Guest Post: Insight Into ABT’s National Training Curriculum

Deb Young is a subscriber and regularly offers her thoughts and shares her knowledge and experiences in the comments here at Dance Advantage. After sharing with subscribers a bit about my experience at the Dance Teacher Summit in NYC this summer, Deb described her own productive and exhilarating summer adventures as a participant in American Ballet Theater’s National Training Curriculum program. I asked if she would recount this for you, and she happily did so with wonderful detail. Her article follows. Thanks, Deb!

What I Did Last Summer

(and This Summer, Too…)

During a break between classes at my fledgling ballet school a couple of years ago I picked up a dance trade magazine whose pages fell open to an interview with Franco De Vita, Principal of American Ballet Theatre’s Jacqueline Kennedy Onassis School.  He was discussing the launching of ABT’s new National Training Curriculum, which he co-authored along with his colleague Raymond Lukens, also a teacher at the JKO school, as well as artistic associate for the ABT/NYU Masters Program in ballet pedagogy.

I remember thinking, Wow—ABT Artistic Director Kevin McKenzie really is taking the bull by the horns:  first he muscles his way into Congress and has ABT declared “America’s National Ballet Company,” and now he has hired two ballet icons to create a new national curriculum, with the JKO School and NYU serving as its petri dishes.

What impressed me most was the saturation of excellence both in the content as described by Franco himself, and in the striking panel of experts across many disciplines (including dance medicine, physical therapy, and child development) whose wisdom had been polled to develop the curriculum.  And now ABT was opening its doors to a planet full of teachers who work every day in the ballet classroom trenches, to share its experts’ collective knowledge.  Was it possible that the NTC truly represented a methodology with the health, well-being, and safety of the child as its cornerstones?  Now they had my undivided attention.

I began to see this as an excellent opportunity for my young ballet school to serve as a local ambassador for the ABT/NTC; it was something unique I could offer my community.  A few short months after reading Franco’s interview, and after a pep talk from my former ballet school roommate who had completed certification with the inaugural group of trainees, I decided to be brave and submit my resumé to ABT.  Insofar as the resumé itself, I discovered in short order that ABT is less concerned with stage credits than they are with an assurance that you’ve had decent training, and have obtained a high intermediate-to-advanced level of proficiency.  My classmates were a mixed bag of old and young, retired and current professionals, obscure teachers like myself and famous former dancers-turned-teachers.  But we were united in our desire to learn from the best.

The Training is organized as week-long intensives; candidates are asked to obtain certification in Primary Level through Level 3 of the curriculum before being allowed to continue certification in Levels 4 and 5, and then 6, 7, and Partnering (taught as two separate intensives).

Certification is achieved by passing written and oral examinations on the final day of the intensives.  But because ABT really wants its new certified teachers to have the benefit of working with the curriculum in their own classroms for an academic year before moving ahead, the Primary through 3 training is scheduled at the very end of summer, with 4 and 5, and 6, 7, and Partnering preceding it. So it is impossible to take all three intensives in one summer.

ABT’s Young Dancer Summer Workshop (ages eight to twelve) runs concurrently with the Primary through Level 3 training so that trainees can observe much of what they are learning firsthand in the JKO School’s classrooms.  Likewise, the more advanced summer intensives run concurrently with the higher level teachers intensives.

If You Go

Be advised that when ABT says intensives, they mean it.  Prepare yourself for hours sitting in an uncomfortable metal folding chair, taking in bounteous material while taking down lots of notes.  LOTS.  At the end of eight or so hours of this, you will be dog-tired, unless you are an alien. But then you will need to summon your second wind to review all those notes at the end of each day in preparation for the upcoming exams.

During the course of one day at the training, you might have…

• a two-hour lecture on the material itself, which is rolled out a level at a time over several days;
• a “progressions” lecture—these are very important, as they clarify the evolution of basic movements from one level to the next; an hour lunch break;
• a JKO School class observation; and perhaps a review session with opportunities for questions to finish the day.

