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:

1. 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.
2. 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.
3. 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.
4. 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 (...)
   
   Continue reading "11 Ways To Create A Positive Atmosphere In Your Dance Classes"
   
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   ]]> http://danceadvantage.net/2011/08/31/positively-focused/feed/ 5 http://danceadvantage.net/2011/07/26/a-dancers-steps/ http://danceadvantage.net/2011/07/26/a-dancers-steps/#comments Tue, 26 Jul 2011 13:42:44 +0000 Nichelle (admin) http://danceadvantage.net/?p=12517 “Sometimes in ballet it is easy to recall the corrections, but it is harder to celebrate the successes.”

   Fellow dance teacher Nants Foley wants to help her students do both. And so, she suggests they keep a journal of their progress in class and write down their combinations and corrections.

   She’s created a special book for her students, including space for recording their class work and progress as well as additional content like checklists, quotes, ballet vocabulary, foot care, and more.

   Thinking (and rightly so) that other students and teachers might benefit from her efforts, she has published the 70-page journal and workbook and is making them available beyond her own dance school.

   I know many of you are actively aware of the value of logging your progress in dance and some use dance diaries as a tool with your own students. So, I caught up with Nants to talk with her about A Dancer’s Steps and ask how she encourages journal-writing in her own ballet classes.

   Dance Advantage: Give us a little background on your dance history.

   Nants Foley: I have been dancing all my life, though never professionally.  I was fortunate enough to train under Olga Ziceva and Richard Gibson in San Mateo, CA for many years, though I chose college over career in dance.

   I came back to ballet seriously 15 years ago when my daughter was 6. I live in a small town in the central coast region of California.  I wanted her to have the same great training I did and there were no teachers!  I found my excellent training and my background in business teaching made me a valuable resource in the dance community.

   I am blessed to be teaching at San Benito Dance Academy in Hollister now.  It is a studio with a commitment to excellence and a mission to nurture the bodies, minds and spirits of its students.

   DA: Did you keep a dance journal throughout your own dance training?

   NF: When I was young, people kept diaries and scrapbooks. I had a scrapbook where I kept all things ballet related:  Ticket stubs from performances I attended, pictures from favorite dancers, the combinations I was working on.  I still have it and it makes me smile.

   

   The Artist's Way on Amazon.com

   
   I have used journaling as a creative tool ever since discovering Julie Cameron’s The Artists’ Way years ago.

   DA: Ah! I’m familiar with and have practiced some of Ms. Cameron’s techniques.

   When did you first start encouraging your students to bring a notebook to class with them? Do you require it?

   NF: Right now I am doing our summer intensive. This is the first time a notebook has been required.  They may bring any type of notebook.

   I have been encouraging it for awhile, and many already had developed the discipline to use one.  I made it mandatory because this intensive is really intense!

   DA: What does the process do for the student?

   NF: The use of a book is an exceptional tool for many reasons.  Students write their combinations so they can practice at home.  They make note of their corrections so they can review them before their next class.

   These are some of the obvious benefits day to day.  But the most important component is that they have a snapshot in time of where they are in their ballet education and growth.  In ballet, it is so easy to focus on what one is doing incorrectly or poorly.

   The writing process allows them to go back and reflect and remember, allowing them to see how far they have come in their journey.

   DA: How do you incorporate and encourage the use of this journal in your classes? Do you give them “homework” in each class or, is what they do with the notebook pretty much self-led?

   NF: What they do with the notebook is self-led.  It is a tool offered to them.

   The truly dedicated students go for it. I don’t give them homework with one notable exception.  I work a lot with students on how to set goals.

   For summer intensive, each student was required to set three goals.  These were written in the notebook.  They also wrote the specific action items needed to achieve each goal.

   There is a time limit…the end of the summer program.  Already we have seen several students complete a goal they set at the start of summer.  It is really inspiring for them, for the other students in class and, of course, for me!

   I set three goals for myself:  To regain my right split, to lose 7 pounds and to eat 5 fruits or vegetables per day.  I’m doing really well on all three!

   DA: Congratulations! I am a total advocate of goal-setting. I’ve used goal pages and journaling in my own classes and find myself talking about it a lot when students e-mail asking for advice. It’s all over Dance Advantage – for lesson and career planning, too.

