16 Audition Basics and Pointers For Keeping A Positive Perspective

The Basics

One. Be rested so that you can be your best.

Two. Make nutritious meal choices, starting now. Eat a light meal at least an hour before the audition.

Three. Arrive with plenty of time to warm up your body in advance. (Some auditions, particularly for children, may be structured to provide a warm-up. Find out ahead of time. You’ll still want to arrive with time to spare to get familiar with the environment.)

Four. Dress appropriately and neatly in something that flatters you and be ready to shed layers so that the panel can see your body. Unless it is required that you dress a certain way, it is alright to choose a look that shows your personality or helps you stand out. However, use good judgment. Your look should not overshadow your dancing, after all it is your dancing you want to be remembered for.

Five. Be gracious from start to finish (even if the outcome is not what you had hoped). Treat your fellow dancers and audition panel with the utmost respect. Courteously ask questions and take corrections from the choreographer.

Six. Learn what you can about the school, company, team, ballet, or performance for which you are auditioning.

Seven. Know exactly what you will be expected to bring, complete, or have with you at the audition. Be prepared even with items you MIGHT need, like extra hair bands, knee pads, dance shoes, etc.

Eight. Perform it, “sell it.” Even in an audition class, really DANCE IT with expression, enthusiasm, and energy.

Nine. Stand where you can see and be seen without muscling your way to the front. If you are struggling or don’t know the choreography, stand further back until you do so that you can wow them once you’ve got it.

Ten. Don’t embellish the choreography unless you are asked to. If you ARE given this freedom, click here for some tips for making choreography your own.

Next Steps

One. It is okay to be human. To “never” show a mistake seems unnatural, but don’t make a spectacle of your mistakes with a tantrum or grotesque faces or by stopping. If you have covered or recovered your mistake well, forget it and keep going. If not, it is natural, while you are learning or after you have performed choreography, to acknowledge mistakes with a smile, a chuckle, or apology (if your mistake impacted others) and then move on. A light, positive, even joking manner can show that you will be fun to work with.

Two. Have no expectations. Expecting a certain outcome puts your mind in a place and time other than the audition and you’ll need to have your head in the present tense to do well. Clear your mind and dance because you love dancing, not because of the pot of gold that may or may not be at the end of this rainbow.

Three. You have nothing to lose. This is related to #2. If you are worried about what is at stake, then you have expectations that this role, this job, or this opportunity is already yours. You cannot lose what you don’t have. Knowing this, you can relax and enjoy the moment to shine, to dance, and grow with experience.

Four. Say “thank you” after the audition (with a written note or in person if possible) and say “thank you” whether you are selected or dismissed.

Five. Remember that no matter how intimidated you may be by the panel, they want you to do well. They want to have the best dancers to select from and are hoping that everyone walking into that audition is the best they’ve ever seen.

Six. Auditioning is a skill. Audition often and know that you can improve your skills. In fact, you may learn the most from your worst audition. You will likely go through many poor auditions before you are cast, and you will quickly learn that sometimes even great auditions don’t get you the job. Don’t lose faith in yourself.

Remember! You can only be you, so much of the best audition preparation is the everyday work you go through to be the best dancer you can be. Be yourself and enjoy the process!

More Audition Resources

A great article from Charlotte Examiner, Cynthia Beers on How To Audition For A Dance Program

Check out The Ballet Audition Preparation Guide. I don’t have first-hand experience, nor am I affiliated with this guide but here’s what Ginny, a dance mom, had to say about it: “It has a lot about goal setting, keeping a journal of your progress (not just in preparation for auditions, but all year long), along with practical advice about preparing for an audition, what to wear, eat, etc. If a student really took the time to read it and put into practice the advice given, I think it would be helpful.”

Look into this Kindle Edition resource: The Ultimate Guide to Dance/Drill Team Tryout Secrets, 3rd Edition. I’ve actually read a hard copy of this and it is solid information for youth or teens hoping to make the team from a successful and experienced dance and drill team performer.

Get a copy of A Dancer’s Manual: A Motivational Guide to Professional Dancing. I own this one and this 1999 guide is not a large book but it provides a mixture of motivational and practical advice if you are starting out in this tough career. The audition section offers perspective on nerves and attitude, as well as useful information on head shots and your resumé. Other areas covered include contracts, pay, injuries, and dancer fitness.

Curtain Call: The Art and Expectations of Performance Time

The first dance class I took was a tap class when I was 9 years old.  I remember being so excited when I got my costume for the end of the year performance.  I also remember my mom’s shocked reaction when she found out she had to spend  $40 on the costume, $8 on the fishnet stockings, not to mention the money she spent on the pricey tickets and pictures.