Instructors at the Primary through Level 3 session I attended last year included Raymond Lukens, assisted by Kate Lydon and Harriet Clark, and ABT physical therapist Julie Daugherty. Trainees also have the opportunity to take a class in each level of the curriculum being taught, but this is not a requirement. About half of my group participated in the classes, and the rest observed and took notes.

I participated in some classes and observed others, but ultimately I found the notes I made from observing far more helpful once I returned home and began working with the curriculum in my own classroom; I frankly could not remember much from the classes where I participated.

Additionally, in the Primary through Level 3 training we were split into smaller groups and asked to prepare sample enchaînements in each of the levels we were learning to demonstrate for our colleagues and instructors.  Sounds intimidating, and it was, to be sure. When someone complained about being too nervous Raymond quipped, “You have no choice but to get over it.”

Remember:  you are there to learn, and one of the best ways to do that is trial and error.  Nobody cares about your arches or extension—the thing that matters is whether you can teach the material you are learning.  Best to throw caution to the wind and demonstrate as if your own students are watching you, instead of other teachers and JKO faculty.

You will also have the benefit of learning some excellent exercises your colleagues give in their classes at home.  (Think cookie swap, but with ballet combinations.)  And best of all, you have ABT’s instructors at your disposal to offer constructive criticism—what an incredible opportunity.  I found their remarks to be helpful, and always delivered with professional aplomb.

The Curriculum itself is presented as guidelines, as opposed to a planned syllabus of study; it comes packaged along with ABT’s Healthy Dancer text in a gigantic three-ring binder that is included in the cost of the training. The authors borrowed from the French, Russian, and Italian schools in designing it, with a heavy emphasis on classic Cecchetti, and a healthy dose of Vaganova thrown in for good measure.

It is a very clean, simple, developmentally appropriate set of guidelines focused on correct placement and slow, careful technique building, with an emphasis on developing core strength and stability beginning in the very earliest levels.

In the Primary Levels (which may be divided into three years of study), there is no barre work given; all exercises are executed in centre floor or moving across the floor or in patterns.  The more traditional barre/centre floor format is introduced in Level 1, for children at least eight years of age.

The NTC is also an allegro-intense curriculum, with no fewer than twenty minutes of each class devoted to jumping.

Finally, the curriculum seeks to develop musicality beginning with very young children, and ultimately to keep the artist alive in young dancers.  This is accomplished in the Primary Levels through counting and clapping exercises, imaginative games that lay the foundation for correct technique, and improvisation exercises.

So You Think You Can Be An Affiliate

Once you’ve obtained certification in Primary through Level 3, and the higher levels, you are eligible to present your students in those levels to an examiner from American Ballet Theatre, who will travel to your school to adjudicate examination classes. With seventy-five percent of students achieving a passing score, ABT will bestow its affiliate status on the certified instructor who gives the exams.

I engaged my parents early last fall to be brave pioneers with me and allow their children to participate.  After ABT chose a date for us and sent the exam guidelines, I planned spring term with plenty of lead time for preparation, as I strongly believed it was very important that all my students enjoy success. About six weeks ahead of the big day I gave them their exam materials, which they practiced diligently week to week.

All levels above Primary are required to memorize the class; there is no teaching during the exams—you simply announce each exercise, and the children dance them.  But an exception is made for the  Primaries, who are quite young; the teacher can lead them through their classes so long as there is very little talking, and no correcting.  I presented two levels of Primaries who all performed very well, in addition to Level 1 and Level 2 classes.

The biggest excitement of all during this process was the news that Franco De Vita himself would be coming to our little ballet school.  But because my school population is still very young, most of the participants were undaunted by his presence. The entire experience was a tremendous success, and felt far more celebratory than nerve-wracking; all twenty-four children I presented achieved passing scores, with seven citations for Merit and two for Honors. Each child was given a beautiful certificate from ABT, and the overwhelming majority expressed immediate interest in repeating the exams in the coming year.

