What To Look For in a Dance Studio

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.

How to Conduct Oneself as a Professional – Part II

This is a continuation of Part I of How to Conduct Yourself as a Professional which dealt with leadership, positive attitude, and work ethic.

Generosity

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 Read more

How to Conduct Oneself as a Professional – Part I

What does it mean to conduct oneself as a professional?

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 Read more

Dance Where?… Dance Here!!

Just thought I’d let everyone know about a new dance blog/community that’s entered the scene called DanceHere. The blog has already featured some great and informative posts which seem to have a similar focus to my mission here at Dance Advantage. I want to support sites that produce quality information for an internet audience. This is my philosopy: When artists and educators learn, share, and show support, everyone wins. Those that fear competition don’t have confidence in their product. This is not to say that I regard DanceHere as competition – just the opposite really, we’re on the same team! I hope that other dancers and artists will consider this message. Just something to think about.

Anyway, currently DanceHere is asking that Studios, Companies, and Groups submit their information for a new series entitled This Season. Please check out this new resource.

Censorship in Salt Lake?

I just came across this article from the Salt Lake Tribune in Utah. I found it interesting and was wondering if any of you had opinions. Do you think the school was correct in pulling the number, citing that it was not appropriate for a family show? It would probably be important to see the dance in question to truly judge the appropriateness of this dance, but I’m also curious about your own experiences with dancing about touchy subjects like politics. When does pulling a dance cross the line into censorship? Read more

Art or Not? — Musings on Dance, Art, and Entertainment

A Time to Dance recently featured a post titled “What is dance and what makes it art?.” In the post Maria asks a lot of questions (of herself as much as her readers) that relate to the divides between what we consider art, entertainment, dance, and not dance. I recommend you read her post. She provides some excellent YouTube examples to get you thinking!!

One of her commenters, Anna, offered a great quote in her post that I want to share:

“I recently read somewhere that entertainment tells you what you already know and art is about what you don’t know.”

She also described dance as a “gigantic container.” I appreciated that too because it suggests that dance is unlimited in its appearance and objectives.

Art vs. Entertainment

In my view art can be entertaining and entertainment can be artistic, but it is sometimes hard to say when one crosses the line into the other. This may largely depend on an individual’s perspective. Sometimes the setting (on a respected concert stage, with imaginative lighting and costumes, and even a name with credibility on the program) has fooled me. As if in disguise, this art is actually presenting me with “what I already know.” Alternatively, I’ve been deeply affected in the past by something I guessed would have been “merely” entertaining. It’s always a pleasant surprise to find I’ve learned something about myself, about others, about the world, and so on. But, again, this takes us back to the subjective nature of classifications. Something that is revealing or revolutionary to one may be familiar territory to another.

Though art and entertainment do not have clear delineation, successful (or good) art usually blends these two modes of expression. If a choreographer (artist, or entertainer) sets out only to draw attention with spectacle, to water things down trying to appease the masses, to rely on cliché,  the dance comes across as a series of tricks without substance. This can occasionally be entertaining despite a lack of subtance – seeing humans do amazing things can be fun, for instance. However, I think we have a threshold of tolerance for this. Perhaps increased exposure to that which operates above this baseline is a factor. (i.e. Is it less interesting or harder to stomach that which seeks nothing more than to entertain?) Likewise, I would say that some may have a low tolerance for art on the other end of the spectrum, perhaps finding it impossible to learn or discover if there is nothing within the dance that is familiar, relatable, or something we “already know.”

Aesthetic Principles and Critique

Because art/entertainment lines, aesthetic principles if you will, are different from person to person, group to group, and sometimes alter over time, it’s easy to begin to exert your principles on others in the form of snobbishness or exclusivity. I’m guilty. But, sometimes “watchdogs” of an art form – those that are critical when our art is too “entertaining” or our entertainment too “artsy” – are needed to keep the makers of dance (be they classified as artists or entertainers) reaching and striving and creating.

What is Dance and What is Not

Those that dance or move have always, and are continuously, expanding what seems possible for the human body. That means delving into gravity defying, jaw-dropping spectacle at times. Remember, at one time a dancer on pointe shoes seemed revolutionary. Humans strive to reach beyond what’s come before.

I’m not sure that something can cease to become dance if this was its aim or goal (no matter how much we push its boundries and mix it with other things). However, there are occasions that someone starts out with one thing (gymnastics for example), infuses it with dance elements, and then re-labels it dance. Would you take a dance, add a bit of martial arts to it, and then call what you are doing martial arts?

In conclusion, I’d just like to remix that initial quote a bit. What do you think?

Dance art seeks to expand the already giant container of dance, to push or blur our notions about dance or movement. Dance which is entertainment oriented often stirs up or remixes what’s already in the container.

What makes something art? What makes something entertainment?

What is your threshold of tolerance for either?

How can you tell when something is dance and when it is not?

Have you ever been surprised or confused by labels in dance?

Bullying in Dance Class

What does a bully look like?