IT WASN’T PRICELESS!

The first year I taught jazz class at a studio, I was preparing for the end of the year performance.  I pulled the parents aside and told them that instead of buying pricey costumes the kids could wear different colored tank tops and black leggings.  The parents were disappointed; they were hoping for something with a little more sparkle.  Needless to say I was quite confused.

The end of the year for a dance class can be filled with celebration and lots expectation.  It took me a while to find a balance to meet the needs/wishes of the students, parents, myself and the directors of the school.  Believe me there was a lot of stumbling along the way!

Dance recitals should be a learning experience for the students.

Dance is a performing art and therefore performing is a part of the learning experience.  Performing is not about smiling the biggest or doing all the steps correctly.  It is about being present in the moment, dancing with and not competing against the other dancers on stage, and sharing the mood/feeling/story/dance with the audience.

I once had a student literally fall flat on her face on stage.  She got up and immediately continued.  When she exited the stage she was in tears. I was so proud of her. I told her anyone could learn steps but not everyone could fall on stage, get up and continue.  This was a true step in her dance education.  Performing is a skill you learn by doing; by having the experience.  There is no other way to learn it.  And I was so proud that she was learning these skills so beautifully.  She stopped crying and smiled.  I believe she learned a priceless lesson that day.

As you prepare your students for their end  of year performances think about:

• What do you want them to learn from the performance?
• What skills do you want them to work on?
• What kind of experience do you want them to have?

Share your goals with the parents.  Let them be a part of the process.  Teach them, as well as the students, the art of performing.  Other things to think about:

• Performance etiquette (Give your full attention to the performers on stage.  This means exiting and entering between dance numbers, clapping at the end of each dance, refraining from talking and eating, etc.)
• Proper make-up and hair.  I am not a fan of little ones in lots of make-up and excessive hair spray. Dance is about  movement not hair.  Too much hair and make-up can be a distraction to the little ones.  If they are focused on the bobby pins they will not be focused on performing.
• Let the parents know you will need a moment to say “a job well done!” I think it is important to review with the students what they learned/experienced at the end of class.  This is just as important on performance day.  See if you can have a moment with each class at the end of the performance even if it’s only for each student to say one thing he or she learned or enjoyed about performing.  And it is important that they hear praise from you and maybe something you learned as well!
• Nothing is perfect, nor should it be.   I tell parents and students dance is a performing art not a “let’s tape it and watch it on TV” art.  What I mean by that is it’s about experiencing art – live!  Anything can happen, which is awesome.  It can be scary too. Children’s feelings are important and performing should not be forced but encouraged.  No matter how much we practice, anything goes.  There is no right or wrong;  just a moment to learn and experience something new.

To get back to my previous story about my first year teaching, I think the parents wound up making hats for the kids. So, they wore tank tops, leggings and hats.  In the end, I learned that a little sparkle added to the excitement.  Having some extra pizazz didn’t take away from what I was teaching.  It is all about balance.  The next year I had a tie-dye party with one class and my 5 year old ballet class wore tutus.  I still think it is very important to be budget conscious but also expectation conscious as well.  With everyone on the same page, performance time can be a magnificent time to learn, develop, explore and ultimately have fun!

Pointe Readiness and What To Expect

There is something about these pink satin slippers that entices all young dancers. Not only is there a certain mystique and a well-earned sense of accomplishment that goes along with getting a pair of pointe shoes, but it is often considered a symbol for the student, representing that one has graduated into something “bigger and better.” Despite that the path is sometimes painful and frustrating with prolonged and hard-won rewards, young dancers spend much time and thought getting ready for pointe work. But how will your teacher decide if you are ready? Why might she decide you are not? And what can you expect if you are prepared to bear a pair of toe shoes?

What Determines Pointe Readiness?

As a teacher, it is not easy to tell an eager student that they are not yet ready for pointe shoes. There are many factors involved when considering each individual’s preparedness.

Number one, is safety.

Is the student ready to safely work at this level?

