5 Scholarship Opportunities for Dancers

Everyone knows that college can be very expensive. Fortunately, dancers in the U.S. can apply for general scholarships designed for students studying all fields. Additionally, scholarships specifically for dancers can help lighten the financial load of higher education. The majority of these scholarships are school-specific, but here are 5 scholarship opportunities for dancers that can be used at most colleges, universities, and dance programs.

1. YoungARTS Scholarship

The youngARTS scholarship program, hosted by the National Foundation for Advancement in the Arts, is probably the most well-known scholarship program for dancers. Each year, the program awards scholarships that range from $250 to $10,000 to 150 dancers. There is a $25-35 fee to register with the youngARTS program, but most participants agree that applying is worth the time and money, as everyone who applies is included in the NFAA’s Scholarhip List Service. The Scholarship List Service provides colleges and professional schools with the names of all students registered with youngARTS, so having one’s name on the list provides an extra advantage when applying for other dance and art scholarships.

2. Harlequin Dance Scholarship

For students 15 to 21 years old who are currently enrolled in some sort of dance program, the Harlequin Dance Scholarship is another great option. Each year, the American Harlequin Corporation awards a total of $25,000 in the form 20 scholarships that range from $500 to $5,000. Students applying for this scholarship must submit a letter of nomination from a current dance instructor. Scholarships are awarded based on a drawing of all nominated dancers.

3. Princess Grace Awards

For students who have already been dancing at a non-profit school for at least a year, the Princess Grace Awards is a great option. This organization sends scholarship funds directly to the schools where dancers are already enrolled, and may be used towards tuition costs only. Princess Grace grants generally range from $5,000 to $25,000, which is dependent primarily upon each student’s individual financial abilities and tuition costs.

4. Jessica Karrat Dance Scholarship Fund

The Jessica Karrat Dance Scholarship Fund also provides college tuition grants, and is applicable towards all two- and four-year colleges and universities along with all dance schools in the United States. This scholarship is in memory of Jessica Karrat, a dancer who passed away in a car accident at the age of 13. Because this is a memorial grant, large funds aren’t available, but a minimum of one $500 grant is awarded each year to a happy dancer with big talent and even bigger dreams.

5. Worldstudio AIGA Scholarship

The Worldstudio AIGA scholarship program, which aims to increase diversity in the creative professions, is an excellent opportunity for minority and economically disadvantaged dancers. Each year, AIGA provides scholarships ranging from $200 to $2,000, which are based on need, merit, and applicants’ demonstrated activism in social justice issues. The scholarships are available to students who are or will be enrolled in a full-time 4-year undergraduate degree program studying dance or other fine arts.

Special thanks to our guest contributor for compiling this list: Louise Baker ranks online degrees for Zen College Life. She most recently wrote about the best colleges online.

Have you been the recipient of a scholarship award for dance?

If you know of other programs that offer financial awards to dancers, share it with readers in the comments.

5 Must-Dos Before You Apply For A Creative Graduate Program

Years ago the words “Graduate School” and “Dancer” were rarely uttered in the same breath. Nowadays it is becoming more common to associate higher education and advanced degrees with the life cycle of a dancer. Dancers are rarely able to support themselves on pure talent alone– most have to make a living through alternative means. While performance gigs and steady jobs can be taken away in the blink of an eye, an education lasts a lifetime. That is why I decided to take the plunge and continue my dance training while going back to school for my Master’s degree in Arts Administration.  Here are some helpful hints for dancers interested in applying for a creative Master’s degree program:

1. Think creatively about your Graduate course of study
2. Research various Graduate Programs
3. Gain valuable experience
4. Prepare your resume
5. Fine-tune your interviewing skills

Think creatively about your Graduate course of study:

The beauty of Graduate School is that the programs tend to be much more individualized and focused. In many undergraduate programs, the creativity majors tend to be traditional Studio Art, Dance, Theater, etc. There are many graduate programs that take traditional art areas and tailor them to specific career goals and interests. For instance, there are programs in Dance Education, Dance Performance, Acting, Directing, Television Studio Management, Music Production and Arts Administration. Think creatively when deciding what to get your Master’s degree in. There are endless creative possibilities waiting for you!

Research various Graduate Programs:

Like with any new product, graduate programs deserve careful research and consideration. Think of it as a new car. You would not purchase one without first comparing models, makes, years, and of course prices. Once you have decided on your area of focus, research a wide array of schools that offer your desired program. Some schools have an online and on-campus division, so take the time to research what program best suits your needs. If you are working 9 to 5 and have a family, perhaps an online program would best suit your lifestyle. If you are fresh off of the campus life and can’t wait to return, perhaps an on-campus program is just what you need. Research your graduate program like you would a house or a car because in reality, the program will be a second home to you for the next two years or more.

Gain valuable experience:

Experience is a big part of the graduate school experience. It is most likely what led you to a specific program or area of focus. Your experience shapes who you are as an individual student and will help grant you acceptance into top-notch programs. If you even have the slightest idea that you may one day go back to school for you Masters, start gaining valuable and related experience. While work and internships can help in this area, think outside of the box! If you are an undergraduate student, join a club. Take on an executive board position or start an organization for your campus. This shows initiative while building interpersonal skills, managerial experience and a true entrepreneur spirit. If you are currently out of school, perhaps taking a steady roster of dance classes, joining a local choir or teaching dance to young children is a great way to stay current and learn while working. In essence, the more experience you have, the more desirable you will be to graduate school admissions officers. You will also have a greater understanding of why you selected a particular program and how it can help shape your future career goals. Experience is priceless because it can help put your future into perspective and add a bit more clarity to your life.