As I have explained to parents who ask me why their child should participate, the examination process is an excellent barometer for the quality of instruction at the school.  In short, it tells us all whether I am doing my job well, and that should matter a great deal to parents who entrust their children to me for classical ballet instruction.

I found that this affirmation also translated directly into my improved confidence as a teacher.  We all question ourselves from time to time, but it is very nice indeed for American Ballet Theatre to give you its official thumbs-up.

This summer when I stepped off the elevator on the 4^th floor at ABT to continue training in Levels 4 and 5 of the NTC, I had a little epiphany.
Had anyone told me a few years ago that I would be teaching classical ballet (after a very long absence from the ballet world), at a school I founded, and traveling to New York to train at American Ballet Theatre, and that the principal of the JKO School would in turn be traveling to my school to evaluate my students, and by extension, my teaching, well…you can imagine.

Even if you are not in a position to use the curriculum—if you teach in a large school with its own plans or syllabus, for example—there is so much wisdom to be gained from attending the intensives that can be used in any ballet classroom environment, the training is easily worth the time, money, and effort it demands of you.  I can’t wait for the chance to step off that 4^th floor elevator once more.

Deb Young received early classical ballet training in Memphis from Balanchine disciples, Yuri Chatal and Victoria Fedine; she continued Cecchetti-based training with her own mother, Pat Holden, studying concurrently with many distinguished instructors at the National Academy of Arts in Champaign, Illinois during summer intensives for several consecutive years.  After a short stint dancing with a small ensemble in Colorado in the early 1980s, she hung up her pointe shoes to go to college.  In 2006 Deb discovered herself serendipitously at the front of the ballet classroom as the founding director of Knoxville Ballet School, where she is happily the wearer of many hats.  She is certified in American Ballet Theatre’s National Training Curriculum in Primary Level through Level 3.  In May of 2010 American Ballet Theatre named her an Affiliate Instructor.  She is also a certified fitter for Gaynor Minden pointe shoes. Deb lives in Knoxville, Tennessee with her husband and son.

Guest Post: Preparing For An Intensive Summer Program

Today’s Guest Post is from Nina Amir who blogs over at My Son Can Dance. I have enjoyed following Nina’s adventures in parenting a son who is pursuing serious study of dance. Dancers are receiving acceptance letters about now for intensive summer programs in cities all over the country. If this is your first big intensive, excitement for what lies ahead is probably charged with uncertainty and stress over preparations. Here, Nina shares what she and her son experienced their first summer at American Ballet Theatre’s summer program in New York City. No matter where you are headed this summer, these tips offer great advice from someone who has been where you are now.

You’ve just gotten the email. Your son or daughter has been accepted to the American Ballet Theatre Summer Intensive in New York City. This acceptance means so much—your child has enough talent to attend one of the premier (if not THE premier) ballet summer programs in the nation, your child has to be ready to endure the rigours of such a program and you have to figure out how to handle the logistics of an unchaperoned summer intensive in the middle of the Big Apple.

Last year I faced these same issues for the first time when my son was accepted into the ABT Summer Intensive program. We went to New York to spend seven weeks together while he danced and I worked. We had some idea what this entailed, but to some extent, despite the bright lights of the city, we entered into this adventure in the dark so to speak.

This year, we are going back to New York again for a second year at the ABT Summer Intensive. We will return with our eyes open and knowing more about what to expect and how to prepare.

Tips For A Successful Summer

For those of you going off to New York for the ABT Summer Intensive for the first time, here are some things to consider as you get ready for your experience—probably the best experience your child has ever had as a dancer—and some tips that might make the program more successful for both you and your dancer.

1. Choose your accommodations carefully.

Quite a number of children in the 15-18 age group stayed in dorms without chaperones. They seemed to enjoy this and handle it quite well. Many moms also stayed in New York University dorms with their daughters, although they aren’t a cheaper alternative.