We tend to picture a bully as a big, tough, boy that picks on those smaller or younger than himself. However, there has been a lot of discussion lately within educational circles about bullying and we are slowly learning that bullies come in many forms. Although dance can foster understanding and a sense of community among young people, dance classes are not immune to episodes of bullying.

Boys in dance often receive taunting, teasing and physical harassment from sources outside their dance school. Sometimes the effects of this bullying can have serious consequences as they did for one young man in Derby, England. It is not as widely recognized, however, that male students can sometimes be bullied by females in their dance classes. After all, boys are typically outnumbered and often a subject of fascination for the females in a typical studio environment. In fact, girls are every bit as capable of bullying as boys, however their style or methods of tormenting usually differ.

Girls tend to practice what is called relational aggression. They manipulate, taunt, and tease on an emotional level that often flies under the radar of teachers. Here are some sources that will help you spot and understand relational aggression in action:

• Girls Bullying Girls
• Girl Bullies
• Relational Aggression (defines some of the “types” like Queen Bee, Bystander, etc. and offers additional links)
• The Ophelia Project

A Teacher’s Role

In all cases of intimidation, there are usually adults that excuse bullying with, “boys will be boys” or “girls will be girls,” feel that bullying is just something everyone must deal with at some point in life, or consider the behavior as part of a phase that will pass. Even though certain age groups are more prone to experience or exhibit bullying behavior, students deserve to learn in an environment that is safe from abuse. Dance classes for pre-teens and teens are a social, as well as an educational environment where cliques and competition can flourish. In addition, students often bring their school-lives into the dance studio despite being urged to “leave it at the door.” Dance teachers can help to combat problems by learning to recognize episodes of bullying and adopting a no-tolerance policy on destructive behavior in their class even before it becomes a problem.

Why stop bullying?

It’s been my experience that students thrive when they are free to create, succeed, and fail in a class without the stress of facing snickers, rude comments, or pressure to join in on bad behavior from other classmates.

Need more reasons?

The Stop Bullying Now! website has a concise list (please visit their website for details and more information on bullying).

1. Many children are involved in bullying and most are extremely concerned about it.
2. Bullying can seriously affect the mental health, academic work, and physical health of children who are targeted.
3. Children who bully are more likely than other children to be engaged in other antisocial, violent, or troubling behavior.
4. Bullying can negatively affect children who observe bullying going on around them–even if they aren’t targeted themselves.
5. Bullying is a form of victimization or abuse, and it is wrong. Children should be able to attend school or take part in community activities without fear of being harassed, assaulted, belittled, or excluded.

If your pre-teens or teens are already engaging in bullying behaviors,

What can you do in your dance classes right now?

Take some time out of an upcoming class to sit down with the students and create rules about bullying. Having a heart-to-heart right after an episode occurs may embarrass the bullied student (which is not the point) of the exercise. However, now is better than never. Essentially, as soon as you feel prepared to address the subject calmly and objectively, go for it!

Start out with a discussion about what constitutes bullying.

1. Ask the students to come up with a list of actions that they would consider to be bullying (whispering and giggling, rolling eyes, etc.).
2. Next, have them create a set of rules to follow in class that will stop bullying.
3. And finally, come up with appropriate consequences for breaking the rules. Make sure the rules are clear and concise so that the bully can’t talk their way out of punishment. For example, No Whispering. That means no whispering… period. Doesn’t matter what the whispering was about because they will try to convince you that it wasn’t malicious. Stick to the rule and the consequence every time.

I’ve also found it helpful to create, in general, a supportive environment in class.

1. Encourage students to clap for other groups after they’ve crossed the floor or performed in front of the rest of the class.
2. Offer comments like “good try,” “don’t give up,” or “you nailed the timing, Susie!” in addition to corrections is helpful, and don’t forget to praise students who exhibit supportive and positive behavior.
3. Demonstrate constructive criticism, teaching students to look for positives and “needs improvement” in others’ work, then make it a point to provide opportunities for students to practice constructive criticism (Teach students how to properly offer constructive criticism. Be careful! If there is already a lot of negative behavior running through the class, do not allow bullies to use this exercise as another opportunity to intimidate or belittle. If this is a problem, consider holding off on allowing students to practice criticism until behavior and attitudes have improved overall.)

What to do if bullying continues.

Pull aside the offender after class. Provide specific examples of his/her bullying and/or breaking the rules, make it clear this is not acceptable, and let him/her know that this is a warning that will be followed with specific consequences if the behavior does not stop. It may also help to pull the bullied student aside and let him/her know of your plans to end the bullying so that he/she feels some reassurance that you are aware of the problem and are taking action to prevent it.

There are lots of ways for parents and teachers to deal with and prevent bullying. The links I’ve included above offer suggestions, as well as support for victims and even more links on the subject of relational aggression.

Have you been bullied in a dance class? If you are a teacher, how have you prevented bullying behavior in your class/school?

Teaching and Exploring the History and Evolution of Dance

A student in ballet cannot learn the art in isolation and no one can know what great dancing is without seeing examples of it. Not only can the dancer not be separated from the dance, she also cannot be separated from the history of dancing, from the line of dancers and teachers leading to her.

