Approaching Your Teacher or Studio Owner

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?

Finding Quality Dance Instruction – Middle Ground

I come from a small town and have taught in some small cities where dance studios struggle to maintain integrity and keep their business (or non-profit) afloat. Access to educated and experienced dance teachers is sometimes minimal. Below, I’ve listed some circumstances that occur in dance studios across the country. They are not absolute deal-breakers, but potential students should proceed with caution and armed with knowledge and awareness when such situations are present.

• Combo classes. Many say to avoid them altogether. However, they can be useful for exposing younger children to complimentary styles of dance, or providing an introduction to ballet for children who may not choose ballet as their one dance class per week. However, if combo classes are offered for anyone over 8 years old, this shows signs of an à la carte philosophy on dance training. Dabbling in dance this way often results in an unsuccessful and incomplete education. If a student wants to pursue many dance styles and still become proficient, they need to put in the time, something combo classes don’t provide.
• To many, following a ballet syllabus is extremely important so as not to confuse students (not all ballet is the same). However, basic technical principles should serve the recreational student as long as there is consistency within the class, or students are made aware of how the codified techniques differ should they encounter a need for this information.
• A proper dance floor is extremely important to the well-being of the dancers. Dancing on anything directly over concrete subflooring is unacceptable as a long-term situation and instructors must demonstrate precaution for the sake of their student’s bodies in the interim. For the sake of their student’s bodies studio owners should recognize if their current flooring is sub-standard and have a plan in place (fundraising or otherwise) to improve their situation. If they don’t see it as an issue (and they may not if it’s not hurting their business), move on. The same goes for studios that are too small for full-grown students to fully extend their arms and legs, setting up patterns and habits that will be hard to break later. In a perfect world no studio would open with sub-standard flooring. However, if the school is otherwise providing quality education, I consider this area middle ground. Ask questions and make it known that this is important to you. There is a flooring solution out there to fit every space and budget.
• Student teachers are a deal-breaker for some. As a teen, I assisted experienced teachers at my studio for three years before taking over my own classes, and the students were once-a-week students between 6 and 9 years old. Was I really prepared to have my own class? Maybe not, but I worked hard, took care in what I was doing, and learned an awful lot that prepared me for things to come. Therefore, I think a student assistant/teaching program certainly has value. Some guidelines to consider: Preschool classes are best taught by someone with experience in the classroom management of dancers this young. Also, teachers too close in age to their students can cause disciplinary problems. Again, students as teachers are not ideal but a school that is closely monitoring and evaluating their student assistants and teachers on a regular basis may be fostering tomorrow’s educators.
• Age alone is not a reason to move dancers to the next level of dance. In a setting in which students are taking only one or two classes per week and not attempting to learn advanced skills like pointe work, difficult turns, or leaps, advancing by age is not a deal-breaker. Otherwise, I would avoid any school that blindly moves up or holds back dancers because of age, or concedes to class-placement simply because someone requests to take class with a friend. If the school has clear ideas about what their curriculum includes and methods to assess if a student is ready to move on, subjectivity can be reduced and complaining minimized. If a school cannot point to reasons why they have advanced a student, they leave themselves open to question and speculation.

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  There are those in the dance world that consider competitive dance studios a red flag in quality training. However, it is my opinion that competitive schools can, and some do, offer quality dance education. Be wary when, like performance, competition becomes more important than the training itself. I’ve witnessed, too often, superficial rivalry, tricks, costumes, and medals replace the reward of cooperation, hard work, self-improvement, long-term goals, and mastering a craft or art form. It is a fine line to walk, and a studio that chooses to compete must take extra care to ensure that students’ appreciation of dance does not depend on the thrill of winning alone. When their winning days are over, the 99% of students who do not become professional dancers still play a major part in the advancement or decline of the art through their support. And if winning and sport was all it meant to them, their dedication to dance may falter when the incentive is gone.