   What has been the most rewarding feedback you’ve received from students about keeping their journal?

   NF: There has been lots of it!  The completion of goals is huge. The parents are noticing the change in their children and sharing it with me.  And my personal favorite is when a student asks me to autograph a copy of my notebook!

   DA: So, back to A Dancer’s Steps. At what point did you decide to put together the book?

   NF: I looked for a journal like this for my students, and found nothing .  There are fabulous ballet reference books.  And beautiful journals abound.  I just couldn’t find the two things combined.

   DA: Do your dancers use them in class?

   NF: My dancers use them in class daily.

   I have a short break mid-class, and many take the opportunity to write in them at that time.  I have a weekly set barre and center based on a theme introduced the first day of the week and repeated without further discussion all week.  There is a lot of writing on the first day of the week!

   DA: The book is a mix of content and open spaces. How did you decide what would be in the bound workbook?

   NF: I included the reference information I would have liked as a young student and my favorite quotes found over the years.

   My undergraduate and graduate degrees are in architecture and design, so I enjoyed playing with the design of each page, choosing the form and the function I felt would be most usable for students.

   DA: I really appreciate the design. It’s simple and attractive without being too frilly – good for all ages and genders even.

   Which is your favorite section?

   NF: I think the whole piece on SMART goals is the most valuable piece.

   If we don’t have written goals that are truly achievable with a time limit, we only have dreams. “Someday I will be able to do the splits…or a triple pirouette…or be able to jump for 3 minutes without stopping.”  I encourage the use of goals in all areas of life.

   DA: That would be my pick too. I think I’ve found a kindred spirit in you, Nants! Thanks for sharing your thoughts and your journal with us.

   If you are a student or teacher and would like a copy, contact Nants at

   A book shipped to an individual is $12.  They can be paid for by sending the money through PayPal.

   Copies of A Dancer’s Steps: a Ballet Journal and Workbook are sold at San Benito Dance Academy for $10.

   If a teacher or studio would like to purchase these for their class, Nants would need about two weeks lead time.  There is a discount for multiple books. Just contact her via that e-mail address above.

   Do you keep a dance notebook or journal?

   Do you require or encourage their use in your classes?

   What do you put in your journal?

   As you know, Dance Advantage values highly any tool that helps students log their progress and self-examine the learning and creative process. Having been sent a copy of A Dancer’s Step for review, Nichelle feels it is worthy of recommendation.

   DA is also excited to announce an upcoming project and e-course that is designed to help you reach that next level in your dance study with a mix of goal-setting, progress recording, creative writing, and more. We will unveil this very soon. Please stay tuned!!

   

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   © Nichelle Strzepek for Dance Advantage, 2011. | Permalink | Category: Blog, Dance Bag, Dancethropology, Dancing, Practice, Product/Website Reviews, Terminology | Who's talking about this article?

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   ]]> http://danceadvantage.net/2011/07/26/a-dancers-steps/feed/ 3 http://danceadvantage.net/2011/01/20/dancesolutions-2011/ http://danceadvantage.net/2011/01/20/dancesolutions-2011/#comments Thu, 20 Jan 2011 14:30:21 +0000 Lauren Warnecke http://danceadvantage.net/?p=9728 Happy New Year!

   Art Intercepts is a monthly column brought to you by dance artist, educator, and writer Lauren Warnecke (that’s me!).  Nichelle and I were discussing the schedule for this year and she brought to my attention the many goals and questions that DA readers have submitted to kick off 2011.

   I’m taking some of these“dancesolutions” head on this year.  You have expressed a desire to improve your technique, avoid injury, and increase flexibility.  Those of you who have visited my column before know that these topics are right up my alley!  Over the next four months, look for tips and solutions to help YOU achieve your goals this year!  Here’s a sneak peek at what’s in store:

   February

   “The stem of aplomb” explores proper placement, posture, alignment and the life source of dance: the spine!

   March

   “Knees, please” takes a look at common knee injuries and practical tips to prevent them.

   April

   “Look mom, no hands!” The science of standing up; best practices for better balance.