“The bones of the foot are not fully developed, strengthened and hardened until sometime in the teenage years. Naturally there is a great deal of individual variation. If a young dancer attempts pointe work without proper strength and technique, there is a chance that she will permanently damage those not fully developed bones. Body weight times momentum creates a great deal of force.” – When To Start Pointework? via Gaynor Minden FAQ

“Students attempting pointe work before being ready risk, at the very least, building bad habits which may take years to correct. More serious is the potential for injury or permanent damage to the bone or muscle structure of the foot, which far outweighs the risk of disappointment.” — To The Pointe by Janet Parke

General Requirements:

Though teachers may have their own set of criteria, these requirements are widely accepted within the dance community

• At least 11 years of age.
• At least 2 years of ballet training.
• Taking at least 3 full hours of ballet per week.
• Responsible enough to bring all ballet equipment needed.
• Dresses appropriately for class.
• Attentive in class and applies corrections well.

Physical Criteria:

A general (not necessarily complete) list of what you need to be able to DO.

• Maintains turnout while dancing
• Demonstrates correct posture and alignment in positions and while moving
• Shows awareness of proper ankle and foot alignment, avoiding supination (sickling) or pronation (rolling-in)
• Effectively uses plié while dancing
• Stretches or points the foot while dancing
• Can piqué passé with a straight leg
• Can perform repeated relevé in the center without tiring & while maintaining alignment
• Can balance on one foot with the body correctly positioned over the supporting leg
• Coordinates movement well, particularly in regard to varying approach to relevé (from plié, from straight leg, stepping or springing into, etc.)

Attitude and work ethic play a large role in dancing at an advanced level. Students must display dedication during class and a strong commitment to the art form at all times.

What a Beginning Pointe Student Can Expect

Most teachers will take time from class to show students how to properly break-in and care for their shoes.

Some preparatory work involving the increased articulation and strength of the feet is often added to the end of a full ballet class. If students wear pointe shoes at all during this time, it is usually under 10 to 15 minutes.

Pointe work begins at a slow, steady pace with exercises performed only with the aid of a barre.

Even standing in the pointe shoes requires ankle strength and can take some getting used to because of the uneven feel of the sole.

Eventually dancers will exhibit enough strength to complete some steps in the centre, however expect progress to be gradual.

What Pointe Is… And Is Not

Advancing to pointe work is a serious step and should be treated as such by students, teachers, and parents. I have unfortunately worked for studios in which the requirement for pointe work is much less than 3 hours per week and in fact, students were sometimes advanced simply because it was “their turn” to move up. The result of this method is always frustration for everyone involved. At best, students end up “spinning their wheels” in regard to progressing and eventually leaving the barre for centre. At worst, they form bad habits and develop injuries. Pointe work builds upon ballet technique and every struggle, problem, weakness, and deficiency is amplified with this new layer of difficulty. With this in mind, I must state the following:

• Pointe work is an evolution and extension of dedicated and effective ballet training. It is not the culmination of a particular number of years in ballet class, seniority among peers, or even of intense desire.
• Progession to pointe work is not a right.
• Pointe is not for everyone.
• Pointe is not necessary for anyone save those focusing on pre-professional or professional ballet.
• Pointe work is often a positive experience for those ready to devote themselves to ballet.

Responding to a “No”

As parents and students, you should expect no less of a teacher than to instruct logically, carefully, and thoughtfully. Should a teacher’s criteria be unclear, should you have question about what is required or how you might improve, arrange a meeting with your teacher to discuss this. However, make a commitment to respecting your instructor’s judgment and knowledge if she feels you are not yet ready for pointe work. A teacher willing to say no to you has likely put much thought behind the decision, in contrast to a teacher who tells everyone yes.

What criteria do you or your teachers use to determine pointe readiness?

What else might a beginner expect?

Were you ready for pointe when you started?

Guest Post: The Professional Dancer’s Survival Kit

Do you have an interest in taking your dancing to the professional level?

Our guest post today is by Ashani Kiner, an experienced dancer, teacher, and business owner. She is offering sound advice for those who wish to pursue a career in dance.

Here are some inside tips on what you need to survive in your career as a professional dancer:

1. Realistic Expectations

If you think that because you were the strongest dancer at your local dance studio, in your high school, or anything along those lines, that you will automatically be highly sought after as a professional, you will get a pretty harsh reality check when you see some of your competition in the professional dance world. My advice is, know your strengths, and always play them up, along with your uniqueness as a dancer. Additionally, learn your areas of weakness, and work tirelessly on getting stronger in those areas. Understand that there will be auditions and jobs that you simply won’t get based on politics, type-casting, or other non-personal reasons, so you must develop a tough skin in order to survive.

2. Professional Photos/ Resume

This goes without saying. Presentation is everything, so don’t scrimp on your photos. Save up the money you need in order to get professional photos taken. Also, make sure that your resume is in the proper format for performing arts resumes, which is different from the format for a regular job resume.