Prepare your resume:

Now that you have gained some experience, documenting it all is the next step. This can at first be difficult and time consuming, but the payoff is well worth it! All of the experience in the world will not necessarily translate to a graduate admissions officer if it is not well documented. Hence, the resume comes into play! You can categorize it by order of relevance or using a chronological method. There is much room for creativity in format, layout, font, color and the overall presentation of your resume. Think of it as your life experience on paper. You want to cherish it and show yourself in the best light possible. So take the time to carefully write, edit and format your resume. In some creative programs such as Arts Administration, the resume is a major component of the competitive admissions process.

Fine-tune your interviewing skills:

Interviews are a huge part of admission into any school or work environment. With all of the credentials, experience and education in the world, a terrible interview could still cost you big time! So how do you ace the essential interview? Well, start by practicing interviewing yourself. I know it sounds a bit odd, but really go back to your childhood days of having an imaginary friend. Now let that friend be the mirror and let yourself do all of the talking. Practicing in the mirror gives you a small glimpse of how you are being perceived by your future employer or graduate school program director. The mirror does not lie. It will tell you if you look too nervous, are slurring your speech, pausing too long between sentences or excelling in each area. Once you become comfortable in the mirror, perhaps asking a friend for advice would take your interviewing skills to the next level. Have your friend pretend to be the interviewer and you remain the interviewee. Answer sample interview questions (that are readily available online) and find out how you did. You can also practice with family, employers and former teachers. Chances are that every opinion is valid and you can learn a thing or two about how to enhance your interviewing skills. By the time the real admissions interview rolls around, you will be confident, prepared and ready for any question that arises.

Final Thoughts:

Jobs are not forever, dance is not forever, but an education is. Continue dancing, performing and teaching. It is our passion and calling. However, do not sell yourself short! Challenge yourself to research a few creative graduate school programs and see what is out there. There is no harm or obligation in looking. You may surprise yourself and end up finding a perfect fit to compliment your work, family and dance schedule. Remember that an education lasts forever and more creative programs are being created for the creative mind to excel in. You have the power to shape your own educational destiny.

Dance Advantage would like to congratulate Roger on his acceptance to graduate school. Join us in wishing him well as he pursues his degree in Arts Administration!

What other tips would you place on this to-do list?

What are your top concerns regarding the application process for a dance or creative arts master’s program?

Why I’m Psyched For The Dance Teacher Summit

For a long while now I’ve wanted to attend the Dance Teacher Summit in New York City. For reasons beyond my control I have never before been available to go. However, I’m happy to share that August 2-4, I’ll be hanging with some of the best in the business for the 3-day conference.

Seven Reasons Why I’m Psyched

• We’re all in this together. I’ve spent summers at intensives and dance artist workshops, but there is something especially validating about sharing ideas, taking class, and continuing your education with other dance instructors.
• The line-up of dance artists, master teachers, and presenters. Every single one has contributed so much to the dance world and to dance training. Legends and long-time educators like Frank Hatchett, David Howard, Bill Evans, Finis Jhung, Zena Rommett, Denise Wall and my former professor at Slippery Rock University, Thom Cobb. Plus luminaries like Sean Curran, Mandy Moore, Travis Wall, Mike Minery, and Andy Blankenbuehler.
• I’ll be meeting up with some of my best online buddies. Suzanne Blake Gerety and her mom Kathy Blake of DanceStudioOwner.com are presenting again this year and will share their extensive knowledge about running and growing a successful dance studio. Plus, I’ll be seeing my friend, fellow SRU alumni, and blogger, Maria Hanley, and plenty of other Twitter pals.
• Uh, hello! New York City! I’m sad to say since moving to Texas and having a child, I just don’t get back there enough. The Summit will be held at The Hilton near Rockefeller Center and well, all the other great stuff in Midtown Manhattan. (P.S. The Hilton NY has VERY few rooms remaining at the discounted rate for attendees – book now!)
• The event keeps going and going… The hardest part for me will be choosing which of the seminars and master classes to attend. I know that I’ll have to make some coin-toss decisions. Making this just a little less painful will be the post-event Summit-To-Go online access.
• Parties, Performances, and Goody Bags. Need I say more?
• Last but not least, YOU! With something like 900 other attendees, I know at least a few of you will be there and I am thrilled that I will get to thank you in person for reading Dance Advantage! But even if you won’t be attending, I know I’ll be inspired with plenty of new ideas and thoughts that I can share with you and I’m excited that, in that way, you’ll receive a valuable portion of the experience as well.

Wanna Go?

It is not too late to reserve your spot for the Dance Teacher Summit. If you are the last-minute type, you still have time to register. There’s no deadline but it is better to reserve in advance so that everything is ready for you when you get there.

I’ll be sending out a message to Subscriber Plus members via email tomorrow with an exclusive Dance Advantage discount. There’s a quick sign-up form at the top right of the blog if you want to make sure you’re on the list.

If you register THREE teachers from your studio the fourth can come for free.

If you’ll be in New York but cannot attend the seminars and classes you can still walk the Exhibit Hall for free (and get a goody bag). Tickets to the Capezio A.C.E. Award competition, Fashion Forward and the Cocktail Party, and the closing night Gala are available for individual purchase.

There are 4 ways to register, including online. Go to DanceTeacherSummit.com to register now.

If you haven’t made summer plans

Let me encourage you, whether or not you attend the Dance Teacher Summit as I am, to seek out a workshop or conference this summer.

Here are my Top Ten Reasons Teachers Should Continue Their Education.