   May

   “Achilles Heel” introduces you to one of the most infamous body parts in dance.

   What is your “dancesolution”, or challenge you want to overcome, for 2011?

   

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   ]]> http://danceadvantage.net/2011/01/20/dancesolutions-2011/feed/ 7 http://danceadvantage.net/2010/10/11/quality-quantity/ http://danceadvantage.net/2010/10/11/quality-quantity/#comments Mon, 11 Oct 2010 13:31:55 +0000 Nichelle (admin) http://danceadvantage.net/?p=8111 Previously, I explained that the amount and extent of your child’s training should be relative to your child’s motivation, preparedness, and interest in the dance form and learning its technique.

   Perhaps your child is motivated and seems to have that equation balanced. You may still have concerns about your investment in dance training. Your child is busy, taking hours of dance class per week, and you are wondering, “Is all of this money going toward the right things? Is my budding dancer getting what he or she needs for the best value?”

   When you have a child in dance, you pledge your own resources to the process and it makes sense that you want to make sure these resources are not going to waste.

   Figuring out value
   

   

   Photo by Alan Cleaver

   Something has value when what you get out is equal to or greater than what you put in. Reward ≥ Dedication (of time, of funds, of spirit, of motivation, of thought, etc.)
   

   The “bad” news?

   The return on value is not always immediate, particularly in dance. Rewards can come much later so it can be hard to tell if you are getting value. That’s why I think so many parents ask the questions above.

   The good news?

   Good value is measurable, even in the moment, if you know what your values are.

   What is valuable to you?

   Dance is a treasure chest of riches to be unlocked. Even if your child never steps foot into a dance studio again after high school, it is likely he’ll have received something from the experience. Potentially, these could be valuable life lessons. Just ask Vicki, a mom and educator whose three college-aged girls no longer dance.

   Take some time to determine what you and your child want to get out of dance beyond any professional aspirations. Then, reflect on your child’s dance program and schedule based on these standards. For instance, if self-discipline is something you value, assess if the school encourages and expects dancers to focus and make choices. If it’s creativity, make sure your school provides opportunities for dancers to participate in the creative process. Look at the wider scope of rewards in dance when you evaluate and you’ll have a better idea if you are putting your money where it really matters for you.

   Quantity – How much is valuable?

   At a dance studio it is easy to get caught up in quantity. There are costumes, competitions, performances, solos, duets, trios, and a buffet of different dance styles from which to choose. These have the potential to be enriching experiences for your child, no doubt. But they can begin to accumulate, each one seeming to be crucial (and expensive) pieces to a puzzle.

   In this quest for fulfilling every need with more classes, more awards, and more performances, the importance of other rewards (like the ones mentioned in Vicki’s article) is underestimated. Perhaps sensing a  gap or void, parents begin to wonder how many, or which of these puzzle pieces are really necessary.

   But it isn’t about the number really. Nor is about having all the “right” pieces.

   What matters is that each piece is considered before it is placed, works toward your child’s current goals and interests, and is supported by a solid foundation of quality training and true enthusiasm for movement and the art of dance.

   Quality – What is valuable in dance?

   Dance parents can get into a mindset in which all the decisions made about a child’s classes are bent on best preparing their young dancer for that maybe, what-if chance that he or she wants a career someday. This too neglects the other valuables dance has to offer.

   If your child definitely has aims to become a professional or if you are concerned that they might one day, consider this:

   I’ve never heard a college professor or choreographer or critic lament that a dancer just didn’t take enough classes, or win enough awards, or perform enough as a kid.

   I have witnessed disappointment in the training and technique a dancer has received. Clearly the focus is on quality not quantity.

   Quality vs. Quantity

   Granted, when we talk about quality dance training, quantity does come up. Standard estimates for what is considered “enough” technique to progress to certain levels of training do exist. If you’ve read this earlier article, you may have a better understanding of how training (the course of techniques learned) differs from having experiences in a variety of dance styles.

   The ability to adapt to many different dance forms comes only when there is good training and technique to build upon.

