Image by Meg Wills

Do you find yourself saying or thinking this word? When you consider it, it seems really silly that out of everything we practice in class (most of which we’re quite good at), we choose to focus only on what we have trouble with. Teachers, too, often forget that their students need to hear the accomplishments as well as the corrections. If we’re not careful, those little voices inside begin telling us all about what we “can’t” do. We begin to fear anything new or untried, and fear not being good enough or even failing at the things we do try.

I know how it feels to think you’re the only one in class who can’t get it right. The key is to not let it take you off the path – quitting or giving up on yourself because you’re not perfect. Stay grounded in the fact that everyone has something they’re reaching for, everyone has something they’re good at, and everyone has something to give. Remembering your strengths and abilities will sustain you through the “I can’t!” moments and allow you to continue striving for those goals that are just out of reach.

Even if you only struggle with the “I can’t” syndrome occasionally, it is important to keep in mind that you can do it. It may not be perfect this time or next but getting better is just a matter of time, hard work, and some guidance from a knowledgeable teacher. Of course, thinking this way is easier said than done when you find yourself struggling through a class. During these times, remember you must leave the comfort of what you already know in order to grow. If your teacher gave you only the things you already do well, you’d never improve. While practicing the things that feel comfortable is important in a dance class, you have to face challenges in order to advance in technique and performance. Your job as a student is to accept those challenges and trust that you’ll benefit from them. It’s not always easy, or fun, or comfortable. The hardest part is being willing to fail before you can succeed. When doubt starts to creep in consider this: Each failure brings you one step closer to success.

Combating the Can’ts

Photo by Meg Wills

Most dancers are very hard on themselves. They’re the first to self-criticize and very rarely let themselves off the hook. Because dancers are ultimately responsible for their own learning and growth, a reasonable amount of self-analysis and scrutiny can be a very good thing. In fact, most good dancers need a degree of perfectionism in order to succeed. However, this same quality can be destructive when dancers let the criticisms take over and discourage them from believing that difficulties can be overcome.

One of the best (and sometimes worst) things about dance is that there is always something to strive for. We will never be great at everything and we’ll almost never do something perfectly the first time (or the second, or third…), or even every time. If we did there would be no reason to spend hours practicing each week. Remembering this in moments of insecurity may allow you to accept challenges and face them rather than giving up with an “I Can’t.”

The study of dance is a long, sometimes frustrating, often rewarding, path. If you keep a positive attitude, I can promise that you’ll find yourself that much closer to feeling comfortable with things that were once very difficult. Of course, you’ll also be battling new challenges! It never ends, but it’s never boring either!

Check out this post by Shawn Byfield. In his class “can’t” is a dirty word and uttering it has consequences!

This post was initially a sort of test page on the site. The content is more appropriate for a post. Therefore, I am relocating it. The original comments are below. Please feel free to add your own.

From gyl: This post is seriously inspiring. I find myself almost thinking of just giving up when I can’t catch up or when I do find a hard time with a certain choreography. I totally like this post. Thank You.

When do you find yourself saying/thinking these dreadful words?

How do you combat the I Can’ts?

© Nichelle Strzepek for Dance Advantage, 2009. | Permalink | 2 comments | Category: Blog, For Students, Toolbox

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I recently received a question from a reader who is interested in approaching her studio owner with a proposal. She felt that she and her fellow students could use a designated time each week for conditioning their bodies in addition to regular dance classes. Her proposal was to volunteer her own time and lead this conditioning class and wanted advice on how to best address the matter with her teacher/studio owner. I won’t get into the details of her particular situation or address whether or not a student is qualified to instruct such a class. Without knowledge of the student or the specifics, I cannot properly judge. However, I thought it was worth exploring this topic for the blog. At some point as a student or in your career, you may need to propose your ideas, questions, concerns, and suggestions to an authority figure. When doing so, take the following approach.

Be Prepared

When offering ideas or suggestions to a teacher (or boss, coworker, etc.) it is important to anticipate and consider any questions that he/she may have about your proposal. There are several reasons for this:

1. It helps to solidify your proposal. Sometimes we can be so excited about or positive of the value of our own ideas that we are blinded to some of the obstacles or negatives involved. Trying to think ahead and be the devil’s advocate will help you to discern the true value of your proposal.
2. It will increase your confidence when making the proposal. When you’ve looked at an issue from all sides, you are more equipped to handle scrutiny regarding your idea. You’ll feel better about the proposal itself and about addressing your teacher.
3. It will earn more respect for you and your idea. This is because your preparation will show that you have put time and effort into your idea and that you aren’t just complaining about what isn’t being covered at your dance school.