If you just can’t get to a conference this summer (believe me I’ve been there), here are fourteen other great ways to Activate Brain and Body During Summer Break

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Special thanks to the folks at Dance Media for inviting me to the Dance Teacher Summit. I’m looking forward to a great three days!

I’ll be doing a bit of “live blogging” during the event via Twitter and Facebook so if our geo-locations are crossing, please take a moment to say hello while you are at the Summit.

Don’t forget to let me know in the comments if you are going, too!

Why And How To Teach Anatomy Concepts To Children

Have you ever taught anatomy to young dance students?

You might be thinking, “Why teach anatomy?”  “What will they learn and how will I teach it?”

Let’s answer these questions one at a time.

Why Teach Anatomy?

Since dance is the art of motion, in order to become a proficient dancer one must understand how the body moves from the inside; how the muscles and bones work to leap, turn, kick, stretch and fold. A pretty sophisticated idea for a young dancer. Since learning is a layered experience, introducing  the concepts of anatomy now will allow them to build upon this foundation in the future. As a dancer learns how to plié before he can jump, so to must he understand that the knee and ankle joints allow him to bend his legs.

The more a child understands how her body functions, the more she can develop a sense of her whole body. This ties directly to performance. We have all seen dancers who perform steps but have no connection to what they are doing. Sometimes people say these  performers have no stage presence.  I say they have no body presence. They have no connection to their bodies.

How To Teach Anatomy

This is the fun part. Taking basic facts about bones and muscles, you can turn your dance studio/space into a dance exploratorium!

Simple Facts:

• There are 206 bones in the human body
• Muscles, by contracting and relaxing, are what allows bones to move
• The lungs supply the body with oxygen, and gets rid of carbon dioxide

Activity 1 – 206 Bones

What does 206 look like? A lot of public schools celebrate the 100th day of school. Sometimes kids are asked to bring in 100 paperclips, rubber bands, popsicle sticks, etc. so they can see what 100 looks like. Well, what does 206 look like? Have your students bring in 206 of something or have each child bring in a certain amount of cotton balls so the total will equal 206. The point is for the children to visualize how many bones they have in their body.

See if you can have the students do 206 of a certain movement, like a skip. Have the first student skip 20 times and tag the next student and so on until the class has skipped 206 times. Having them do 206 skips helps them connect to what 206 feels like.

Activity 2- Make a Muscle

Sitting on the floor in a circle, ask your students to show you their strong arm muscles. (They should all look like Popeye flexing their arms and squeezing their fists.) Have them tap their bicep muscles. Let them know the job of the bicep muscle is to move their arm bones. Have them shake out their arms and flex them again.

Now have them flex and extend their knees. Ask them to tap their quadriceps muscles. This is the muscle moving their leg bones. Repeat this several times. Now see if they can flex both their biceps and quadriceps muscles together.

Muscles move bones. Ask the students if they can move other bones with their muscles.

Lastly, have them squeeze every muscle in their bodies! l Let them know the more they use their muscles the stronger their muscles will  get and the faster and longer they will be able to move their bones!

Activity 3- I’ll Huff and I’ll Puff and I’ll Blow Your House Down

Sometimes it is hard to feel what your body is doing but you can see it. Hand out tissues or scarves to your students. Have them hold the tissue/scarf a few inches from their mouths and breathe in and then blow out. Notice what happens to the tissue. Why? You are taking in wonderful oxygen that enables you to breathe and you are sending out carbon dioxide that your body doesn’t need (but plants do!) Do it gently. Now blow hard.

Now dance the story of the 3 little pigs.  The three pigs dance together and build 3 houses. The first one is made of hay, very light and quick to build. They scoop the hay, toss, spin and skip, it is so easy to build.

The second one is made of sticks, its a little heavier and takes a little longer to build. They pass the sticks to each other, climb, connect, reach and fall and reach again.

The third house is made of bricks.  It takes lots of strength to build.  They take lots of deep breathes as they lift, push, pull, twist, reach, balance and climb.

Now the wolf comes. He takes one big breath inhaling in the oxygen and breathing out all the carbon dioxide and the house tumbles down. He goes to the next house and has to take two deep breathes and then the house falls down one stick at a time. Finally, he comes to the house of bricks. He takes a big breath and blows on the house. Again, and again he tries but nothing happens. His lungs are working really hard but the brick house is too strong.

He stomps away and the pigs celebrate with a dance!

What Do Students Take Away?

This is a great question to ask them.

I love to ask my students questions because this is how I learn about them, about myself and how to tailor my classes to reach them as effectively as possible. My guess, however, is that they will learn that there is more to their bodies then what they see in the mirror.  And that is an awesome thing!

Can you think of more ways to explore anatomy concepts with children?

My Dance Homework: Arm Series

Particularly over the summer it is nice to have a few simple exercises that are easy to remember. This particular series builds arm endurance and strength, and is good for a little light toning. It’s also versatile, allowing you to make additions, increase repetitions, or add hand weights when it becomes too easy. Make it a point to do it once daily and I think by the time you get back to a full schedule in the fall, you’ll see a difference in your ability to carry and maintain those arms throughout long barre exercises.

When Is Too Much Not Enough? — The Truth About Well-Rounded Dancers

The Myth Of More, More, More — No Stone Unturned

There is a lot of pressure on parents to help their child get ahead, as if somewhere down the line a child’s failure to get that job, land that role, or succeed at each endeavor could somehow be traced back to that one stone left unturned in the child’s past. As a result, I see a lot of parents out there trying to turn over every stone along their child’s path. It’s exhausting to watch and even more exhausting to attempt.