   Denise Wall, studio owner (and mother of Travis Wall and Danny Tidwell) says she never wanted to own her own studio, but after teaching in studios where success was measured more by enrollment and retention than by students’ improvement, she changed her mind. “Unless you own your own studio, you cannot control curriculum,” she says. “I would rather be poor than sacrifice technique.” [see the article here]

   That dedication to quality, rather than quantity has helped Denise Wall’s children and students find success in the dance world.

   Bottom line:

   When you make a commitment to quality over quantity and aim for experiences that support your child’s goals and values, you can almost always feel confident that your investment (whatever that is) is going to have great returns for your child.

   Find a studio devoted to quality instruction of techniques and training. It may not always be the least expensive option. It may not always be the most expensive option, either. But it will be the most bang for your buck: the better value.

   Abide by your own commitment to quality when considering the addition of classes or other expenses (or how much dance your child is taking).

   Even if your child’s goals do not include becoming a professional performer, a focus on quality will keep your time and money investment in check, not to mention allow your dancer to focus on what really matters.
   

   

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   ]]> http://danceadvantage.net/2010/10/11/quality-quantity/feed/ 4 http://danceadvantage.net/2010/09/29/equation-for-activity/ http://danceadvantage.net/2010/09/29/equation-for-activity/#comments Wed, 29 Sep 2010 13:10:52 +0000 Nichelle (admin) http://danceadvantage.net/?p=8059 I’ve been asked this question a lot.

   Usually it is from a parent but sometimes it is from a teen or adult asking for themselves.

   My answer is another question.

   … To do what?

   The word ‘should’ implies there is a goal, a dream, a desire behind your question. With no knowledge of what your child’s goal, dream, or desire is, neither you nor I will be able to answer your How Much Dance Should…? question. Begin at square one and continue play on your next turn.

   My child has a defined goal, a dream, a desire. Now can I ask the question?

   You can, but

   1. I don’t have an answer. You and your child do.
   2. There is no right answer. There is no magic number of hours to be clocked. No student or dancer is the same, no flirtation with or pursuit of dance is alike.
   3. The answer changes because the destination is not a fixed one.

   Conclusion: Your answer to the above question will be unique to your child.

   What is the appropriate amount or extent of training for my child at this time?

   Ah, that’s better. Here are some questions that will help you find your answer…

   “What are my child’s interests?”

   Look for opportunities in which your child can try and gain insight into different styles without adding another class to the schedule. It’s a great idea to find a studio which offers the chance to “taste” different dance forms during workshops, via visiting teachers or master classes, conventions, or going to see dance performances. This will help your child make decisions about where he would like to increase his commitment level.

   “What and how deep are my child’s motivations?”

   If your child is asking, investigate the reasons she wants to take a new or additional dance class. Costume style, choreography, musical accompaniment, or maintaining friendships may be no less valid or less important to her than the desire to enhance her skills. Dance should be fun, too! Do not devalue or brush away these motivations, they are part of the equation.

   BUT, the investment of weekly classes is significant enough that it pays to know if it is the desire for improvement and mastering skills that is motivating her, or something else. If your child’s motivations are all superficial, what she learns is likely to be too.

   Do weigh and consider all of her reasons and include your child in the process. This is the only way to be clear about her motivations.

   “Is my child ready for more?“

   She’ll ask for it when she wants more. But is she ready?

   If you’ve taken the time to go through the process above, your child is less likely to find themselves overworked or underprepared for an increased level of commitment or activity.

   Do be willing to reevaluate, though, if your child is showing signs of stress physically, mentally, or emotionally and cut back if necessary. Things happen, environments change, people change.

   “Has my child established a good foundation on which to build?”

   His foundational class or two, whether creative dance, ballet, jazz, or tap should offer good, quality technique and training of appropriate skills. Good training is possible in any of these forms but not necessarily happening in every class at every school.

   What is quality training?

   In short, good training offers classes and curriculum which are designed to develop the tapestry of skills needed for dance – control, body awareness, strength, flexibility, musicality, artistry, and more.

   Whether curriculum is based on a set syllabus or backed by other forms of teacher training, education, or experience, it is important to find a teacher who has a method to his/her madness.

   No matter if yours is a recreational student, or on a professional track, or has the desire to change his track, if the teacher is not teaching with any real direction or reason behind the exercises, then you want to find someone who does.