Questions To Ask Yourself

Here are some questions that may be important to consider before approaching your studio owner with a new class proposal. They ask the essential – Who, What, When, Where, How, and Why – that anyone creating a proposal should be prepared to answer or address.

• When will the class be scheduled? (day, time, frequency)
• Who are the participants?
  • Is it for anyone above a certain age?
  • Only for ballet students or competition/company students?
  • Is it mandatory for certain students?
  • Open to recreational students or those with non-dance fitness goals?
• How will the class be advertised or “sold” to students and parents (particularly if it is going to cost extra money)?
• How much time are you willing to spend to see this put in place (especially if you are doing it for no pay)?
• What do you think would be a reasonable cost for this class, and if you suggest offering it for free- is it free for anyone, or just students that already take so many classes per week?
• What kinds of exercises will participants be doing and how are they beneficial? (If you are hoping to lead the class, you should definitely have a plan or syllabus of goals and exercises).
• Why does the studio or its dancers need an entire class devoted to conditioning?

Often when one makes a suggestion, they think that the suggestion is enough and that it is up to the person in authority to figure out the details. However, I’ve found that it always helps to have thought through these details if you plan on offering your suggestions. Again, it looks a lot less like complaining when you can back up your ideas and also, as I said in my article on professionalism, it is a sign of leadership.

The Approach

Put yourself in the shoes of your instructor. Would you rather hear about what is lacking at your school, or listen to a student that wants to give back and has thoroughly thought about ways in which he/she can do so. The former only gives the impression that you think your teacher is not doing a proper job in training, the latter is encouraging. Your instructor will feel that he/she has helped produce a thoughtful and dedicated student. Keep this in mind as you speak with your teacher – how would you like to be addressed?

Timing can be everything. Don’t approach your studio owner during hectic times of the year. Schedule a time to sit down and talk with him/her so that your proposal will get the full attention it deserves. Don’t wait until right before the new season or school year begins to propose something that needs planning and coordination of efforts. Your instructor will appreciate these small but important considerations.

Present yourself in a professional manner. Speak with clarity and confidence. Show that you have done your homework and even dress the part. While you don’t necessarily have to wear your best “interview” attire, your appearance during the meeting with your teacher can make an impact.

The Outcome

Be prepared for any outcome and be respectful even if things don’t go your way or the way in which you expected.

1. Your teacher may love the idea and give you the green light. She’ll want to know that she can rely on you if she allows you to go ahead without much of her own input.
2. Your teacher may really like the idea, but she may not have the time to put the extra effort behind it.
3. Your teacher may have her own ideas to contribute or want to fine tune your suggestions. Be flexible in your vision and you’re more likely to see it happen.
4. She may like the idea but feels she or someone else may be better equipped to lead the class. Decide if you are willing to see this done even if you are not the one teaching and/or be prepared to state why you are qualified to teach this class.
5. She simply may not like the idea and, since it is her school, that is her prerogative. You should be prepared for that response also.

What are some additional things this student could consider?

Have you ever been in a similar situation? What was the outcome?

How are my thoughts applicable to situations outside the dance studio?

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | CLICK HERE to comment | Category: Blog, For Students, For Studio Owners, For Teachers/Studio Owners

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Photo by Dave Spellman

Dance is a form of expression, allowing one to creatively or artistically “speak” through a non-verbal language. However, dancers have often found a need to express themselves through words and writing as well.  In fact, writing can be a useful tool for dancers, teachers, and choreographers.  And, journaling or keeping a diary is a great way to preserve and organize one’s thoughts, reflections, goals, and more.

Who and What

A dance teacher and friend of mine, recently wrote on her blog, Uptown Dance NJ, about ways in which a dance diary can be used for students, teachers, and professionals.  She spoke of her own methods and uses for this valuable tool and how and why she encourages her own students to keep a dance diary.

There are many types of journals from organizational (lists, schedules, data/idea collection), to pragmatic (what you did, what you’ll do, achievements, failures), to idealistic (goals, dreams, ambitions), to emotional (how you felt, reflections, critiques).  And, there are many, many, many techniques for writing and keeping a journal.  Some people collect and use or sketch images, others write free-form, limit themselves to one sentence, or answer questions or write lists.  Some use a binder, others a bound book, and others use technology and computers.  In this regard, each must determine the methods that will best meet his/her needs. However, in order to encourage you to make use of a dance journal, I’d like to highlight how particular aspects of a diary could be useful to dancers and/or teachers.

