A male teacher’s guide to the fine art of teaching boys to dance

By Gregg Russell

It’s a common complaint among studio owners: Not enough boys take dance. There’s a reason for that, since often in our society young guys are harassed for taking dance.

Boys from Seattle’s Eastgate Elementary enjoy a chance to get onstage through Discover Dance, a performance partnership between Pacific Northwest Ballet and community schools. ( Photo by John Austin)

As a child growing up in the small town of Wooster, OH, I remember keeping the fact that I danced a secret from the kids at school. Every Tuesday and Thursday my mom would pick me up from school and take me to dance class. When one of my friends asked, “Where do you go after school?” I mumbled with a guarded look, “Somewhere.” Even today, with numerous dance shows on TV, when dancing is cooler than it ever has been (but it had better be hip-hop), many boys are ashamed to admit that they dance.  

So getting boys into the dance studio can be a big accomplishment. But what do you do with them once they get there? How do you keep them engaged and motivated? There’s no magical answer. But I do have some ideas and insights about making dance more user friendly to boys that have worked for me in my 23 years of teaching guys of all ages in all kinds of styles.

First, there are some easy, common-practice ways to benefit boys around the studio. Many owners discount classes for boys; a few even offer them for free. Trading off classes for cleaning and doing chores is also very popular. Another method is having a boy as a teacher’s assistant. I find that when I have a guy assisting me, the girls in the class pay more attention and dance with more energy. Regardless of the reason behind their behavior—like wanting to impress a cute guy—what dance teacher would not want to see that in class every week?

One of the trickiest things I have learned is how to critique or compliment young male dancers. Sometimes I catch myself being too hard on them, but on the flip side, I have witnessed many female teachers coddling them and boosting superficial egos. Ultimately this protective behavior hurts the boys in terms of their artistic growth and work ethic. The best approach is to be real but also remember that, unlike most girls, boys have to overcome personal and social obstacles to get to class. This will allow them to succeed and take pride in their progress.

For example, I was teaching a recreational teenage hip-hop class that had a few boys in it. One guy was having problems with a certain step and getting frustrated. The more I tried to help him, the more frustrated he became, and soon he stopped asserting himself. The next week we continued learning that step, with the same results. So I used a different approach. I told him that I was impressed with his persistence in the previous week’s class, along with the energy he showed in the warm-up that day. He looked at me with bewilderment, unsure of how to take the compliment. I then told him that he was on the right track to getting the step but that he needed to be patient. I told him that it took me five years to get splits, but I can still do them because I took my time and did it the right way. Then—and this is the most important part—I let him be.

Even today, with numerous dance shows on TV, when dancing is cooler than it ever has been, many boys are ashamed to admit that they dance.

I don’t mean to sound stereotypical, but guys don’t like to be told what to do. You can show them the path, but they need the freedom to figure it out on their own. It would be a great Disney ending to say that the kid nailed the step that week, but that didn’t happen. But now he comes to class each week with tons of energy and excited to dance. Even his mom has commented on how he looks forward to class and always comes home talking about it.

Something as simple as the name of a class is important too. Avoid calling a class for younger guys “Boys’ Jazz” or “Boys’ Ballet.” Simply calling it “Boys’ Class” allows you to work on any form of dance—plus, you are not labeling the guys. I recall how in one month I taught a group of young boys how to do Russian jumps, tours, step ball change, handstands, and even a break-dancing six step. Their dance for the recital was a breeze to choreograph because each boy took to different steps. As those boys got older, I suggested which form of dance each would excel at. Surprisingly, several years later six of the nine guys are still dancing.

The sports-oriented steps I taught in that class emphasized athleticism. Boys will take pride in their class if it stands out as unconventional. Have them run laps around the studio (including the waiting area) to warm up. Do jumping drills, where you can measure their height and progress, along with many push-ups and crunches. These are exercises that allow boys to move like boys, even in a class taught by a female teacher.

One of my favorite things to do in a boys’ class is to set up an obstacle course with four to six stations that include stretches and splits, jumps and turns, an acrobatic trick, hip-hop or break dancing, and, always, something they improvise. I am consistently surprised at how committed to this exercise the guys are. In fact, by the end of the year, they usually ask to make up their own course and steps. Talk about time consuming—sometimes the course takes up the whole class, but I love it when time zooms by during a long, busy night.

Many dance teachers are at a loss about how to include boys in their choreography. I understand that it seems awkward when you see a lone boy in the third line, on the side, in a big production number; it makes more sense visually to place him in the middle. It’s important, though, to be careful about rewarding boys merely because they are boys. Generally, boys have fewer inhibitions onstage and perform strongly. But throw in some attitude or a bad work ethic, and they don’t deserve that spot.

I try to create different challenges and goals for boys and girls, so that where they stand during the dance is earned rather than given. With young classes, give the students a timetable for learning certain steps and then judge them on their progress. That creates an even playing field, regardless of whether they are boys or girls. If a boy is not up to par, then create a moment for him that emphasizes his strength—but don’t place him center stage for the whole dance.

With older boys I have found that honesty is the best approach. If they are not cutting it, pull them aside and let them know what’s going on. I have had male students request private lessons just so they could get caught up and earn their spot in the recital choreography.

There is no proven method for teaching boys except being aware of and present for each individual guy. Model that sensitivity to young girls who are sometimes jealous of the added attention paid to boys. Encourage them to treat the boys like part of the group. Remind them that when they were little, it was cute for them to trot off to class with their dance bags and tights, but unfortunately, guys don’t share that experience. For boys, the path to dance class has more obstacles. Wait a second—maybe that is why they like those obstacle courses!

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