This is a quote taken from an article written in Dance Magazine in 1995 regarding the film The Dancer. This sentiment holds true not just for ballet students, but for dancers in general.  So, in honor of National Dance Week, I wanted to offer ways in which teachers of dance can include dance history in their everyday classes.

I know how hard it is sometimes to fit it all in.  As a dance instructor I often find myself pressed for time when including just the technical principles of dance in my classes, let alone guidance in music, vocabulary, and other areas vital to performance and execution. However, having experienced the degree to which understanding the evolution of dance has enhanced and improved my own performance and desire to achieve proficiency within my classes, I know that it is important to draw attention to this “line of dancers” (past and present) whenever possible.

Here is an article that addresses this issue in the teaching of jazz dance.  It offers a few methods of incorporating history into dance education:

1. Connect the movements you teach to dance history.
2. Bring in master teachers of unfamiliar combinations or styles.
3. Use visuals – posters, artwork, videos.
4. Host special events that encourage an interest in dance history.

The article goes into detail specific to jazz dance, but these small actions can easily be applied to any dance style:

Connecting dance movements to history can be as simple as tossing out facts during class that get the students thinking about the origins of what they are doing.  For example, as you correct your student’s turnout, mention that dancers initially began to turn out their legs when ballet made it’s way from the royal court to the proscenium stage.  Better yet, encourage their critical thinking skills by asking if they know or can guess why dancers use turnout.  Or, when working on fouette turns, explain that Pierina Legnani was the first to perform 32 consecutive fouettes en tournant.  The students may not remember everything you tell them, but you may be surprised at how much of these tidbits they do retain.

Master teachers can sometimes be hard to come by in certain areas, but re-creating famous or historical works from video can be fun and exciting for student dancers. One summer a workshop was held at my hometown studio that focused on the work of Alvin Ailey. The dancers learned portions of Ailey’s Revelations (skirts, fans, and all) from video and, although we could not benefit from a master to teach us the dance, I recall a sense of excitement, accomplishment, and commitment to the choreography as the dancers re-created this landmark work. Exercises like this will reward the students with satisfaction in knowing they executed the same movements as the professionals, and may encourage them in working to perform with as much accuracy and dedication.

Consider the artwork you display at your dance school. I’ve noted that many studios throughout my teaching career have displayed only a) cute teddy bears and bunnies in tutus, b) the awards and trophies of their own dancers, or c) pictures of the studio owner in all his/her glory.  And, while I think it is important to recognize the hard work of the dancers and show the experience and accomplishments of the teachers [I'm not sure I can find a way to justify the bunnies... sorry ], to instill in your dancers a sense of the scope, importance, and history of movement arts, I encourage you to look for visual representations (like this poster art) (or this poster art) that will inspire them to look beyond the little bubble of their own studio. If you teach children, it’s ok to show children dancing (including pictures of your own students) on your walls but give them something to aspire to, as well.

Hosting an event can be as simple as movie viewing parties at the studio or as elaborate as taking a field trip to a nearby city for a dance performance. Some of the most eye-opening experiences of my life as a young dancer included traveling away from my hometown with my classmates to view dance and musical theatre productions, attend conventions/conferences, and visit art museums. Opportunities like this allow a student to understand dance art in a wider context and will inspire them to reach higher in their classes.

If you need to brush up on your own knowledge of dance history, the following texts may be helpful: 

• Ballet & Modern Dance: A Concise History
• Jazz Dance: The Story Of American Vernacular Dance
• Tap Roots: The Early History of Tap Dancing
• Ballet in Western Culture: A History of Its Origins and Evolution
• Moving History/Dancing Cultures: A Dance History Reader

If you are a student and want to find ways of expanding your knowledge of dance history (it really does improve your dancing), try these tips.

• Use school projects like book reports, oral presentations, and writing exercises as opportunities to research and discover dance history.
• Join websites and blogs that offer historical dance facts and resources.
• Make it a point to see other dancers perform whenever possible – when your family vacations check out dance in the area or even take classes and rent dance videos (don’t forget your local public or college library may have videos available).
• Read biographies of dance artists, texts about dance throughout time, and profiles of famous dance works.

Let me know your thoughts!  Are there other ways to include history in your dance education?

Fostering Artistry in Young or Beginning Dancers

I came across a new blog, Design Dance, that coincided with something I’ve recently been thinking about. The blog is for a dance school in Chicago that has a mission to offer classes that not only teach technique but also create an environment that encourages the young artist. Let me just quote a bit from their first post:

After 7 years of being a dance educator and seeing what goes on in studios, I’ve begun to make some guesses as to why this [a drastic shift in focus from dance as hobby/exercise/competition to dance as art form at the age of 18] exists. It’s possible that the reason dance is rarely viewed as an art-form for children the way other art-forms are is quite possibly because the dancers are rarely asked to be artists until they are adults. A painting class for children would never teach a class without asking the young artists to express themselves through painting, so why is it that dancers are not asked to make their art form personal and creative until they are adults?

This was a “Yes!” moment for me and in my comment on the blog, I explained why… Read more

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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  Image via Wikipedia

  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?”

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