Goal-oriented Writing

A Twitter pal of mine, Amber, describes how she “keeps her butt in gear” through writing down her goals and dreams.  She also uses something called a vision board which is meant to activate the law of attraction, which has a lot to do with visualizing and attracting the things we want in life by bringing attention to them. This principle can also be used in journaling, as described by Elizabeth Scott M.D. in an article about stress management.

Visualization is nothing new in dance.  We use this tool all the time when we apply imagery to perfect our technique or execution, or even practice mental rehearsal before a performance.  Writing about our goals can also be an exercise in visualization because it requires that we imagine these goals as achievable and imagine ourselves achieving them.  When we give voice to these visions on the written page, we not only allow time to focus our energy and thoughts on them, we preserve them.  It is a commitment and a promise to ourselves, more powerful than a fleeting thought, because we can look over our imaginings over again and again.

Learning and Reflection

Keeping a record of your learning process has many benefits for a dancer.  The following, from an educational website, very clearly and succinctly describes what to write in a learning journal and why it may be helpful.

WHAT TO WRITE

* “Activities”/situations/experiences that went well or were difficult

* Unexpected problems or issues e.g. solving a particular maths problem (that you had revised carefully) or explaining an idea in a group project meeting. [completing a pirouette without falling out of it; a disruptive student; difficulty remembering choreography]

* Habits that you have noticed in yourself or others (which have some relevance)

* How you feel about the way you are doing things e.g. items of understanding, clarity of thought, strength of actions, awareness.

* How effective you are e.g. using feedback from others, achieving goals (assignment deadlines, finding information in library, keeping a learning diary! etc.)

* Anything else that feels of importance to you – even though you may not understand the significance of it.

WHY DO IT?

* It helps you to learn from your successes, as well as your mistakes

* It makes it more likely that you will use what you have learned next time i.e. rather than ‘making the same mistakes’, “falling back on old habits’ etc.

* It gives you an opportunity to plan concisely what you want to do, what you want to change, etc.

· It may help you feel more in “control of your life”, more positive, deepen your understanding, etc.

A person learns from successes and mistakes when he/she takes the time to reflect on them.  With a journal, dancers have the opportunity to recognize patterns in the corrections they receive, the worries or stresses that may inhibit them, and the types of images or thought processes that help them the most.  With this information dancers can then use what they’ve learned to solve problems, avoid injury, and improve.  In addition, a journal can aid in boosting confidence.  Even a dancer that, in the moment, or over the course of months or years, feels that they are not doing well, can look back at her recorded accomplishments and feel good about the progress made.  Looking at our successes as a whole, enables us to see the value in even the smallest of improvements.  Writing is also a way to work through emotions that otherwise we may keep bottled up.  The stress of trying to out-perform ourselves or others, please our teachers (or students), advance to the next class level, land a special role or job, and a whole host of other worries can be overwhelming for a dancer.  Putting these concerns in writing gives us a space to air them without ramification, often making them seem like they are not such a big deal after all.

Get Started!

Consistent journaling is achieved by making it a habit.  You make something a habit by first choosing to do it consistently.  It may take some real effort on your part to begin and continue your journal.  I encourage you to try to make time to write at a particular time each day, avoid distractions and situate yourself where you will be most free from interruption.  Start small.  Sometimes our intentions are too big and we end up quitting because we’ve bitten off more than we can chew.  Take brief moments to write a few lines about the day or the class.  You may find that over time you are able to write more and that you have discovered new ways to utilize your journal.  Also, set yourself up for success.  If you tend to enjoy typing an email more than writing a letter, you may find blogging your journal to be more productive than adding thoughts to a bound or looseleaf notebook.  Like finding the perfect pair of pointe shoes, you may even have to sample different methods until you find the right fit.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 4 comments | Category: Blog, Toolbox

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Generosity

Photo by BombaRosa

When I think of someone that displays ultimate professionalism, I see a person who is generous with their gifts, generous with their time, and generous in spirit.  This person is easy to collaborate with because he/she communicates with kindness.  This professional wants everyone around them to be their best and helps them to do so by being supportive and encouraging.  When a colleague is struggling, this person does not belittle or put her down.  He/she is aware enough to look for moments in which they can offer help that will not be embarrassing to the individual or interrupt the rest of the group.  And, help does not always mean showing or telling another how to do something.  Often an encouraging smile or a word or two that will lighten the person’s mood and frustration level is most helpful.  Also, being generous does not mean that you must lie to make another person feel good.  A professional still tells it like it is but avoids hurting other people in the process.  A generous and professional performer, collaborator, or contributor brings out the best in others because instead of focusing on I and me, a generous person concentrates on we and us.

