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11 Ways To Create A Positive Atmosphere In Your Dance Classes

Guest Contributors — Wed, 31 Aug 2011 13:30:59 +0000

Today’s guest post is by belly dancer, teacher, and DanceCostumes.com writer, Erica Rhodes.

As you may have noticed, Dance Advantage is POSITIVELY focused on getting your dance year off to a great start. So, be sure to check out the related reading links within the article.

There are many reasons students walk in to take their first dance class, ranging from a love of the art to trying something new. Many dance students find that learning to move their bodies helps develop a more positive self-image. It’s not surprising, as learning to feel comfortable in your own body can often times can carry over to all aspects of life.

When students feel good about themselves in dance class, they enjoy their experiences more. This increases student retention and can inspire your class size to grow. You, the instructor, can enjoy knowing that you’re giving back to the community, when your students begin to experience a change, not only physically, but in mind and spirit too.

How can instructors help students think more positively about themselves?

Photo courtesy Brendan Lally Photography; dancer: Letitia, Ammara Dance (www.ammara.ca)

Words of encouragement and a positive atmosphere go a long way. Here are some suggestions to help instructors foster a healthy self-esteem in their students:

Give students plenty of support and encouragement. For many new students, dance is challenging. It can be frustrating when even the most basic moves seem much too difficult. Reminding students that everyone had to start somewhere and even the best dancers in the world faced challenging movements when they started out, as well.
Be free with your compliments. Everyone loves to hear good things about themselves and their skills, especially when trying something new. Make sure to compliment every student , even if it’s not during every class. This can be a great mark of their improving skills.
Eliminate negative talk about bodies. While constructive criticism can help students improve their skills, negative criticism is very damaging to a student’s self-esteem. This is especially important with negative self-talk and negative body talk. Comments like, “You’re so thin!” and “I’m so fat!” can have an effect on the whole class. It’s not just the student that is being spoken about or the student talking about themselves that feels the judgment, but the whole class may feel the need to compare themselves to that person. It’s better to avoid those judgments all together.
Keep criticism upbeat and positive. Delivering all criticisms in a positive tone helps encourage students to improve their skills, but also takes away the sting of feeling like they just don’t get it. The easiest way to keep things constructive is (...)

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The Successful SI: Home Away From Home

Alison Shames — Tue, 02 Aug 2011 13:46:20 +0000

The Summers of a Young Dancer

It is common as a serious ballet student to use summers to train away from home, get exposure to a larger ballet world than your home school, and improve.

Away from home for my second summer, I am attending two incredible ballet intensives, one in Connecticut, the other in New York City. So as I write for you some of the things I’ve learned about summer intensives (SIs) along the way, I am also living it!

Before You Go

Find out as much as you can from others who have gone to the intensive before you.

I have found that people are more than happy to fill you in on details about your program that may have been left out of your school packet. I try to join a Facebook group of other people who are attending my intensives. Though you won’t necessarily continue friendships with all these people, it helps to make connections initially.

Read every correspondence from your school very carefully.

Updates can show important changes that you might need to know.

Prepare mentally.

Set goals for yourself and stay focused on your purpose for going.

A saying I like is “The main thing is to keep the main thing the main thing!“

Do not go with any preconceived expectations or you will surely be disappointed.

As my mom always says, “Hope for the best, prepare for the worst,” and you can handle anything!

Maybe you are hoping to make lots of friends, to really get a ton of attention, have a blast. While all of these things might happen, they may not happen exactly like you expect. Be flexible and have an open mind and you will enjoy whatever happens.

Make sure that you pack (compactly) everything on the list sent to you.

This year I went to a remote area at first, so there was not really a place to get things that I forgot. But always pack as tightly or lightly as you can. Getting through a busy airport, onto a subway, and up thousands of stairs is always easier with less unnecessary baggage.

Alison's home away from home.

Bring things that are familiar and comfortable that make you feel at home.

Of course you will need bedding, toiletries, cleaning products, sleepwear, clothing, dance wear and shoes, but take pictures, a comfy blanket, posters, your favorite perfume, a stuffed animal… whatever you can use to make yourself a home away from home.

Increase your activity in advance to keep up with the rigor of a summer program.

Take some extra classes, run, or workout with cardio and strength training. Get used to eating healthily, keeping hydrated, and getting plenty of sleep. Continue this pattern after you arrive at your intensive and you will feel and perform much better.

When You Arrive

I really think this is the hardest part of the entire summer intensive experience!

Remember, whatever you are feeling, most likely, others are feeling it too.

Have a positive attitude, a friendly smile, genuine warmth and sincerity.

I’ve got along with everyone at both of this year’s summer intensives. Yet, there are those that I am drawn to and choose to get closer to. While you won’t be friends with everyone at your intensive, you will eventually fall into a group where you feel comfortable and that you genuinely belong.

Seek to break the ice and make others feel welcomed and comfortable.

Try not to always be the one that others have to speak to first. I used to wait for others to speak to me but I am getting better at this. Now I try to greet others and make them feel at home. I reach out to anyone who looks lost, alone, or uncomfortable.

Ask others about themselves. Most people feel comfortable sharing about themselves when asked, but not everyone.

Respect others and they will show respect back.

Respect differences, especially if students come from other countries/cultures.

Respect your roommates. Keep your surroundings neat and clean. No one appreciates living in someone else’s filth and clutter.

Respect the rules. Listen carefully and familiarize yourself with school rules and observe their policies. They vary greatly. After all, the school was generous enough to offer you a spot, your family was generous enough to help you get there, now it is your turn to show generosity in the way that you conduct yourself.