The majority of the dancers arrived in New York with one or more parents who had sublet an apartment somewhere in the city or in the surrounding area. A few of the kids stayed with relatives in New Jersey or in areas that afforded them the ability to ride into the city by train.

We sublet a very small—too small—studio apartment in an attempt to save money. It was on a lovely, historic street in the East Village. However, we needed more space as well as Internet hook up and cable TV, neither of which did we have. I also failed to ask the owner of the apartment if the kitchen was well equipped for someone who wanted to cook everyday; it was not. So, don’t assume that all New Yorkers cook. Be sure to ask about the amenities included in the apartment. If at all possible, send someone you know to see the apartment, or ask for additional pictures to be sent to you via the Internet.

Also, if an apartment seems to good to be true, it probably is. Try to find a realtor to help you find a place, or be sure you are dealing with a real person. We almost got scammed by one person…I think. So, be careful about the people with whom you deal.

By far, finding housing is the hardest part of going to this summer intensive. It’s time consuming and housing is expensive.

2. Add extra classes, weight lifting or exercise prior to attending the intensive.

Unlike some of the other programs, the ABT summer intensive really is intense. The first week has the kids dancing, doing yoga and pilates six hours a day. They come out tired and sore. In particular, my son was muscle sore from “pressing” girls and partnering them.

Based on what I’ve been told by some experts, I’d suggest that kids add in some sort of cross training—running, jumping rope, swimming, or something else in the weeks prior to the program’s start to increase their stamina. See this post for additional advice from Rasta Thomas. (And this one…)

3. Be prepared for the difference in weather.

My son had some trouble with dehydration the first week. We live in California, and I didn’t really think that would be a problem since we were coming from a dry, hot climate. However, it was so hot and humid in New York that he sweated more than usual and didn’t drink enough. The kids need to have electrolyte packets and other sports drinks along with water to keep them hydrated.

Also bring a variety of clothing. We had tons of rain and some chilly weather early on. Then it got beastly hot.

4. Include vitamins, herbs, and nutritional supplements to the daily regimen.

I added in extra vitamins and herbs to my son’s regimen of nutritional supplements. I found some of that helped prevent overuse injuries. Despite the fact that he also danced on Saturdays and some evenings at other studios in the city, he had very few overuse injuries. Watch my blog for information on great supplements to keep your kids dancing healthy and uninjured.

5. Make use of wellness resources made available

Be sure your son or daughter takes advantage of the physical therapist provided by ABT if they run into any problem. (Most of the kids had some sort of foot problems or shin splints.) She is great and really helps. My son had one problem early on with his foot, and she solved it quickly with exercises. We also found a chiropractor who was a former dancer. He was super. (You can contact me if you need him.)

6. Take advantage of the city (but don’t walk too much)!

There is lots to do in the city, and the dancers have the weekends off. It’s easy to get around using the subway. It’s also pretty safe, despite what people think about New York City.

Be sure to have good walking shoes, and insist that your dancer wear them, too. ABT requires that the kids not wear flip flops or other sandals (but the kids don’t listen). Their feet are tired at the end of the day, and walking on the pavement doesn’t help. My son’s feet and legs were extremely tired the first two days we were in the city, and he refused to wear the good running shoes we had bought just for that purpose. He did wear them more after that.

7. Let your son or daughter enjoy being with the other dancers in the program.

Many parents are afraid to let their children leave the studio during lunch. However, the kids tend to go out for lunch in groups. The area is pretty safe and doing things together breeds friendships. My son regretted not doing more with the other dancers, such as in the evening and on weekends.

8. Take advantage of the dance happening all around.

Go see dance. Let them take extra dance classes on the weekend (but make your child take at least one day off to rest). We went to see modern and contemporary dance at The Joyce and The Joyce Soho as well as taking advantage of the discount tickets offered to us to American Ballet Theatre productions.