   If he has received quality training from instructors who also care about his well-being, allowed him to discover the rewards of self-motivation, rejoiced with him in his successes, encouraged him when he has struggled, and instilled respect and enthusiasm for the art of dance, he’s got a strong foundation on which to build.

   The Equation

   Interest + Motivation + Preparedness = Hours + Diversity + Challenge

   Hours is the number of hours spent on the activity.

   Diversity is the range of dance styles and dance activities.

   Challenge is the level of difficulty of the class or activity.

   When there is equilibrium between these two sides of the equation, the amount of training is right where it should be.

   How to work out the equation
   

   When you work out for fitness, you go at a pace or a level of challenge until this becomes easy and then you step it up with more repetition and more challenge.

   Similarly when the interest, motivation, or preparedness on one side of the equation increases, the values on the other side should increase to match.

   The equation is really very simple and logical, yet it takes communication with your child (on whatever level they are capable of discussing it with you) and requires observation and some homework on your part.

   The investigation may raise more questions.

   
   

   How Do I Balance My Time and Money Expenditure With My Child’s Dance NEEDS?

   How Much Class Should My FUTURE PROFESSIONAL Be Taking?

   You know your child’s desire is to be a professional dancer. You know that it is his/her desire and not your own. And you want to know if this changes anything about what I just wrote above.

   Hint: It doesn’t. But I know you want the nitty-gritty on what it takes to get your child from point A to B.

   Did the above article answer at least some of your questions?

   Does the equation make some sense in a universal way?
   

   What else do you want to know?

   

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   ]]> http://danceadvantage.net/2010/09/29/equation-for-activity/feed/ 8 http://danceadvantage.net/2010/04/01/what-you-need/ http://danceadvantage.net/2010/04/01/what-you-need/#comments Thu, 01 Apr 2010 12:20:04 +0000 Nichelle (admin) http://danceadvantage.net/?p=5219 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.]]> 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 fan of Dance Advantage on Facebook, 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?

   
   

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   ]]> http://danceadvantage.net/2010/04/01/what-you-need/feed/ 6 http://danceadvantage.net/2010/01/15/january-setting-goals/ http://danceadvantage.net/2010/01/15/january-setting-goals/#comments Fri, 15 Jan 2010 12:00:55 +0000 Nichelle (admin) http://danceadvantage.net/?p=4407

   

   Image via Wikipedia

   January classes are probably well under way. However, there is no time like the present for you and your students to set goals for the coming months. January is a great time to take a little time out to guide students in setting goals and planning how they’ll achieve them.

   If you are midway through your season, now may be a good time to meet individually with older students about their progress and goals for the year.

   Short or long-term goals could be set for an entire class as well. Have the students work together on planning some group objectives.
   

   Even very young students could learn an important lesson on planning and reaching goals.

   Talk about January being a month when many people think ahead and decide how they’ll get from one place to another.

   • Practice with each exercise, selecting a goal such as remembering to point their toes on each sauté.
   • Practice setting goals and sticking to them. For instance, the goal may be staying quiet as students wait their turn to go across the floor. Ask for suggestions on what they will do instead (watch closely) and then have them choose a method to make sure they are watching (each dancer strikes a pose when they finish their progression and it is the job of everyone else to copy their body shape).
   • Literally practice pathways that start at A and end at B, then allow each individual dancer to choose the movements, rhythms, or methods to get there. Discuss how there are many ways to reach the same goal and have them explore which choices worked best, or fastest, or were the most fun.
   

   Image by M Kuhn via Flickr

   I know time in the studio is always precious but with older students, take time out of class to discuss how to set realistic goals for technique, flexibility, or performance. The time spent will be worth it if each student stays focused with clear steps on how they’ll hit their target. Students could try coming up with both a short-term goal (one month) and a long-term one (6 months or a year).

   Below is a one-page form that can help students plan their strategy.

   

   Setting Goals, Planning, and Reflection -- Click this image to download the pdf.

   The top half of the page asks the student to set a goal. For example, the dancer may want to be able to do a triple pirouette.