Awareness of one’s surroundings and the other people in them is important but a professional must also be self-aware.  Generosity can be extended to oneself by understanding one’s strengths, weaknesses, and limitations.  No one is perfect, and a confident and self-aware person does not expect perfection of himself or of anyone else, rather he does his very best, recognizes where the strengths of others can fill in the gaps, and allows them to shine as they do their part.  It is alright to ask others to do their best but never expect of someone else what you can’t expect of yourself.  After all, you can’t lead others until you lead yourself.  Offer encouragement and lead them through example to fulfillment of their full potential.  I was once told that you are only worth what you give away.  And you can only give away what you have.  So, improve what you have to give by taking responsibility for what you know and then give it away.

When you’ve been wronged

Inevitably, someone will disappoint you, hurt you, or do something that is unfair or unjust.  It happens.  And, sometimes the results are catastrophic, the pain is tremendous, and the offender seems to hold a Get Out of Jail Free card.  Trust me, everyone faces this at some point in their professional career and/or personal lives.  A professional acts with dignity in response to these situations.  It is tempting to want to lash out or get revenge, but a true professional does not reduce herself to bad behavior because she knows that this is sure to backfire. For example, if a coworker complains and whispers about a peer at every opportunity and spreads rumors and gossip, would you ever trust him/her?  It does not matter if the complaints and rumors are true, I guarantee that even those that go along or participate in this slander don’t trust your coworker farther than they can be thrown.  A person who goes about tearing down others is only opening themselves up to the same kind of scrutiny and backstabbing and is not someone that anyone would want to work with.  Who needs the drama and negativity that this person dishes out?  No matter what has been done to her, a professional will always be the better person. He/she will take action through appropriate channels instead of dealing out their own form of justice.

When you’re the one who has wronged

As I said before, no one is perfect. Even professionals have a bad day in which they do, say, or act in a way that is not only unprofessional but unbecoming.  I am no different.  Once in rehearsal for a musical for which I was not only the choreographer but a leading character, I very publicly blew my top at a director.  It was tech rehearsal, the cast and crew were tired from both building sets plus all the long hours of rehearsal, and we were running well-rehearsed scenes instead of jumping cue to cue (as is usually done during a technical rehearsal before the open of a show).  Essentially my professionalism went out the window for a moment as I attempted to express the collective frustration that was reaching boiling level within the room.  It was an outburst I immediately regretted, although it got results.  As a professional, however, I recognized that I did not handle the situation well and that an apology was in order.  After giving the director a few moments, I approached him and calmly apologized for my behavior and that it would not happen again.  If I had not performed this simple act, the relationship would have been damaged and I would have lost the respect he held for me because resentment would have had time to set in.  Being mature enough to recognize when you are out of line, say you’re sorry, and take responsibility for yourself is an important and necessary trait in someone that wants to continue to be viewed as a professional even when mistakes are made.

Final Thoughts

It is not always easy to conduct oneself as a professional but it leads to more positive and fulfilling experiences overall.  A negative person creates a negative world around themselves. Positive and professional leaders have good things happen to them because they are prepared to take the bad things that happen in stride.  They cannot and will not play the victim.  Instead, they motivate others to join them in their outlook.

Also, age is not a factor in professionalism.  I’ve met both very unprofessional people who have spent years and years in their career and amazingly mature children who act professionally whether they get paid to do so or not.

Fears and insecurities can damage a person’s ability to think positively, act with generosity, and conduct themselves appropriately. When dealing with someone who is behaving unprofessionally, considering this helps me to deal with him/her in a more compassionate manner.  Again, this doesn’t mean I won’t give it to them straight, but it does allow me to avoid behaving badly in reaction.

The ultimate question to ask yourself if you are uncertain if you’ve conducted yourself professionally is…

Would YOU want to work with YOU?