In dance, this tendency translates into more money, more time, more classes, more performances, costumes, choreography, private lessons… more, more, more. Even studios feel the need to be everything to everyone, responding to demand and striving to supply. As a result, parents have some big questions on their lips…

How many hours spent at the studio is enough? How many competitions are too many? How much money should it take? How much experience should my dancer have in _____? How much is necessary to ensure that I’ve left no stone unturned?

Because the answers will be different for each family and individual, I’m going to help you answer the above questions for yourself. First, by dispelling some myths about dance training.

Myth:

If my child wants to advance or get ahead he/she needs lots of experiences with different dance styles.

Experience and exposure in a variety of dance styles is important for creating versatile dancers and may even be a necessity for aspiring professionals. Being well-rounded in dance is a good thing. Exposure to different dance forms, starting at a young age, is a great thing. So where’s the myth? It lies in the misplaced emphasis on experience and omission of training. Experience and training are two different things, and I’ll add a third level… exposure. To get ahead, your dancer needs a healthy balance of all three.

Exposure = Watching a variety of dancers, styles, and performances; Making contact with other students and professionals; Reading about dance or dance artists

Experience = Getting a taste of alternative ways of moving and patterning dance; Learning a dance; Participating in a performance; Working with master teachers or choreographers;

Training = Engaging in a course of study that prepares a dancer for the physical, cognitive, and mental requirements of codified dance forms/techniques; specialized practice and instruction over a period of time

When parents see a class that incorporates ballet, tap, and jazz in a single hour class, they may think that this is three times the experience for the price of one. Exposure, yes. Experience, maybe. Training, no.

The child in this situation has less time to develop in any one of these areas and in terms of training, often ends up shortchanged. “Combo” classes, or classes that combine two dance forms are not entirely a bad thing. Young recreational students may benefit from experiencing more than one dance style before deciding where to focus their efforts later. However if, later on, their in-class effort and focus on technique is still only 20 minutes because their hour is continually spent on learning choreography and preparing for performances, the value of their experience is diminished. They are no longer moving beyond the experiencing realm, and no amount of performing, competing, or exposure will make up for this.

Reality:

• One hour of solid, well-thought training in a single dance form is better than ten hours of experience.
• Training, whether focusing on ballet, contemporary, jazz, or tap techniques can always be built upon with the addition of other styles.
• An experience can rock your world but it can’t substitute for consistent effort and instruction.
• Good training roots exposure and experience, and allows versatility to flower.

What It Means To Be Well-Rounded

A well-rounded dancer has a balanced education with equal parts exposure, experience, and training.

4 Signs Your Exposure-Experience-Training Balance Is Off

1. Preparing a single dance routine requires months of preparation. (Well-trained dancers are prepared for what is given to them, dancers who only have experience under their belt have a steeper learning curve because they must digest and acquire skills as they go.)
2. Technique is the add-on in your regimen, while classes like ballet or jazz are spent learning choreography in that style.
3. You have lots of exposure but within only a small range of activities. For example, maybe you devour everything about ballet but skip the article on improvisation, or watch major network dance competitions but pass on PBS, or travel every week to competitions but have never seen a live professional performance.
4. You engage in tunnel-vision training (yes, a dancer’s balance can be overly focused on training, not allowing for diverse experiences or exposure).

Take some time to evaluate your child’s training. The time spent in additional classes should be relative to true desire and interest. It is important to build your repertoire of dance styles but look for a studio that sticks to the mission of providing an uninterrupted core of technique classes, while offering a chance to “taste” a variety of performance styles and choreography during workshops, via visiting teachers, conventions, and going to see dance performances.

When Is Too Much Not Enough?

As I’ve begun writing this series a theme has emerged. The query above may seem like a riddle but actually it’s not meant to confound and can be answered in many different ways. Through this series, I hope to continue to address this as an underlying question to your concerns about striking balance in your dancer’s study without turning over every stone.

What are other signs that a dance education is not well-rounded?

Can you think of other myths or questions you might have as a parent?

Confessions of a 28-year-old Grade I Grad: A Look At Cecchetti’s Method

As mentioned yesterday on the blog, Dance Advantage welcomes Lauren Warnecke as a new contributor to this site. Her column Art Intercepts will provide tips for teaching ballet and modern dance technique, discuss injury prevention and dancer wellness, help you sift through current dance research about the body, motor-learning, and developmental psychology, and (as in the post below) cover Lauren’s journey through the Cecchetti method certification process.

Wendy is my friend, former college roommate and fellow dance major, and the quintessential ballet teacher. I’m not exactly sure how she roped me into the teacher’s certification program through the Cecchetti Council of America. I’m not teaching. I’m not dancing. Shucks, I had a ceremonial burning of my leotards a couple of years ago.*  I’m a barefoot dancer who got injured and can’t dance barefoot anymore. By whatever means, my deeply buried inner bunhead was revealed and after nearly 5 years away from dancing and a brief hiatus from teaching while I went to graduate school, last Friday morning I found myself standing in front of a committee of fierce ex-ballerinas in a black leotard, pink tights, and a hairnet.

What Wendy probably knew, but didn’t bother to tell me, is that this was actually the perfect move for me. I had been working on Art Intercepts throughout graduate school, but was otherwise so far removed from dance that everything I was thinking and writing about was, kinesthetically, in my head. Maybe this sounds a bit dramatic, but when I did that first plié it was like every plié I had ever done flashed before my eyes. I was back. Moreover, I was plié-ing with a fresh perspective and a newfound respect for ballet.

What is the Cecchetti Method?