3. An Education and Other Non-Dance Related Skills

I have a Bachelor of Arts in Dance, and after having that experience, I highly recommend getting a college degree. I also have a B.A. in Hispanic Studies, as I always wanted to have something else to fall back on, in case I ever got injured or something, and could no longer dance. Maybe college isn’t for you, or you can’t afford it. Finish high school, in the least, and involve yourself in professional internships, or other jobs, to develop your skills, and build a professional resume. This will not only help you to have a more successful career as a professional dancer, but it will allow you to have more options when you’re in between dance jobs, or still building your dance resume.

4. An Emergency Fund

Financial pressure is real! Unless you’re living at home with Mom and Dad, or have someone sponsoring your daily living expenses, you’re going to need money to survive. Most importantly, with the many inconsistencies in this business, you will need to have some serious savings to carry you through the slow times and unexpected emergencies. Not to mention, to free you from doing “anything” to make a quick buck, because you’re desperate for money. That’s never a good frame of mind to be in.

5. A Support System

Whether it’s your faith, your friends, or your family, you will definitely need some support outside of yourself from time to time, when you don’t get that job or audition that you really wanted. Or, for those days when you look at your bank account, or how hard you’re working, and wonder if it’s all worth it.

Plus 3 More Survival Tips:

• A Healthy Lifestyle — It is very important to eat healthy and stay in shape. You want to be ready at any time for great, unexpected dance opportunities.
• A Habit of Learning and Growing – From taking dance classes regularly, to learning from online videos/classes, or simply working on your skills/choreography in your home, you must continuously strengthen your skills, feed your creativity, and challenge yourself.
• Tenacity, Persistence, and a Positive Attitude — The only true failure is giving up. Don’t let rejection, other people’s success, or a longer road to your dreams than you expected, get you down. Nothing worth having comes easily. You must fight for your dream, and know that everything happens for a reason. The path that is for you, is specially-made for you only. So, don’t focus on others, on your obstacles, or setbacks, focus solely on being and doing your best in all that you do.

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Ashani Kiner, a New York City native, graduated from Connecticut College with a Bachelor of Arts in Dance. She has 20 yrs of experience in the dance industry and has trained, taught, and performed at the world-famous Alvin Ailey American Dance Center and Steps on Broadway in NYC. She has also taught at Ballet Hispanico, as well as numerous NY Metropolitan area dance studios, public and private schools, and non-profit arts organizations.

She is also the president and CEO of Kiner Enterprises Inc., the first dance teacher staffing agency in the U.S. They provide dance teachers in all genres of dance, with credits ranging from former Alvin Ailey American Dance Theater company members, Broadway and Broadway tour performers, dancers and choreographers for recording artists such as, Ashanti, Beyonce, Kat DeLuna, Hannah Montana, and Snoop Dogg, as well as the Knicks City Dancers, and dance companies including, The Metropolitan Opera Ballet, The San Francisco Ballet, and Complexions.

Follow Kiner Enterprises via Twitter or become a fan on Facebook

Mustering their Motivation: Strategies for Engaging and Inspiring Students

What do you do with an unmotivated student?

Ignore them and hope they’ll go away?

Scream or threaten until you’re blue in the face?

Let’s face it. These students have a way of either zapping or absorbing much of your time and spirit. It can be hard to want to pour more of yourself into inspiring these lackluster learners. But, as a teacher, you feel compelled to instill a passion for dance. So, how can you motivate students in a way that won’t deplete your energy reserves?

1. Build Confidence

Frequently, when kids start refusing or resisting something it is because they believe or are afraid they can’t do it (no matter what kind of attitude or brave face they put on). Do your best not to skip over essential building blocks in technique, performance, and artistry and don’t hesitate to take a step or two backward if necessary. Taking things apart or breaking them down into parts allows students to put the puzzle together one piece at a time, slowly building their confidence through things they can do.

2. Just Ask

Sometimes just changing your approach to students can make a difference. Try asking, in a genuine manner, what you can do to make class better for them – “I’ve noticed you don’t seem to like barre very much. Is there something I can do that will make it more fun?” Their ideas may surprise you! Maybe they’d like more upbeat music, maybe they get tired of doing the same exercises all the time, maybe they get frustrated with too many corrections. Consider also offering choices: “Would you like to do pirouettes or jumps today?” Be willing to compromise and open the lines of communication in a non-threatening and inclusive way.