Be a good representative. You represent others – your family, your hometown, your particular ballet school/program.

Be wise.

You are not at home so use good judgment.

Never go off alone.

Always let others know where you are going if not at the school or dorm.

Be aware of your surroundings.

Know who is with your group and who is not.

Listen to and trust your instincts about people.

Know good proactive self-defense.

Second Summer Seasoned by the First

As I traveled for hundreds of miles toward my second summer of ballet intensives, I could not help but think of flying to Boston about the same time last year for my first summer away.

Since I started at a late age, it was all totally foreign and new to me. I was just told that I should do it. So I auditioned and chose the school that seemed the best for me in regards to training, scholarships, and overall reputation.

I had no idea what to expect. My mom knew that I must really be in love with ballet because:

I had never, and I mean never, been away to any overnight camp of any kind.

I did not know a soul at this place that I was going.

It was literally hundreds of miles away from my hometown.

Though it’s my second summer away, I initially felt some of those same feelings again: a combination of joy, excitement, apprehension, and outright fear of the unknown situation that lay ahead of me.

Of course now, all my initial fears are put to rest and this is the most amazing summer that I have ever experienced! I am so very thankful for the honor and privilege of going to these two schools.

“Feel afraid, but do it anyway,” when it is something healthy and good, of course.

So that is exactly what I did this summer, and the results have been fantastic!

What was your first summer intensive away from home like?

Do you have more tips to share?

Stay tuned for Part II of Alison’s summer intensive feature. She covers class placement, dealing with divas, and potential ‘home away from home’ complications.

© Alison Shames for Dance Advantage, 2011. | Permalink | Category: Ballet/Pointe, Blog, Dance Styles, Dancing, Featured, Summer Study/Workshops, Training | Who's talking about this article?

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My First-Time YAGP Experience

Alison Shames — Wed, 06 Apr 2011 13:27:03 +0000

A positive attitude and unflinching dedication to dance are qualities that glimmer despite and under all kinds of conditions… even the limitations of 140 characters cannot dim their radiance. It is under these somewhat peculiar conditions that I encountered Balletgirl96. Alison, as she’s known outside of Twitter, at 14 is an intelligent student whose enthusiasm truly does shine, and I think you’ll enjoy getting to know her a bit better as she explores writing beyond the micro-blog here at Dance Advantage. -Nichelle

The grand finale gala of the Youth America Grand Prix (YAGP) just took place March 22, 2011 in New York City. Ballet legends like Jose Manuel Carreno, Yuan Yuan Tan and Marcelo Gomez danced along side current stars such as Viengsay Valdes. Also on stage, were the young ballet dancers, those fortunate and talented enough to make it to the final round of the YAGP competition. Like me, those young dancers aspire to be the next generation of Osipovas, Murphys and Acostas. My hat goes off especially to them because I know how hard they are working, striving, growing and learning. I know this because I am right behind them!

When I began my training two years ago, I had heard of the Grand Prix. It was this world re-known competition that maybe, if I worked hard enough and long enough, I might be able to participate in at 17 or 18 years old, when closer to my balletic goals. I thought it was for only those dancers who were one step shy of becoming a professional, not for girls like me who were serious about training, but with so much left to learn.

Little did I know I was about to experience YAGP firsthand…

After my final performance of Nutcracker this year, my ballet teacher told me she had decided to enter one of my fellow students and me this year for the YAGP semifinal round in Indianapolis. I was shocked, excited, and scared to death! Have you ever seen someone throwing their child in the pool to see if she/he will sink or swim? I felt like that child. Yikes!

Training Begins

After three days off to recuperate from Nutcracker, we began serious training for the next five weeks. I was taught (...)

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© Alison Shames for Dance Advantage, 2011. | Permalink | Category: Ballet/Pointe, Blog, Competing, Dance Styles, Dancing, Performing, Practice, Training | Who's talking about this article?

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16 Audition Basics and Pointers For Keeping A Positive Perspective

Nichelle (admin) — Thu, 02 Sep 2010 18:13:17 +0000

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.

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | Category: Blog, Career, College, Dancing, Featured, Performing, Summer Study/Workshops, Training | Who's talking about this article?

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Curtain Call: The Art and Expectations of Performance Time

Stacey Pepper Schwartz — Mon, 17 May 2010 12:20:32 +0000

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!

© Stacey Pepper Schwartz for Dance Advantage, 2010. | Permalink | Category: Blog, Performing, Teaching | Who's talking about this article?

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Pointe Readiness and What To Expect

Nichelle (admin) — Tue, 06 Apr 2010 12:15:33 +0000

Image via Wikipedia

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:

Image via Wikipedia

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

Image via Wikipedia

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:

Image via Wikipedia

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?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | Category: Ballet/Pointe, Blog, Dance Styles, Dancing, Featured, Health and Wellness, Technique | Who's talking about this article?

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The Professional Dancer’s Survival Kit

Guest Contributors — Mon, 28 Sep 2009 13:00:13 +0000

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.

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

© Guest Contributors for Dance Advantage, 2009. | Permalink | Category: Blog, Career, Dancing | Who's talking about this article?

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Mustering their Motivation: Strategies for Engaging and Inspiring Students

Nichelle (admin) — Fri, 08 May 2009 13:00:49 +0000

Photo by Missy S.

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

Photo by Missy S.

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

Photo by Missy S.

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.

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | Category: Blog, Featured, For Classroom, Teaching | Who's talking about this article?

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