   Then, it has the student list specific steps they’ll take to reach this goal. For instance, the dancer may do Theraband exercises at home to strengthen weak or wobbly ankles, spend the moments before class on warming up with core exercises instead of chatting or stretching, test and challenge her balance throughout class (at the end of each exercise, by taking the hand off the barre occasionally, etc.). Help your students break down their goal into these manageable pieces.

   Then the form helps them prepare for the inevitable moment when they lose their focus or motivation. This backup plan could be asking a classmate to join her in the warm-up, or watching an inspiring video of professionals turning, or picking one favorite television program during which she’ll sit and do the exercises.

   The bottom half of the form is to be completed when the desired window of time has closed. Six months later, has your student been able to consistently do a triple pirouette? You could collect all of your student’s worksheets in a notebook until it is time to revisit them. When you do, the form offers some questions of reflection that work even if the goal was not attained.

   Remember, your students will probably need some help with this exercise. Encourage thoughtful planning and creativity, offer examples, and suggestions if they need them. Good Luck!

   What are some other ways you could put goal-setting into practice in your classroom?

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   ]]> http://danceadvantage.net/2010/01/15/january-setting-goals/feed/ 6 http://danceadvantage.net/2009/05/12/curriculum-planning/ http://danceadvantage.net/2009/05/12/curriculum-planning/#comments Tue, 12 May 2009 13:00:09 +0000 Nichelle (admin) http://danceadvantage.net/?p=1386 When I visit forums or other areas online where dance teachers congregate, I find many questions regarding how to plan lessons and design curriculum. There are certainly a variety of methods for doing both and many teachers work from a codified syllabus. For those of you who may be searching for new ideas or needing some pointers in outlining your own lessons or program of study, I am sharing my methods for doing so.

   Lesson Plans will be discussed in Part Two of this series.

   Designing Curriculum

   Approach for Young Children
   

   There are many approaches to teaching young children, in all methods the objectives are generally the same: To introduce and practice age-appropriate movement skills, to prepare students for working and functioning within a classroom environment, and to instill a love of dance. Though it can vary, young children generally reach similar levels of motor skill, muscular, and cognitive development at or around the same time. If you are planning a curriculum for these younger age groups it is essential that you have some familiarity with childhood development. Pushing students to perform skills that are beyond their muscular control can damage their bodies.

   Mastery Approach

   After age six or seven, age-appropriateness on many levels is no longer as crucial (exceptions would be pointe work or other extreme physical activities prior to growth maturity, appropriateness of choreography and music subject matter). Instead, development is better measured through prerequisite skill mastery. Though advancement may occur at different speeds, a new student at 15 begins and progresses in much the same way a seven-year-old who is new to dance does. Designing a curriculum, then, becomes more about appropriate sequence of learning.

   Moving Backward

   When designing short-term curriculum, I generally work backward. In other words, I begin with the goal, the endpoint, the ideal, and then decide how to get there. If I am designing curriculum for a workshop the aims may be fewer and less grand than if I’m planning curriculum for a full year of study.

   Let’s say one of my final goals is to present a dance, I try to decide which skills I’d like to include or which performance qualities I’d like to see, and give special attention to these in the classes leading up to the performance. In fact, for ease in preparation, I often create entire phrases or combinations of movement for class with the intent that these (or something very similar) will go directly into a final performance work. I do the same in lesson planning, making sure to include exercises featuring movements found in the final combination.

   This backward method of planning is not that original. After all it is difficult to figure out how to get somewhere until you know where you are going. The whole idea may even seem obvious but it is a process that I’ve neglected myself at times (regretfully). If you’ve ever found yourself trying to pound a skill into your students and wondering why they are not improving, this is a good time to reassess your goals and determine if perhaps they’ve missed some key building blocks along the way!

   To build curriculum for a class or course of study, ask yourself the following questions:

   1. What do I want the students to be able to do by the end of the year(s)/month/semester/session?
   2. What skills are necessary to reach each of the above goals? (List them all, even obvious ones)
   3. What skills must the students have familiarity with (if not mastery of) to accomplish these goals?
   

   Click on image to view larger*

   The above image contains samples of various goals. Your opinions and experiences may often dictate what is considered necessary, though some skills have inherent prerequisites.