My son also took tap classes at least twice a week at Broadway Dance Center and hip hop classes as well. (We found that these didn’t use the same muscles as ballet; thus, we weren’t too worried about overuse injuries from the extra classes.) We then stayed in New York City for an extra week, and he danced every day for another six hours at Broadway Dance Center. Next to his time at ABT, this was the best experience he had in the city. Many of the dancers also went to Steps on Broadway for additional jazz or ballet classes; we just never made it there.

9. Offer encouragement to help your child through a rough beginning.

Dancers need to know the program is harder than anything else they may have done before. At the end of the first day they are tired. The next morning, they may be wondering how they’ll make it through the second day. At the end of the first full week, they will wonder if they can make it through the whole program. However, by week three, they have settled into the routine and adjusted to the strenuous nature of the program. At the end of the six weeks, they will be in great shape and wish the program weren’t ending yet. They’ll know they could dance for six hours a day every day…and they’ll want to do so.

10. Know that as a parent you’ll be in the city on your own while your dancer dances.

Parents are not allowed into the ABT building or up to the ABT offices in general until the one—yes, one—parent observation day. So, find something to do or bring something to do. I work from home, so I was busy every day in our tiny apartment. Other parents shopped or visited museums or went to Broadway shows. All the waiting around, walking back and forth from the ABT studios and hearing about your child’s day second hand will be worth it, however, when you see the final performance and see how much he or she has improved.

For more information on the ABT Summer Intensive experience, check out my blog, My Son Can Dance, and read the archived posts under the category titled “summer dance programs.”

Nina Amir is a journalist and author currently writing a book meant to mentor young boys (age 10-17) who dream of becoming professional dancers. She realized what a difficult road it was for young male dancers early in her son’s career. She interviews top male dancers and teachers asking for their advice, experiences, and tips so young boys who want to follow in their footsteps will have the strength, inspiration and tools to do so. My Son Can Dance is meant to chronicle Nina’s struggles, what she has learned and the experiences with her son in the hope that she might be a mentor other parents of young boys who want to dance.

Where Can Teachers Continue Their Education?

On Monday, I posted WHY it’s a good idea for dance teachers to make continuing their own education a priority (particularly during the summer months when many schools break from the regular schedule). Today we’re talking about WHERE, teachers might do so. These are just a few of the many programs and events out there. I’ve tried to include a range of activities with a variety in focus, scope, and cost. If you have experience with any of these or want to add your own, please do so in the comments below!

Teacher Training and Workshops

Dance Teacher Summit – 3 days in New York City at the Hilton in Midtown Manhattan. Classes with renowned artists, seminars on teaching and the business/administration side of things. July 27-29 but still time to register!

Dance Teacher Web Conference & Expo – 4 days the Ritz Carlton on Lake Las Vegas (about 17 miles from downtown Vegas). Curriculum and choreography, business tips and tactics, teaching workshops, led by industry leaders. August 9-12, register online, by mail, phone, or fax.

The Pulse/Broadway Dance Center Teacher Workshop – 3 days at the Sharaton in New York City. Classes and seminars with BDC faculty, The Pulse faculty, and Rhee Gold. Choreography, music, and costume ideas. Overlaps with dancer conference. July 27-29, register online.

DanceLife Teacher Conference – 4 days at a Walt Disney World resort in Orlando, Florida. Classes, marketing seminars, Rhee Gold’s famous motivational workshops, and some truly unique session topics. August 3-6, call or register online.

Musicworks Teacher Tour – Six-city tour [Dallas, Indianappolis, Irvine (CA), Pittsburgh, Kalamazoo (MI), Atlanta]. 3-day schedule. Special assistant price when a teacher registers. Syllabus (including Al Gilbert tap system) and choreography, master teachers, and a small but exceptional staff. Dates throughout July, August, and one in October.