Please remember that when looking for the studio or teacher that will suit your needs, it is important to shop around, armed with questions and knowledge. I’m always surprised that students and parents spend so little time choosing a dance school (many dancers spend more years at a dance studio than they will a college). Dance instruction is an investment of time and money, and you don’t want to waste either. The guidelines you’ve read here about quality instruction are no more than my educated opinion, offered so that you may thoughtfully consider the topic for yourself.

What are some of your experiences? Do you disagree or agree with some of my opinions, or with my assessment of deal-makers/breakers? I’d like to hear your thoughts.

Finding Quality Dance Instruction – Deal-Breakers

When researching dance schools or studios, there are certain things I consider, instruction deal-makers. Here I will investigate the possibly more controversial deal-breakers:

• An instructor is consistently condescending and sarcastic, frequently uses put-downs or yelling to get results, or is insensitive to safety and health/weight issues.
• Classes appear out of control – little ones have no order, rules or expectations and older ones chatter, lean on the barre, etc.
• Classes are too long for small children (more than 45 minutes is too long for preschoolers) and too short for older dancers. (An ideal class length for ballet in particular is an hour-and-a-half. For dancers over 12 or who are preparing for pointe work, classes should be no less than an hour-and-a quarter.)
• Pointe work is offered to students who take less than 3 hours of ballet per week and dancers are not assessed for pointe readiness. Three hours is the absolute minimum, and should include those in pointe prep classes who are not yet wearing pointe shoes. Hours, days, weeks, and years spent doing ballet have no true bearing on if someone should or should not be doing pointe, however. The quality of the training itself is essential and great care must be taken to assess each individual’s core, turnout, and foot strength to determine if they can begin pointe work. (Lisa Howell offers some wonderful resources for students, teachers, and parents for determining pointe readiness.)  Ask to observe a pointe class. If the dancers look unstable and precarious when away from the barre, it is not simply because pointe work is hard – more likely, their training thus far in ballet has not been sufficient for working at this level. A truly quality establishment will not place dancers en pointe before they are ready, or at all if they cannot provide an appropriate course of instruction to safely prepare their ballet students. Dance studios in the U.S. (I can’t vouch for other countries) feel pressure to make pointe available to those who want it, even if it is not in their students’ best interest. Sometimes otherwise good schools succumb to this pressure. I encourage you to evaluate or re-evaluate if a pointe program is really right for you or your school. Only those considering a professional career truly need extend their work in ballet to pointe and, if you are considering a professional career, then you need instruction that will get you there.
• A class consists of nothing but drilling or repeating “tricks” (turns, jumps, leaps, etc.). This is only conceivable outside and in addition to a normal, thoughtfully planned technique class.
• The teacher uses improper terminology for movements with children older than 7 or 8. Even in preschool or creative dance classes, children can be taught the correct term. Imagery can, and absolutely should be applied for these young dancers, however I see no need to completely replace the vocabulary used by older dancers.
• Classes spend more than half the class on choreography and/or spend more than half the year preparing for recital dances. If this amount of time is required, the dances are too hard for the students. And it is probably too hard because the dancers have not been given a consistent opportunity to improve their skills and technique. Rehearsal for competition choreography should take place outside of regular technique classes. Some would argue that even recital choreography should be done outside of class. I personally feel, however, that if the choreography is representative of what the class has been doing (the purpose of a recital), composition of the dance need not be overly invasive and can take place during the last 15 or 20 minutes of class which would normally be spent learning combinations or variations.
• Owners of the school are not upfront about additional costs. Many schools charge extraneous fees for costume purchasing (on top of what you pay for the costume), recital fees, competition fees, required purchase of dancewear from their own store, etc. Make sure that it is clearly presented what you are expected to pay, tuition included, and don’t be afraid to ask exactly what the money goes toward. Some studios use such fees (or a portion of them) to keep the school afloat during summer months and to keep tuition low. Know what will be expected of you so that you have the opportunity to decide if these are fees you’re willing to pay. Although this trend is increasing, not all schools require such fees. Look into this before a sense of obligation to yourself or your child forces you to pay more than you had intended.
• Students display a myriad of injuries. Some injuries do occur when dancers are pushing themselves as athletes. However, it is a red flag when a large number of students are dealing with injury, especially at a recreational studio. Usually, these students are either not being trained properly in technique or are consistently attempting skills that are beyond their technical ability. I have seen this often at competitive schools that are recreational in nature. In order to keep up and win medals they work and drill “tricks” that only advanced dancers should attempt. Sadly, these students may be awarded despite poor technique at a competition and encouraged in this behavior (remember the nature of many competitions is that judges must choose the best from those competing). No matter the type of school, the occurrence of multiple students with chronic or serious injuries is a clear sign that something is missing or not as it should be within the training.