If not, take responsibility for your actions and work to be your best in all areas.  I guarantee the attitudes of the people around you will improve because their perception of you will have changed.  You will be regarded as the professional you want to be.

What are other qualities that define a consumate professional?

What are some examples of professionalism or unprofessionalism that you have witnessed?

Would you work with someone who had behaved unprofessionally again? – TAKE THE POLL!!

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 5 comments | Category: Blog, Toolbox

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Someone that is consummate professional in their career and in their life is essentially a strong leader.  Years ago I was the drum major for my high school band (Yes, I know my geek quotient just went up but I wear it proudly).  In preparation for that role I was sent to a week-long camp to essentially learn how to be a drum major.  While there, I learned many valuable lessons during leadership training.  In fact, I kept the Leadership Seminar packet and will now offer its list of Quality Leadership Traits:

• A sense of humor
• A passionate interest in more than one thing
• High energy levels
• Tolerance of changing moods
• Knows how to listen
• Creative
• Realizes that touch is important in communication
• Enthusiastic
• Exudes self-confidence
• Appreciates successes and sympathetic to failures
• A keen sense of justice and injustice
• Sensitive to the needs of others
• Takes risks
• An air of mystery
• Optimistic
• Does not belittle or make fun of others
• Offers love and gives of themselves unselfishly
• Has a presence around which others find they like themselves more

The list may not be totally complete, but I think it offers some interesting tidbits.  There are a few things that I would like to add.  Some are directly related to the above and others are not, but they are all essential to succeeding in dance.

Positive Attitude

Photo by Carl Johnson

Someone that has a positive attitude does not complain (click the link for one instance of how complaining can affect others).  To complain, by definition, is to express dissatisfaction, pain, uneasiness, censure, resentment, or grief, both informally and formally.  When I say that someone who is a professional does not complain, I mean in the informal sense.  Professionals seek to be constructive not destructive and complaining (or whining, whinging, grumbling, if you will) is not constructive, particularly if it is out loud to anyone that has ears.

Everyone has moments when they complain.  It is human nature to want to get things off one’s chest in that way.  “One time at band camp…”  Yes, another band geek story.  Band camp was always in early August which, even in Pennsylvania where I grew up, is HOT.  We were never allowed to utter the words “It’s hot” (or any variation of this) without consequences.  Sounds like a stupid rule, so why?  Because everyone already knew it was hot!  Voicing it only reminded everyone in earshot how miserable they were feeling, too. Don’t think so?  When your dance teacher says something like “Feet!” what happens?  Everyone immediately thinks about what they might be doing wrong with their feet.  In the same way, when it is 90-plus degrees (Fahrenheit) outside, it is almost impossible not to zero-in on how hot you are when someone else says they’re hot.  The collective energy spent focusing on the complaint is just better spent on the task(s) at hand.

A positive attitude is also exhibited through optimism, generosity, kindness, enthusiasm, and humor (even in humorless situations).  Someone that is positive does not display negative feelings toward themselves or toward others.  Even when someone is simply not doing his best, and even if it is negatively impacting you or others, it is still not appropriate for a professional to publicly point this out to others.  It’s not nice!  No one can truly walk in another person’s shoes, therefore it is always best to remember the golden rule.  Do unto others as you would have them do unto you. Suppose you’ve had a rough day, you are choreographing something that is just not working and you don’t know how to fix it.  All of your dancers are standing before you and probably each one of them has their own ideas about what you should do.  You are beginning to feel you are wasting their time.  Then, a frustrated dancer in the back grumbles under her breath.  Soon her dissatisfaction spreads like a virus and you know the rest of the rehearsal will be a waste unless you come up with something quick.  No pressure!  Maybe the dancers in this situation have a right to feel annoyed at their director, but negativity is infectious and rots every situation.  Knowing this, professionals resist the urge to be negative, grumble, and complain.  They don’t sweat the small stuff either.  Instead, if a problem has become serious or too often repeated, if someone is being hurt or an injustice is being done, they find an appropriate time to meet with those who have the power to improve the situation.  And true leaders use their energy to solve problems, not just identify them.  Therefore, it is a true leader that will, rather than just offer a formal complaint, approach someone with possible solutions to the issue at hand.