   Moving Forward

   When I’m working on curriculum that spans multiple years of training, I often work in a more progressive manner, though the end goals are always in the back of my mind:

   1. I list skills in the order I think they should be learned (including variations like facing barre, then one-hand on barre, then from 5th position, then in center, etc.)
   2. Then, I place these skills in two columns, according to level: Essential and Overlap. Essential Skills are those requiring mastery in order to move on to the next level. Overlap Skills are those of which students are developing a working knowledge. Overlap usually appear in the Essential column of subsequent levels.
   

   Click image to view larger*

   Abstract Skills

   Some skills are more abstract than others (for instance musicality, performance quality, etc.) but I like to consider these when focusing on curriculum planning – setting a few goals in these areas which I will strive to incorporate into daily/weekly classes. I do this simply because I don’t want to forget them. They may seem obvious to me but not to a less experienced dancer. “They” say that certain things can’t be taught – but I believe even these less tangible skills can be improved through thoughtful practice and encouragement.

   *These tables are not intended to be used as curriculum. They are just rough examples of how a chart might look. Your curriculum would be more thoroughly planned and would probably make more sense!

   Have you ever designed your own curriculum? How did you go about it? Can you think of other methods or tips to share with readers?

   

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   ]]> http://danceadvantage.net/2009/05/12/curriculum-planning/feed/ 2 http://danceadvantage.net/2009/01/04/what-to-look-for-in-a-dance-studio/ http://danceadvantage.net/2009/01/04/what-to-look-for-in-a-dance-studio/#comments Sun, 04 Jan 2009 05:24:57 +0000 Nichelle (admin) http://danceadvantage.net/?p=1064 Opinions on the characteristics of a good dance studio or school abound. In previous posts I have outlined what I feel are important qualities to consider when assessing where you are currently or potentially studying dance.

   Deal-Makers

   These are qualities that I feel are of upmost importance and can or should be expected of a quality dance institution. These range from the structure of a class to elements of a studio’s core philosophy. Click here to read about these deal-makers.

   Deal-Breakers

   These are red flags that warn customers that the dance education at a school may not be of high quality. The size and location of a dance studio have nothing to do with the standard of education one receives. Sometimes even positive word-of-mouth cannot be relied upon as there are many reasons that one may choose to attend a school that is not creating an appropriate atmosphere for learning. For instance, there are schools that produce incredible dancers that have used tactics that negitively impact the well-being of their students – something I consider a red flag. Click here to read about other deal-breakers.

   Middle Ground

   Under certain circumstances, some studio practices that would otherwise be deal-breakers, are acceptable or at least satisfactory. If one has options, this list presents additional considerations to weigh when choosing a school. When options are limited, this list highlights some issues that be important to discuss with studio owners or administrators. Click here to see this list.

   What are your goals?

   An important aspect of finding a dance school is finding a dance school that is right for you. This can only be assessed by first determining your goals in dance. Because dance requires years of training to master, early discussion about these goals is useful. One’s ambitions can change over time. For instance, a recreational student may decide that they want a professional career and decide to intensify their training. To determine your goals it is necessary to know what kinds of careers or alternatives are available. Even if you are not planning a career in dance, this post aims to help inform and assist in finding a path that is right for you.

   

   Photo by Marjie

   

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   ]]> http://danceadvantage.net/2009/01/04/what-to-look-for-in-a-dance-studio/feed/ 1 http://danceadvantage.net/2008/07/10/how-to-decide-on-a-college/ http://danceadvantage.net/2008/07/10/how-to-decide-on-a-college/#comments Fri, 11 Jul 2008 04:57:27 +0000 Nichelle (admin) http://danceadvantage.wordpress.com/?p=80 Recently, I was contacted by a dance parent whose child was considering majoring in dance at a university. This family was taking a very important step in selecting a college – visiting campuses!

   Any resource for prospective college students will stress visiting a university before you invest your time and money. Here is a good list of things to consider when choosing a school. Below, I’ve included some things you may want to think about as you consider a major in dance at a college or university:

   The decision of where to attend college should be influenced by what you’d like to do for a career.

   Do you want to be a performer in a modern dance company? On broadway? Do you want to teach?

   If your goal is to perform with a professional company and make a living at it, the more rigorous the technique requirements at your school, the better.