American Academy of Ballet Teacher’s Intensive – 6 day workshop/training held at SUNY Purchase. Curriculum and choreography for different age groups, including very young dancers. Discussion, Q&A, how to sessions with faculty. The chance to observe teachers in action as they instruct students participating in Summer School of Excellence program. Option to attend and pay per day. August 7 – 12.

Leap ‘N Learn Teacher Workshops – In addition to participation at the DT Summit and DanceLife Conference, scheduled are two/three-day workshops in New Orleans (July 24-26), Denver (Aug 22-23), and Chicago (Aug 29-30). Training in syllabus and in the teaching of young dancers.  Syllabus resources and music. Topical sessions on recital ideas, business and legal considerations, pilates, and more. Registration via phone or mail (spaces limited but requests for additional workshops are possible).

Boulder Jazz Dance Workshop – A weekend workshop (this weekend July 18-19) and a two-week intensive beginning July 20 at University of Colorado. Registration open until classes or full. Options to pay for groups of classes or even per class, however at this late date there will likely be limitations. Intensive is for 16yrs and up with level requirements and placement. A supportive, non-competitive environment. Special teacher seminars and completion certificate. Jazz and Modern Dance Focus.

Canada’s National Ballet School — Moved to Dance – Observation week July 27-31 – Sit in on classes, talk to faculty and guest teachers, and discuss the School’s training philosophy and approach. Moved to Dance seminar, Explore How Effective Breathing Enhances Dance August 4-8. Daily classes in classical and contemporary, evening lectures and discussions on nutrition, self-esteem and more.

The Dance Project Dance Teacher’s Conference – 2 days in Toronto, Canada. Classes in Ballet, Jazz, Salsa, and Hip Hop, as well as Lifts, Strength and Flexibility, and Preschool Dance. Daytime sessions with evenings free. August 15 and 16 at Joy of Dance Centre.

Ririe-Woodbury Dance Company Move-It Summer Teacher’s Workshop – Designed for teachers who are working in the university, professional, and secondary school settings. A mixed group of educators will facilitate sessions in technique, choreography, improvisation and experiential anatomy. Those signed up for the Teacher’s Workshop (July 27-31) can add on the Three-Week Dancer’s Workshop  (July 20-Aug 7) at a discount (during which technique classes can be taken at per-class or weekly rates).

There are so many more!!

Not finding something in your area? Try the Dance Teacher Magazine website. Or, the links here. Or here at Dancer Universe!

Why Stick to Just Teacher Workshops?

Between summer dance festivals which happen all over the country and the world and drop-in dance classes or dance jams in cities all over, there are plenty of opportunities to gain inspiration and rejuvinate your spirit for dance. You just have to look for them!

One of my favorite dance festivals is in the beautiful Berkshire Mountains in MA. I’ve written about Jacob’s Pillow before and there are additional art and dance experiences throughout the area. Headed somewhere on vacation? Look for art and culture opportunities in the area before you go. Research area schools – some may even be keen to let you observe or visit their school or summer sessions. This kind of work-related stuff feels more like play because it will rejuvenate and inspire you!

Got more ideas?

Have you been to some of the workshops above?

Want to share some other experiences or ideas for continuing dance teacher education over the summer?

Share, share, share below!!

What I Did Over Summer Vacation…

If your dance teacher asks you to write an essay on this topic when you return to dance this fall, will you be able to fill your page with descriptions of dance related activities or… not so much. For those that continue dancing all through the year, good for you. However, if you attend a dance school that, like many, takes an extended break for the summer, this post may help you discover additional ways to spend your holiday (other than watching TV or summer blockbusters and sun-bathing). Don’t get me wrong, enjoying a little deserved R&R after a long year of school, dance, and other activities is good for you (just be sure to wear sunblock, ok?), but setting aside some time to focus on dance will help you grow as a dancer and keep you from needing to brush-up or re-focus when you come back. Here are some ways you can include dance in your summer fun… Read more