Work Ethic

A professional has a strong work ethic.  They anticipate the needs of others or what needs to be done and they do it.  They do it even before someone asks or they ask permission before going forward.  Anticipating a need sometimes means that you must humble yourself and do what is best for the group or someone else over what is best for you as an individual.  When something is asked of her, a professional does not question out loud.  Again, finding an appropriate time for questions is important.  Unless you truly do not understand the directions given or you are instructed to do something which is against your core beliefs, adhere to the request and later find a private moment to question if necessary.

Professionals are also prompt, or on time.  There is a saying that states, “To be early is to be on time, to be on time is to be late.”  In other words, starting “on time” means that you and others are ready to go the very moment the class, rehearsal, or meeting is supposed to start.  Being early ensures this.  Arriving at the start time will put you and everyone else behind because inevitably there is something that needs to be done just before beginning and it is unprofessional to waste another person’s time if it can be avoided.  Dancers in particular require a warm-up before moving.  Every body is different and sometimes the warm-up in class does not meet the needs of all.  Professionals get there well ahead of time to do what they know they need to.

Professionals don’t make excuses.  If they are offered ways in which they could improve or are reprimanded for inappropriate behavior, a professional accepts the correction (whether they agree or not), tries to apply the suggestion or do better next time, and then moves on.  They do not blame unfortunate circumstances or other people for their mistakes.  I am reminded of a segment I saw in, I believe it was, last season’s So You Think You Can Dance during early eliminations.  A dancer, who had appeared before the judges in a prior season, completed her presentation and the judges complimented her improvement.  When they moved on to some areas that could still use work she began making excuses.  In my head I was thinking “Shut up, shut up!” but her mouth continued to get her in trouble as the judges became annoyed and wanted nothing more to do with her after that.  This is probably not someone who could have made it all the way but she may have at least made it another round.  And just think how much more she could accomplish if she could just learn to stop making excuses for herself!

As I write, I find there is more to say on this topic.  Stay tuned for Part II and consider the importance of a generous spirit in professionalism.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 5 comments | Category: Blog, Toolbox

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Welcome! Thanks for checking out the Teach-a-thon. We’re going to blog our way into a new dance season with some great information from dancers and instructors across the web! Dance students, I know you will find some valuable information here. New posts and links will be added each day of the thon, so keep checking back!

Bloggers, there’s still time to get posts in, just contact me and send the link!

Ok, here goes!!

Tuesday, August 19

Organize Your Life and Nurture Your Spirit: Dianne from Ballet Shoes and Pointe Shoes offers tips on dancewear, visualization, journaling, and getting back into class!

Scholarships for Dancers: Heading to college? Seniors, now is the time to start working on applications for school and financial aid. DanceHere offers great advice!

Strengths and Weaknesses: Everyone has them. Here are some tips and encouragement as you attempt to master your strengths and overcome your weaknesses!

Wednesday, August 20

Sarah at What a Wonderful World! writes about one of her favorite belly dance students. A heartwarming reminder that you’re never too old to learn something new!

Challenges In Professional Dance: DanceHere offers the first in a series about dance careers. If you are thinking about a career as a professional dancer, don’t miss this post!

Why The Competition?: A post about the reasons dancers compete. Carl, a lindy hopper, competes in partner dancing but his post is applicable to all forms of competitive dance.

Thursday, August 21

Start The Year Off Right: Leslea, assistant director at Uptown Dance shares with students how to be prepared and productive in the coming year of classes. Written as though you were right there in her classroom, she hits all the highlights of the first month of classes.

Jobs in Dance Companies: Considering or researching a career in dance? Performing professionally is not the only option open to dancers. Check out this post from DanceHere.

What to expect from your first ballet class: If you are taking ballet for the first time, Selly from Dance Outlook offers a thorough article on how to prepare and what to expect, complete with some great video.

Negativity: Could your complaining, insecurities, and negativity affect others in your dance class? My experience with a student whose negative attitude was turned around with positive reinforcement.

Friday, August 22

Careers for Dancers in Media and Communications: Continuing their series, DanceHere highlights careers in film, photography, and more that combine an interest in or knowledge of dance.

Improve Dance With Your Eyes Closed: Sanna, a performance specialist who blogs with dancer, Janie at DanceMind, expresses the importance of sleep for dancers who want to be at their best.

Vertically Challenged: My own tips and suggestions for improving your technique, height, landing, and musicality in vertical jumping (or, sauté).

Saturday, August 23

Do You Have Your Splits?: Treva, the dance guide at about.com, wants to know. Check out her blog for posts on a wide range of dance topics.