   If your goal is theatrical in nature, a program with a strong theatre/musical theatre program will be an asset (combined programs will require a smattering of theatre/production classes that will benefit you on this career path).

   If you want to be a teacher or own your own studio, look for schools that offer more than one teaching course in the curriculum, or better still, look for one with a teaching/pedagogy track, and look into ways you can perhaps incorporate business classes into your coursework.

   If you’re unsure which school can get you where you are going, I suggest trying to find out where alumni from the programs have ended up – get actual names if possible and see what they’re doing. It is a good indicator of where the program will lead you.

   If you’re unsure about what you really want to do, don’t stress. As you pursue your college education this may change anyway. Look for a school that you feel sure will provide you with a solid education and in which you feel comfortable but challenged. Should you decide that your goals have changed and warrant leaving your school, know that transferring is an option. I myself was a transfer student, and succeeded in graduating “on time” regardless.

   The audition process can tell you a lot about what a particular school is looking for in prospective students and what you can expect from the program.

   Most dance departments require an audition of some sort. Sometimes the audition can be sent via video/dvd, however, most programs will want to see you in person.

   An audition may determine your entrance into the dance program or it may be a placement audition which helps faculty decide in which technique levels you will begin your study (provided, you meet requirements for general acceptance to the university).

   Either way, an audition will typically consist of an interview with faculty and participation in one or more dance classes (usually both modern dance and ballet). Some schools will ask to see a performance of choreography either of your own making or set on you by another, but this is rarer.

   Dance departments that require an audition for program acceptance are usually looking for skillful dancers who will benefit from polishing and perfecting their technique for a professional career in performance or choreography (often these schools offer a B.F.A degree versus a B.A but this is not a hard and fast rule).

   Those that require a placement audition or no audition at all expect to have varying levels of ability and experience within their classes and may provide a less-specialized education for those seeking employment in a diverse range of dance-related careers.

   Consider the school’s location, facilities, and campus life, and how you feel you will fare within these.

   If you are a small-town kid, the transition to a large, inner-city school can be quite a culture shock, and visa versa. (This can be a positive or negative.)

   When visiting campuses, make sure that you are able to see the dance facilities, some classes in progress, and speak with faculty while getting a feel for the campus in general. Talk to other dance students if you can and trust your instincts.

   While auditioning for college programs, I experienced both ends of the spectrum. I visited and auditioned at a college where faculty and students were aloof, eying me with a cool distance before auditioning for a school at which I was immediately greeted by a dancer within the department and treated with warmth by faculty members.

   Can you guess which school I attended? Both are excellent schools but School A was not for me. Some thrive in a competitive environment. I needed to be where I felt welcome and supported in order to succeed.

   If you are concerned about grades, as was the parent who contacted me, it is important to know that (assuming you’ve got another year or so to go) you have time to improve.

   Grades are not all a college looks at for entrance, however, poor grades can result in required remedial classes (taken over the summer) – not exactly a fun start. Right now, you may think that academic work is not as important (or interesting) as the work you do in dance class. However, keep in mind that in the professional world, most dancers are intellectual individuals that could do anything they want but choose dance.

   Intelligent dancers are curious and want to learn and grow even in areas outside of dance. High school grades don’t always reflect the potential that lies within many students but it won’t hurt to, right now, begin to practice the kind of dedication, perseverance, and self-discipline that a major (and career) in dance will require of you, and work to bring up those grades!

   Making the Transition

   Dance in college is different from what most young dancers training in studios have experienced thus far.

   Dancers are asked to think about dance academically, begin to see themselves as a dance artist, and explore the art of making/watching dance in the professional arena. Young dancers that come from competitive, sports-like, or (for lack of a better term) recreational environment sometimes have trouble adjusting to this

   Those that make the adjustment can find a rich experience in this new focus on dance and it can reinforce a love of dance that will truly last into adulthood (even if the student doesn’t plan to perform professionally).

   My advice to young dancers entering a college dance department is, no matter where you decide to study, keep an open mind and be willing to let go of some of what you have previously been taught. Appreciate new ideas about dance and allow your own notions to be redefined. If you do this, you may fall in love with dance all over again in college.

   

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