Enrico Cecchetti is among the most influential historical figures in ballet. His method is analytical, systematic, and anatomically sound (given the knowledge of the time). He was Marius Petipa’s right-hand man at the Imperial Ballet and served as Ballet Master at Diaghilev’s Ballets Russes. During his time at the Ballets Russes, Cecchetti established seven lesson plans (one for each day of the week) and by the end of the week the Cecchetti dancer had spanned the entire breadth of the ballet vocabulary.

Inspired by these lesson plans are seven graded syllabi created by the Cecchetti Council of America for students training in the Method in the United States. Each student must test out of his/her grade before moving on to the next one and each grade also has a corresponding teacher’s grade. The teachers must go through the same process as the students, standing in front of two tough broads from the Council, demonstrating the exercises in the syllabus and passing each grade before moving on to the next. The teachers’ exam is more comprehensive in the fact that you have to be able to demonstrate physically and verbally that you also can effectively teach the syllabus to students of the particular age range for that grade. I thought I knew ballet until I was standing in front of the examiners rambling on like a bubbling idiot searching for that one word they are looking for (like salient, or render, or rotation…).

What I’ve Learned:

I probably learned the most from the teachers around me. It’s great to have fresh energy, new analogies, and alternative approaches thrown at you. The two other teachers in my class are actively teaching beginners and so they see first-hand the common mistakes that students in this age group tend to make. I can benefit from the incredible attention to detail paid by the Cecchetti Method and from the meticulous nature of the placement of every centimeter of the body from the tip of the index finger to the pinky toe. It’s tempting to throw out the details and simply say “So what? Who cares if the toe or the heel leads down the back of the leg when closing from a retiré?” Apparently my examiners cared because I bombed this question big time.**

I learned the ins and outs of so many positions and movements and analyzed them in ways I’ve never thought of before. I’ve never paid much attention to the working foot in a frappé or thought about which way works better or how it impacts other steps. I mean, I consider myself a thoughtful teacher, but this program is really hitting it home that the whole of ballet is interconnected. All steps and positions are preparation for bigger steps and more advanced positions. I now more carefully consider the through-line of a class and the importance of carrying certain objectives consistently through the lesson plan–and this is a lesson that applies not just to ballet but to all forms of dance.

I learned that ballet is pretty much awesome. Don’t knock it. It IS possible for ballet, contemporary (whatever that is), and modern dance to co-exist harmoniously. I don’t have to disregard all of my ballet training to be a modern dancer, and vice-versa. They are mutually beneficial in creating a whole dancer–and to advancing and evolving concert dance. I’d like to see a modern dance with a story, and I’d like to see ballet have more emotional content and more body types dancing together. But those changes will never happen if the two forms don’t collaborate. I don’t believe that Isadora Duncan’s objective was to entirely abandon pointed toes and épaulment and nice lines–I think she just didn’t like tights and pointe shoes….I digress.

What I Already Knew:

Training in ballet makes you part of a rich history that includes direct and indirect lines back to the greatest of ballet masters, including Enrico Cecchetti. His Method is one of the most prevalent and perhaps misunderstood styles in classical ballet. Much like Graham technique in modern dance, most of what you find is really “Graham-based” training or “Cecchetti-based” training. By going through this program, the method and syllabus are coming straight from the horse’s mouth–that is–the Cecchetti Council of America. Most dancers (especially American dancers) are trained in ambiguous combinations of techniques that generally come from whatever their teachers learned from their teachers. The fabulous thing about this program is that there is no ambiguity. There are answers for everything, no shades of gray, and very little room for interpretation. Since some of the greatest dancers in history passed through Cecchetti’s own hands, he was obviously doing something right. So from my perspective, if you’re going to train your students in the Cecchetti Method, why not go all the way, teach the syllabus, and send your dancers for examinations to be recognized and endorsed by the Council?

What I’ll Take and What I’ll Discard:

For my own purposes, I am not in a position to teach syllabus classes, nor do I have any direct say over the curriculum of other teachers in my program. That said, there are things that I can take from this experience that benefit me as a teacher and choreographer, such as the phenomenal attention to detail and anatomical harmony of the Method. I’m not sure that Enrico Cecchetti exactly knew how the femur rotates in the acetabulum, but he studied the movement of the body and made very deliberate technical choices based on his observations. What I love about this method is that the exercises are perfectly tailored to be sequential in both warming the body and as a preparation for future steps. I get so nervous that my class isn’t going to warm someone up properly and put them at risk for injury, and this program has given me a lot more consciousness and confidence with regard to sequence and selection of exercises.

The unfortunate truth about the graded syllabi is that Cecchetti himself didn’t make them up. In fact, he never taught student-aged dancers. The meat and potatoes of his work are contained in the seven advanced lesson plans he established at the Ballet Russes. The seven grades were devised by the Cecchetti Council of America who make up the presiding body over the content and preservation of the Method. I was a bit disappointed to hear this and curious to know if syllabi are different in other countries that participate in training students in the Cecchetti Method and have Councils of their own.

Continuing Education For Dance Teachers

There aren’t a lot of options for continuing education in dance. Dance teachers, in particular, have limited choices in graduate school programs, and there is no overriding governing body in charge of training teachers to ensure the highest quality in dance education. For teachers especially interested in ballet, this program has a lot to offer. Whether you are searching for some guiding principles and a fundamental technique to draw from or looking to validate and supplement your own ideas and teaching practices, this program is a relatively affordable and beneficial process.

More than anything else, it is a humbling and emotional experience to perform the same exercises to the same music that were being performed 150 years ago in the greatest of theatres by the greatest of dancers of all time. That feeling is the essence of my love for dance and why dance matters to me most–not the costumes, or the stage, or the accolades and applause, but the simple act of bringing music to life through movement and playing a minuscule part of the rich and glorious lineage of dancers. Thanks, Wendy.