Jobs for Dancers in Medicine and Health Care: DanceHere gives us another great post for those with a passion for dance that want to explore alternative (but related) careers.

The Core or Center: I’ve updated this post (one of my first) from Dance Advantage. Understanding what exactly your core is, the muscles involved, and why its important to know and use your center in dance

Students, there’s lots more here at Dance Advantage!

Check out these posts, written with you in mind

Tell us what you think of the Teach-a-thon and the participating posts in the comments below!

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 2 comments | Category: Blog, College and Career, For Students, News and Events, Performance, Summer Study/Workshops, Technique, Toolbox

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Mastering Strengths and Overcoming Weaknesses

In my opening I am gently mocking what I’ve witnessed both in the dance studio and even within myself at times. However, despite the tendencies of a dancer, there are dance students that manage to master their strengths and overcome substantial weaknesses in their desire to improve. TapDanceMan includes the focus on developing strengths and improving upon weaknesses as one of his 10 Habits of Highly Effective Dancers. And, he’s absolutely correct. A dancer’s ability to spend more time and effort on areas that are lacking than on the things that give the ego a little boost, separates him/her from the crowd. That doesn’t mean the dancer necessarily reduces time spent on strengths, just that he/she puts in extra time on the weaknesses instead of avoiding them. It’s hard to do this, to face our weaknesses head on and diligently overcome them while still keeping our edge on the things that come more naturally. But, there’s no way around it either. If you are aware of something that you’d like to improve, you can expect to get acquainted with TEDD in order to correct it: time, effort, desire, and diligence.

Transforming Weaknesses into Strengths

Some weaknesses can be turned into strengths. For example, in an article describing the success of the musical Chicago, Nancy Cameron muses on Bob Fosse’s highly stylized choreography, stating,

“He took all of his bad habits and utilized them to his advantage. He didn’t have great placement. For instance, he didn’t have clean use of his arms, so he’d detract from that by wearing gloves. He didn’t have a strong turn-out in his legs, so he’d turn-in instead.

“He transformed all of his habits, even the way he walked. You know how Fosse dancers tend to lean back, with their tail tucked under – that’s supposedly how he walked. And I’m not quite sure, but I think maybe he didn’t have a particularly good hairline, and that’s why he always wore a hat.”

Not everyone will have the success of Bob Fosse, however, James Robey at DanceArt.com does a great job of pointing out that within Fosse’s story there is a lesson to be learned on being yourself. This is not to say that you should stop working on the things that are problematic for you (remember, solid technique is important in preventing injury), only that you can learn to accept your quirks or the things you can’t change because they can actually help set you apart.

Learning from Others

It is dangerous to constantly compare yourself to others, however, a lot can be learned from observing the strengths and weaknesses of fellow dancers. If someone is doing something well, try to assess what they are doing that you are not. Try not to focus on what they’ve got that you don’t. Instead analyze their actions – for example, adding strong dynamics to the movement, sharply spotting turns, executing a deep plié before a jump, etc. Study the weaknesses of others in the same objective manner, making sure that you do not repeat their mistakes. Dancers that watch closely whenever they are not dancing during class will absorb and apply the corrections given, leading to noticeable improvement.

In the Zone

Often dancers must leave their comfort zones to recognize or address their strengths and weaknesses. It can take an awkward audition to realize that perhaps you need to work on your speed in picking up new choreography, for example. Likewise, you may not recognize your particular ability to connect with the music until a stranger in a master class mentions it. New discoveries can be made when you dare to push yourself into uncomfortable territory in class (going for that quadruple pirouette or letting go emotionally in a new combination, for example). In all of these situations, you may risk exposing a weakness, but recognition is the first step in improving or transforming that weakness. Plus, the risk is worth it if you discover a hidden strength.

Be Persistent

There are rarely quick fixes in dance and a smart and effective dancer knows this. Dancers often hit plateaus in their development before their next “growth spurt” (physically and mentally). If you’ve been working hard on something and feel like you’re stuck, read The Dance Primer’s account of how sometimes weaknesses can suddenly become strengths if you don’t give up. And speaking of not giving up, I’ve written a page that offers encouragement to those who are struggling: I Can’t encourages dancers to accept challenges in a positive manner and serves as a reminder that every dancer has strengths and every dancer has weaknesses.

© Nichelle Strzepek for Dance Advantage, 2008. | Permalink | 4 comments | Category: Blog, For Students

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