There are some things that deserve mention that I have not yet listed. These are what I consider middle ground – not ideal, but in certain circumstances not deal-breakers either. I will list these in my next post.

What are some deal-breakers for you? Have you or do you attend a school where these things take place? Tell me about your experiences.

Finding Quality Dance Instruction – Deal-Makers

People don’t usually open a studio or attend a dance school if they don’t think it is a quality product being offered. However I’ve found that those in the dance world have strong opinions about what is or is not quality dance instruction. I consider myself a pretty diplomatic person and I try very hard to see things from all angles. Therefore, I’d like to stick to what I consider the deal-makers and breakers of a dance education relationship. Some may think I’m being too nice and others may argue I’m expecting too much. Either way, please try to have an open mind and consider the points I’m trying to make. After all, it’s just an opinion.

“Deal-makers”- qualities students should expect to find at an institution or business that educates/trains dancers:

• Ballet and other traditional dance forms have a clear and appropriate format. For ballet, this means a full session at the barre (less than 30 minutes is not acceptable), followed by work in the centre and across the floor. All dance styles should include a warm-up and cool-down period.
• The teacher offers individual attention, correction, and help by breaking down new or difficult movements for beginners or young dancers. With more advanced dancers, teachers may expect students to have more skill in picking up movements quickly and may spend less time explaining, however, teaching a class still involves refining all details of the movement. Just leading the class without offering input or corrections is rarely helpful to a dance student.
• There is focus and attention given to the upper body, including arms, head, and face even at beginning levels.
• The instructor has an understanding of anatomical terms and their application to dance and explains and shares this knowledge with the class.
• The students and teacher move well, are pleasing to watch (students with a solid foundation can make even new or difficult movements less awkward), and are dressed neatly and appropriately.
• Praise, encouragement, and humor – all positive reinforcements, are used frequently but not indulgently in class.
• Dancers are encouraged to be expressive in their movement and facial expressions without forcing plastic smiles, to listen and understand the musical or rhythmic aspects of the dancing.
• Instructors ask the students to use critical thinking in their classes. This means that they are regularly required to analyze, deduce or problem solve to come to a conclusion about something rather than simply regurgitating an answer.
• Students are encouraged in, or given regular opportunities to view dance performances, observe or participate in master classes, learn about other art forms, and reach out or volunteer in their community.

Look for these attributes when researching, observing classes ,or touring a dance school. When seeking out instruction, don’t just join the studio with the largest ad. Arrange a time to observe or even sample classes, talk with the owner and/or instructors, and ask questions. Do all of these things before making your choice because sometimes observation will reveal more than speaking with the owner, or visa versa. A studio interested in your business will make time for potential customers, however, approaching a studio owner right before performances or recitals may not be the best time.

When looking for quality dance instruction, be aware that some studios spend a large amount of in-class time on rehearsal for a show that is months away. A studio’s best instruction should be on the menu at all times, performance or not. Occasional breaks from the routine class structure are important and sometimes necessary, but learning how to dance should always take precedence over learning a dance number.

Next up, deal-breakers and “middle ground“!

What other qualities do you consider “deal-makers?”