* True story, not just for literary effect.
** For those of you who DO care, the toe leads both up and down the supporting leg and draws a diagonal line from fifth position to the notch at the side of the knee. The foot does not stop in cou de pied because doing so causes the foot to sickle as it closes to fifth.

Interested in the Cecchetti Method? Check out their website and search for the committee in your specific region. Communication tends to be a bit antiquated, so you are best off making phone calls to the members in your region to seek out a coach to train you.  Examiners visit each region approximately twice per year.

Introducing My Dance Homework: Toe Sit-Ups

Let’s get something straight. I’m not a teacher who recommends practicing dance at home. Practice is what happens in the studio under the watchful eyes of instructors. On the other hand when it comes to sections of choreography, which generally contains movements already mastered, I’ll recommend that my students go through it at home (I suppose physically if they truly have the space, but mental rehearsal is equally beneficial). However, I almost never recommend practice of actual dance technique at home.

Okay, now that that is out of the way… As a teacher in my classes and in this online arena, I am often asked by students, “What can I practice at home to improve?”

My response:

No need to practice anything at home. Come to class. Listen and apply correction. Absorb the information given to you. Successful dancers have good teachers but are more importantly outstanding students that love what they are learning and doing.

Before that expectant face drops, though, I let my eager student know this:

I appreciate your dedication and enthusiasm. There are some simple things you can do at home. This is not “practice” and cannot replace any of that work in class we talked about. This homework is prep work that supports the things we do in class.

And with that, I tailor some “homework” assignments for my student based upon what I see as his/her individual needs.

Unfortunately, I can’t do this for you.

I cannot prescribe any “medicine” for things you might be lacking in your dance training. One, I can’t see you. Two, I trust my analysis and assessment skills more when I’ve had the chance to get to know and watch a student. Your teacher is your first/best resource for identifying problems and areas in which you need additional work.

What I CAN do.

I can offer some “vitamins.” Vitamins are good for just about anyone because they are nutritional compounds taken in small doses. And so, I’d like to introduce to you a series I’m calling My Dance Homework… dance “vitamins.”

• I will most often administer these via video (and I hate being on camera so this is a big deal).
• They will be practical for just about any student.
• They will generally be off-the-cuff teaching moments
• They will not always be ‘vitamins’ for your physical improvement… dancers must grow strong, healthy brains too you know!

My Dance Homework, Take One:

Toe Sit-Ups

This is brand new, so please do let me know what you think of the series either in the post comments or at the Dance Advantage YouTube Channel. I like to share “favorite” videos via YouTube as well so if you like what you see, subscribe and get updates when new stuff is posted!

Equation for Growth: Recalculating Problems With Parents At Your Studio

What do you get when you add the parents at your dance studio plus the myriad of problems that can arise?

Some people would say headaches!

However, we owe much of our accomplishments and innovation at our dance studio to parent complaints and concerns.

In mathematical terms, parents are constants not variables. They aren’t going anywhere. They are a staple in the dance studio business. They want the best for their children. I’m a mom, I can relate on so many levels. But what a parent wants for their child is not always what works for dance studio owners and teachers. From disagreements on class placement, teaching style, audition results, solo choices, costume picks, music selection, and payment plans to planning rehearsal schedules, the moms and dads will often have an opinion about how it should go.

What I see happening more often than not is that dance studio owners and teachers want to make problems go away. Trust me, I don’t wake up in the morning hoping to get an email or phone call from an irate parent, but it’s in the way you view and handle problems that true growth and success can occur.

Here are three things that you can do that are likely to transform the way you think about problems with parents and make a positive difference at your dance studio:

#1. Regard Every Problem as an Opportunity to Grow

I’m not saying every parent is right!  But what I am saying is that when a parent brings up a problem or complaint, it is an opportunity for you to really take a step back and look at the situation and see if their suggestions may actually help you improve.

Dance studio ownership is a very personal business, it’s hard not to get defensive or take complaints and concerns to heart. Trust me, I have shed my fair share of tears over events that have left me asking ‘why bother?’  Here’s where you have to dig down into your commitment to success.

If you are running a business, you will ALWAYS be problem-solving. Trying to make problems go away is an exhausting battle never to be won.  Instead, when faced with a problem consider it a wonderful opportunity to improve, add something, try new methods, or entertain a different approach. Be open and grow.

#2. Have a System for Communicating Concerns

When a parent doesn’t have a clear path to direct a concern, they will go and find just about anyone that will listen to them. From the first moment a student registers at our dance studio we let them know that we are more than open to receiving their feedback and we show them where we keep a parent-student concern form that they can fill out and return at anytime. Upon receiving these forms we set up a meeting to discuss the concern.

The ‘no gossip’ rule nips problems right in the bud. Train your faculty and staff to be aware when walking through waiting rooms or around the studio. When they hear gossip or when a concern is mentioned, have them invite the parent to set up a meeting with you or your director to personally address a problem. Encourage everyone to take their concerns to the people that can do something about it at the studio.

Complaints and expressed concerns might also be considered contributions. When you are open to receiving, rather than avoiding, shutting down, or making it wrong to voice a concern, you create the opportunity to be the talk of the town for all the right reasons.

Your students and parents will gladly refer you to others if they know that any complaint or concern large or small will be heard. Again, this does not mean you are changing policies for parents just because they have a concern. People want to be heard, receive their communication, then decide how to proceed.

#3. Give Big Problems and Issues the 24-hour rule

One day you can be dealing with a huge issue and feel like the world is crashing in and everything seems to be going wrong… and then you sleep on it.  Have you noticed that more often than not, the next day everything seems in perspective and less daunting?