3. Go Figure

Generally if a student is in your class they like something about dance! Make an attempt to discover what that one thing is. This may or may not be directly dance-related. Perhaps it is a portion of class, maybe it is the thrill of performing, it might even be socializing with friends.

• If there is a portion of class the student enjoys, give him/her positive attention and feedback, especially during this part of class.
• If the enjoyment does not come directly from movement, try to remind yourself  that not everyone will feel as you do about dance, and then find ways to allow your student(s) to enjoy the aspects of dance they are most fond of.
  • For instance, if it is socializing they want, make it a point to encourage socializing outside of class if possible (dance studio slumber parties, pizza parties when students earn enough points for behavior in class, etc.)
  • Or, occasionally in class (quiz days where the students can work together on a vocabulary game, 5 minutes to socialize at the end of a productive class, etc.).

Be Crystal Clear

Be clear when giving instructions and be explicit and firm about what you expect from students. Let students know exactly what you are looking for and/or why you are doing certain exercises. If you expect them to get through a class without leaning lazily on the barre then say so when you set your ground rules. If you expect them to work hard for the 60 – 90 minutes they are in class, discuss the rewards for doing so.

Be dependable so that students know what to expect from you. If they are not meeting your expectations, be consistent about not letting them compete, or perform, or remain in class for the day. If you are not sure you have the power as a teacher to enforce these things, talk it over with the studio owner.

Encourage Critical Thinking

Instead of presenting students with conclusions and then offering examples to back it up, try presenting the examples first and let your students draw their own conclusions. “We have a dress code which requires you to wear a leotard, tights, and proper shoes. Why do you think we ask you to adhere to this code?” Or, “I know practicing the same exercises each week can seem boring. Why do you think we do it?” This engages students and allows them to feel like a participant rather than one who is being lectured. As a bonus, this encourages analysis and synthesis skills.

Make Class Sensational

Dance may seem like it is already a very sensory activity, however, watching videos, looking at diagrams of important bone and muscles, manipulating objects that increase students’ understanding of certain concepts or images, using touch or auditory cues — these things make the class interesting and can ignite curiosity and a desire to learn.

Emphasize Mastery of Skills

Designing a method or methods of assessing skills helps students to set goals for improvement. When these goals are focused on clear levels of mastery, students feel less personal risk throughout the learning process. Their self-worth is at stake when their sole measurement is based upon placement in the front row of a dance, medals at a competition, or comparison to others. Many students will give up before risking making a mistake if they feel their value is dependent on these external evaluations of their abilities. Skill-based assessment encourages self-evaluation and motivates from within. (Click here for more on encouraging self-evaluation)

Perhaps you are thinking. Wait a minute, this sounds like an awful lot of work!

Yes, I suppose if you suddenly tried to do all of these things at once it would be. What’s great about all of these approaches to learning and encouragement is that there is no right or wrong way to get started. Change occurs with gradual steps in the right direction. I often have to remind myself of these core philosophies when dealing with uninspired students. Have patience with yourself. Pick one to try with your classes and take note of how students respond.

Shouldn’t students just do things the way I want them to?

Sometimes I think teachers are inclined to believe that changing tactics for certain students or classes is akin to “caving” or “letting them win.” However, these strategies do not require that you relinquish your principles. In fact, they often allow students to see more clearly the reasons certain standards and ethics are important.

Meeting students where they are is much more efficient than wasting your energy trying to drag them along with you. Though these strategies do take effort, they won’t drain your energy, they may even invigorate you! And in the long run, you may find you no longer need to beat your head against a wall, go hoarse from yelling, or waste time threatening or bribing unmotivated students. Class will be easier for you and your students – you’ll all enjoy the process a lot more!

A Note on Playing Detective in Severe Cases

Sometimes lack of motivation can be a product of even deeper issues than lack of confidence. In severe cases, I try to play detective and get a sense for what is going on. Different tactics work for different kids. Sometimes a talk with the parents is needed. Maybe a one-on-one chat with the student. Perhaps it requires comparing notes with other teachers. Occasionally it’s all of the above.

Find out what they’re afraid of or insecure about and try to remove or alleviate the fear factor. Are they feeling bullied by other students? (yes, girls bully too) Are parents putting pressure on them “from the sidelines?” (also see our life as a dance mom guest post – friend or fanatic?) Are they comparing themselves to other students?

Obviously, as a teacher, you may be limited in your ability to help. Sometimes, accepting that there is nothing you can do and suggesting that a negative or severely unmotivated student move on or try another activity is the best thing you can do for yourself, and for others around them.