over 8 years old, this shows signs of an à la carte philosophy on dance training. Dabbling in dance this way often results in an unsuccessful and incomplete education. If a student wants to pursue many dance styles and still become proficient, they need to put in the time, something combo classes don’t provide.
• To many, following a ballet syllabus is extremely important so as not to confuse students (not all ballet is the same). However, basic technical principles should serve the recreational student as long as there is consistency within the class, or students are made aware of how the codified techniques differ should they encounter a need for this information.
• A proper dance floor is extremely important to the well-being of the dancers. Dancing on anything directly over concrete subflooring is unacceptable as a long-term situation and instructors must demonstrate precaution for the sake of their student’s bodies in the interim. For the sake of their student’s bodies studio owners should recognize if their current flooring is sub-standard and have a plan in place (fundraising or otherwise) to improve their situation. If they don’t see it as an issue (and they may not if it’s not hurting their business), move on. The same goes for studios that are too small for full-grown students to fully extend their arms and legs, setting up patterns and habits that will be hard to break later. In a perfect world no studio would open with sub-standard flooring. However, if the school is otherwise providing quality education, I consider this area middle ground. Ask questions and make it known that this is important to you. There is a flooring solution out there to fit every space and budget.
• Student teachers are a deal-breaker for some. As a teen, I assisted experienced teachers at my studio for three years before taking over my own classes, and the students were once-a-week students between 6 and 9 years old. Was I really prepared to have my own class? Maybe not, but I worked hard, took care in what I was doing, and learned an awful lot that prepared me for things to come. Therefore, I think a student assistant/teaching program certainly has value. Some guidelines to consider: Preschool classes are best taught by someone with experience in the classroom management of dancers this young. Also, teachers too close in age to their students can cause disciplinary problems. Again, students as teachers are not ideal but a school that is closely monitoring and evaluating their student assistants and teachers on a regular basis may be fostering tomorrow’s educators.
• Age alone is not a reason to move dancers to the next level of dance. In a setting in which students are taking only one or two classes per week and not attempting to learn advanced skills like pointe work, difficult turns, or leaps, advancing by age is not a deal-breaker. Otherwise, I would avoid any school that blindly moves up or holds back dancers because of age, or concedes to class-placement simply because someone requests to take class with a friend. If the school has clear ideas about what their curriculum includes and methods to assess if a student is ready to move on, subjectivity can be reduced and complaining minimized. If a school cannot point to reasons why they have advanced a student, they leave themselves open to question and speculation.
• There are those in the dance world that consider competitive dance studios a red flag in quality training. However, it is my opinion that competitive schools can, and some do, offer quality dance education. Be wary when, like performance, competition becomes more important than the training itself. I’ve witnessed, too often, superficial rivalry, tricks, costumes, and medals replace the reward of cooperation, hard work, self-improvement, long-term goals, and mastering a craft or art form. It is a fine line to walk, and a studio that chooses to compete must take extra care to ensure that students’ appreciation of dance does not depend on the thrill of winning alone. When their winning days are over, the 99% of students who do not become professional dancers still play a major part in the advancement or decline of the art through their support. And if winning and sport was all it meant to them, their dedication to dance may falter when the incentive is gone.

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

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

Finding Quality Dance Instruction – Deal-Breakers

Last time, I wrote about instruction deal-makers. As promised, the possibly more controversial deal-breakers:

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

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

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

Finding Quality Dance Instruction – Deal-Makers

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

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

• Ballet and other traditional dance forms have a clear and appropriate format. For ballet, this means a full session at the barre (less than 30 minutes is not acceptable), followed by work in the centre and across the floor. All dance styles should include a warm-up and cool-down period.
• The teacher offers individual attention, correction, and help by breaking down new or difficult movements for beginners or young dancers. With more advanced dancers, teachers may expect students to have more skill in picking up movements quickly and may spend less time explaining, however, teaching a class still involves refining all details of the movement. Just leading the class without offering input or corrections is rarely helpful to a dance student.
• There is focus and attention given to the upper body, including arms, head, and face even at beginning levels.
• The instructor has an understanding of anatomical terms and their application to dance and explains and shares this knowledge with the class.
• The students and teacher move well, are pleasing to watch (students with a solid foundation can make even new or difficult movements less awkward), and are dressed neatly and appropriately.
• Praise, encouragement, and humor – all positive reinforcements, are used frequently but not indulgently in class.
• Dancers are encouraged to be expressive in their movement and facial expressions without forcing plastic smiles, to listen and understand the musical or rhythmic aspects of the dancing.
• Instructors ask the students to use critical thinking in their classes. This means that they are regularly required to analyze, deduce or problem solve to come to a conclusion about something rather than simply regurgitating an answer.
• Students are encouraged in, or given regular opportunities to view dance performances, observe or participate in master classes, learn about other art forms, and reach out or volunteer in their community.

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

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

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

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

Finding the Right Dance Studio/Teacher – Setting Goals To Determine What’s Right For You