We made a rule at our dance studio with our faculty and staff that whenever we are about to consider an exception to a rule, a policy change, or send communication to a parent as a result of a meeting or concern that we give it the 24-hour rule. This helps immensely when it comes to taking the emotion out of a situation. In fact, Nichelle mad a similar recommendation in her article for parents on How To Talk To Your Studio Director And Be Heard. It’s easy to get a voice-mail or e-mail and want to reply back with a quick judgment. Instead, at our studio we set up a meeting, hear all sides of the issue with the parent and student, and then after 24 hours make a decision.

However you structure it, adding that time makes a big difference in your ability to see the big picture and make choices and decisions that are best for everyone involved

“I don’t know the key to success, but the key to failure is trying to please everybody.” ~ Bill Cosby

The truth is, you can’t make everyone happy.  Nor can you retain 100% of your students from year to year.  That’s just not how it works. What you can do is learn and practice being great with people.

When you learn how to handle the angry, irate, mad, frustrated, and completely irrational parent in a way that sets your dance studio up for success you will be positioned for growth. For those parents that you just cannot make happy or arrive at a solution for – graciously suggest a dance studio that might be able to accommodate their needs.  Sometimes your studio’s vision and values are just not the right fit for their dancer!

Surround yourself with a supportive team of faculty, staff, family, friends, and colleagues that believe in your dance studio vision and mission. Give big problems and issues the 24-hour rule before making a decisions. Have a system for communicating concerns at your dance studio and most importantly see each problem as an opportunity to grow!

How have your studio parents helped you grow this year?

What are some ways you’ve kept things positive when it comes to parent concerns?

You Just Might Find, You Get What You Need

In education, in leadership, and in business the words “want” and “need” come up a lot.

Education: I give you what I think you need.

Business: I give you what you want.

A successful blog and, if I might go further, a successful dance studio, must live in the place where these circles intersect – a junction I’ll call

Leadership: I give you what you need.

Today I am celebrating Dance Advantage’s second birthday. Yes, April Fools’ Day. I’m aware there may exist some irony there. Anyway, initially my goals for this site probably leaned most heavily toward education. Much of the content, though a percentage fills a need, has been what I think you require… what I feel you should know.

If my only goal was marketing to you, I would give you only what you want. You would like it, in fact you would probably eat it up. But that model is more benefit to me than to you and, while it might better support my needs of increasing traffic or revenue for sustaining this website, Dance Advantage was founded with a mission to support you, not sell you.

As I begin my third year of blogging, I recognize that what I really want is to give you what you need. It’s a funny thing about leadership, that it demands the willingness of both “followers” and leaders to be led by the other. But I don’t really like the word followers. I’m not looking for disciples, devotees, or minions, but compatriots. Fellows not followers.

So how does a fellow figure out what you need?

(S)he asks. Duh!

So, I need you to answer one question for me:

Is there anything you want me to write about?

• An easy and anonymous way to do this is to click on the SUGGESTIONS tab on the right side of the webpage. Or, go directly to Skribit and let me know.
• If you are an email subscriber, feel free to simply reply to the emails you receive – they come to my address. I’d love to be on a first-name basis if you’ll allow me to be. It serves to help me in this mission of addressing needs.
• If you are a Facebook Fan, I’ve set up a discussion area just for this purpose. You can find it here on the message board.
• If you are on Twitter, tweet or DM me anytime — as long as you can say it in 140 characters

You may choose to stay quiet. Just be warned, I do not have telepathic powers.

If you aren’t getting what you want from Dance Advantage, there’s only one way to fix that. Choose participation and most likely, you’ll get more of what you need.

What If You Don’t Know What You Don’t Know?

This is where education comes in. Were I to only ever give you what you know you want, then you’d never know what you are missing.

Many of you reading are teachers. Would this fly in your classroom? What you don’t know sometimes CAN hurt you. So, I feel I’d be remiss if I did not sometimes give you what I think you need.

Part of being a good teacher though is determining true need rather than presumed need and this is where goals come in. Knowing a student’s goals or aspirations helps me efficiently guide them to the path and then get out of the way so they may travel on it.

In the name of education, and if you are still with me…

What are your goals? For your dancing, for your teaching, for your studio, for your career?

I’d love to help you find your path. You can let me know your goals in pretty much the same ways mentioned above. For anonymous submissions, try this.

I will do my best to answer as many questions in actual blog posts as I can. I may not be able to get to all of them, but I’ll try.

Why?

Because it is good education, good business, and good leadership. And because it is part of my renewed commitment to myself and to readers that Dance Advantage stay true to its purpose and be of service to the dance education community.

“We cannot hold a torch to light another’s path without brightening our own.”

~ Ben Sweetland

You have brightened my path, and to anyone who has read even one sentence of what I have written in the past two years, I thank you. My supreme gratitude for those who support and encourage me each day. I hope to hear from you all soon!

Song Lyrics

I’d love to know how you blend good education, business, and leadership?

Musicality In Dance: What Is It? Can It Be Taught?

What Is Musicality?

Musicality in dance has two main components. Receptivity and Creativity.

Musical receptivity is ones ability to receive, comprehend, be sensitive to, and have a working knowledge of musical concepts like rhythm, tempo, phrasing, and even mood.

Musical creativity (or musical artistry) is the ability to connect with accompanying music, interpret it, or phrase and add movement dynamics that relate to music even in the absence of accompaniment, in a way that is unique or interesting.

Musicality in dance then might be considered a measure or degree to which a dancer is receptive and creative in his translation or rendering of music through movement. It is a key ingredient in a dancer’s display of artistry (more on developing artistry can be found here).

Can Musicality Be Taught?

In a previous blog post I offered my thoughts on How To Develop Musical Awareness In Dance Students. Within the article I shared some reasons why it is important to help your students improve their musical receptivity and offered a few methods to help bridge the gap in experience and increase students’ sensitivity to music at any age.

In the comments Deb, always a thoughtful reader and responder, pondered if teaching musicality was even possible especially for those don’t seem to be born with a musical gene. I’m sure we’ve all had those students that certainly made us wonder! I had to consider what I’d witnessed, eventually weighing the effects of nature versus nurture in my own experiences. This was my answer:

I think that what we consider “natural” ability is mostly learned in a sense, albeit for some very early in life. My son at 2 already displays a very “natural” sense of rhythm and musical awareness however he also heard and felt music and movement from within my body as I taught classes, we dance around our home, music is often a part of our daily routine… Perhaps it goes back to those synapses that people form very early in life, why its best and easiest to learn languages at a very young age for example. Music is another kind of language and those neural pathways are opened through exposure and experience when we are young [sometimes very, very young]. As we get older it may be harder to carve out those pathways, just as it harder to learn a language as one gets older. But I do think it is possible to develop greater musical awareness and comprehension in students with time and exposure (and a willingness on the part of the student since learning is of course a two-way street). Will those that are not “naturals” ever catch up with those that are? Maybe, maybe not, but it’s worth a try.

Though babies show a preference for moving to a rhythm, even in this recent study [Babies are born to dance to the beat - telegraph.co.uk], it seems individuals display varying degrees of accuracy. In thinking more on this topic, I realized that there will always be degrees of potential and talent, which may be either naturally genetic or nurtured very early. Either way, as teachers we can establish greater receptivity in our students by giving them the opportunity to be receptive. We can provide plenty of practice so that they have the tools to expand their musical creativity.

How would you define musicality?
Can musicality be taught?

More thoughts and tips on teaching musicality:

Musicality in performance — 7 Secrets of Super Performers

“While counting can be important sometimes for finding moments of precision in a dance, musicality in performance is expressed through more than just counting beats. In fact, while counting, it is easy to forget that a beat includes not only the sharp “tap” of a particular rhythm but also the space between those taps, just as all movements include transitions and shifts of weight between desired “shapes” of the body. Exciting and musical performers fill these spaces in the music and movement, not letting the energy or intent drop between shapes or between counts. Enjoyable performers also utilize dynamics in their performance. Resisting “sameness,” as they dance, they incorporate…”

Musicality in jumping — Vertically Challenged: Improving Your Jumps

“Awareness of your breath will improve your height and help release excess tension. Also, listen while you’re jumping to the timing and tempo of the music or rhythm accompanying your movement. Try clapping in time with some music, making circles…”

Musicality in choreography — How To Make Choreography “Your Own”

Tools for connecting movement effort to dynamics and time — Teaching Dynamics: It’s All In The Effort

Encourage a bit of experimentation — Set Your iPod to Shuffle

Teacher’s Top Three: Little Movers

Maria Hanley holds a Master’s degree in dance education from New York University and a Bachelor’s degree in dance performance from Slippery Rock University in Pennsylvania. She is an independent dance educator around New York City and is currently a teaching artist in public elementary schools for New York City Ballet. In addition, Maria teaches tap and creative dance at Mark Morris, she is a movement specialist for 2-3 year olds at York Avenue Preschool and teaches the ballet program for young families at the Jewish Community Center in Manhattan. Recently, Maria has started her own creative ballet classes called Maria’s Movers for young children.

You may remember the feature I did on Maria’s blog Move.Create.Educate., one of my favorites because Maria is journaling her daily experiences, inspirations, and challenges as a teacher. This time, I wanted to pick her brain a bit and find out which three CDs she just couldn’t live without in her work with young children. Here’s what she had to say:

“If you are a teacher you probably know how hard it is to find great music to use in your classes that are all on the same album. Here are my top 3 picks that have it all. They are creative, inspiring, and leave a don’t-forget-it-at-home impression on me. I am always looking for new music to spice up my classes, so I hope these will help you! I tried to feature a little something for everyone!”

Maria’s Top Three

1. Wee Sing and Pretend

This is my all time favorite. I use this in all of my preschool classes, creative dance classes, and baby ballet classes. It has everything from a dinosaur dance to a song about a washing machine. Every song takes young dancers on a new adventure, or to a new place. I love it most because it gives room for their imaginations to grow, my philosophy as a teacher of young ones.

Note from Nichelle: Incidentally, I happen to use this CD with my little ones too! The variety of topics is a really nice feature. To adult ears, I have to say they may not seem like much, but my kids got really attached to the ones I used in class most often — particularly Row, Row, Row Your Boat and Jack-in-the-Box.

2. pas de tot

This CD is a great addition to a PreBallet class. I use it for everything from teaching the positions to across the floor steps like chassé. There is a song for every exercise and it even repeats the song over for teaching the other side or repetition of a step. I love to use the Reverence song to end my class. It’s such a refreshing CD to have on hand whenever you are looking for the perfect song!

3. Tap Your Troubles Away

I love this CD because it has something for every level. I use it for the little ones, right up through the teenagers. I find it to be progressive through the exercises and many of the songs have an even beat for counting purposes. I love to choreograph combinations and parents day showings to this CD. A well rounded CD for any tap teacher!

Bonus!

Maria couldn’t resist sharing a few more recommendations. Check these out too!
Baby Jamz: Nursery Rhymes, Vol. 1: Solange Knowles
Wake Up and Wiggle: Marie Barnett

Do you teach little movers?

What are your Top Three?

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