Archive for the ‘2009 | 01 | January’ Category

Columns
Ask Rhee Gold
2 Tips for Teachers
On My Mind

Departments
Mail
Thinking Out Loud
Humor and Heartstrings
A Better You
Teacher in the Spotlight | Joni Goldstein 

Features
Ballet Scene | Beginning Pointe Basics by Alice Korsick
Concert Dance, Back in Prime Time by Nancy Wozny
Super Songs for Kids
Awesome Auditions by Mignon Furman
Steering by the Stars by Diane Gudat
RESPECT by Alice Korsick
Dealing With Divas and Prima Donna’s by Debbie Werbrouck
Nurturing Tots and Teens by Debbie Werbrouck
Letting Go by Jennifer Rienert
Common Ground | My Life as a Studio Owner’s Daughter
Little Kids, Big Challenges by Nancy Wozny with Rosemarie Boyden
Be Smart About your Art, Part 4 by Maureen Allen

Advice for dance teachers

Hi Rhee,
This year a family left our studio, which was expected and is really better for the studio as a whole. The problem is this: They convinced six other families to go with them and have been harassing the studio since they left. They continue to solicit other families in our studio to leave and have posted nasty comments on Yahoo yellow pages. I would like to stop the nonsense, but I have run out of solutions. I also found out that they are planning to use some of the choreography that my daughter, the director of the studio, choreographed with one of the students who left. I am going to copyright all of our dances, but I wondered if there is anything else you can suggest. Thanks for your help. —Colleen

Dear Colleen,
Become a pacifist! The best way to eliminate this problem is to drop your weapons and refuse to fight. Yes, watch out for the Internet postings and take care of them when you can, but each moment that you spend thinking about or strategizing on how to fight back, you are diverted from your own school’s success. If these traitors are able to distract you or cause you stress, then they are winning the battle.

You must be a successful school owner who has built a reputation that is respected by your community or you wouldn’t be in business. Give yourself a pat on the back for your accomplishments, hold your head high, and think of ways to give your clientele the best dance experience possible. Refusing to allow yourself to be distracted by pettiness is a win–win strategy for you and your students, because you stay fresh and your clients benefit from your ever-growing enthusiasm.

On the other hand, if you fight back and talk about this with everyone around you, including your clientele and faculty, you are simply lobbing fuel onto the fire. If everyone around you knows about the situation, people are probably gossiping about it and some of them might be talking with your former clients. Realize that that kind of behavior is beneath you. The next time someone brings it up, say something like “You know, I’ve decided to wish them the best and forget about it; I’ve got too much good stuff that I need to do here to be distracted anymore.” You’ll flip out the gossipers, who won’t know how to react, and the others will respect your professionalism. And forget about the choreography—you’ll be moving on to bigger and better dances!

Becoming a pacifist doesn’t mean that circumstances like this won’t hurt. But sometimes that pain is your kick in the butt to make changes, because you’ll be dealing with the same situations many times over the life of your school. Good luck! —Rhee

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Dear Rhee,
This year I purchased the studio where I had taught for a long time. The transaction happened quickly because the previous owner had financial problems and could not continue past her last recital. I assumed the lease and reopened with the previous owner and her faculty as my staff—so far, so good. The previous owner seems thankful to be rid of the school responsibilities.

However, I am going to face a big problem after my recital because I will lose most of my faculty. Two teachers are getting married; one is moving out west; another has opened a school in a different area. The one person who will remain is the previous owner, but she wants to teach only one day a week, with no other responsibilities.

At age 48, with 31 years of teaching experience, I don’t want to be the only teacher pounding the boards every day. I’ve added a second room to the school, so I have double availability all week, but no faculty. Can you offer any advice for finding new teachers? —Annie

Dear Annie,
First I want to congratulate you on your new school! Although the previous owner obviously assembled a successful faculty, consider this your opportunity to infuse your personal influence on the future of your school. I suggest that you don’t think of this situation as a problem; instead, think of it as a new beginning for you and your school.

Another thing that’s very positive about your circumstance is that you have a lot of time to find good teachers. More often than not, school owners don’t find out that they need to hire new faculty members until the last moment.

I do have some suggestions for you. First, add an “employment opportunities” page to your website. Describe what you are looking for and encourage potential candidates to send you their resumes and maybe a sample of their choreography. Not only will you find potential regular staff members, but you might find some teachers who can sub, too. I suggest that you keep the page up on your site all the time; you never know when you will need a new teacher, and by keeping resumes coming in, you’ll be on top of who’s available in your area.

Second, post an employment ad on craigslist.com. It’s a community bulletin board that is widely used by businesses for hiring purposes. I have had luck with it in the past.

Third, create a flyer to send to universities, colleges, and professional dance schools in your area. Specify what kind of teachers you’re looking for, along with basic requirements and responsibilities, and include your contact information.

Fourth, contact the dance teacher organizations in your state. They may be willing to tell their members that you are looking for teachers.

And fifth, check with other school owners. They might have faculty members who are looking for additional work.

Once you’ve screened the candidates, ask them to teach a class so that you can determine whether they’re a good fit for your students. If they would be teaching all levels of students, give them a class of recreational students first. If they are capable of teaching the rec students (the lifeblood of your school), then try them out with the more advanced students. I wish you all the best. —Rhee

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Hi Rhee,
I have an assistant teacher who is 16 years old and has been with the studio for nine years. She has been very dedicated to the studio and says that she wants a career in dance. Recently I learned that she is taking classes at another studio on a day when she does not assist or have classes at my school. I know it is important to take a lot of classes to better yourself as a dancer, but since she is an assistant, is there any reason for me to be cautious? Should I set any limits on assistants taking classes outside of my studio? Should I make them sign a contract saying that they cannot open a studio for a certain amount of years or assist at another school while they are assisting for me? I want to make sure that I handle a situation like this correctly if it is a problem. I have a meeting with assistants before each session about what is expected, but I have nothing in writing in regard to this. I would appreciate any advice you could offer. —Robin

Dear Robin,
Good question, but not an easy one to answer. On one hand, I would want my assistant teachers to take every class that they could because doing so would only make them better in my classroom. If they were motivated to enhance their teaching skills or to become a stronger dancer, then I couldn’t help but encourage them to be the best they could be. On the other hand, if your assistant’s motivation might be to teach for your competitor eventually, then I probably would speak up in an effort to head off any future conflicts with both the assistant teacher and the other school.

I think you need to have a heart-to-heart talk with your assistant to discover what she’s thinking and where she sees herself in the future. Do it in a mentor-to-student way, not in a confrontational way. That way you will know whether you have anything to worry about. If all is well, then it’s probably time for you to guide your assistant in the direction that best suits her desires, instead of letting her try to figure it out on her own.

As for the assistant teacher contract, I had not heard about anything like it until my last conference, when a couple of school owners said that they have one with their assistants. But you would need legal advice on that topic, because with assistants you are usually dealing with teens who can’t sign a legally binding contract. That might be more trouble than it’s worth. But it is definitely time to talk with your assistant. Good luck! —Rhee

By Mignon Furman

Tip 1
Walking is a part of so many classical ballets, especially for the corps de ballet. But it is not that easy to walk elegantly, holding the body correctly. Young children should practice walking with a toe lead, holding the body poised and using the head with elegance. They must be careful not to walk with stiff legs. As the dancers become more trained and experienced, they should be taught to walk on a high demi-pointe, moving smoothly through the music.

Tip 2
Learning how to run on high demi-pointe is important for young dancers, but it is also important for teachers to insist on correct running in all age groups.

Dancers should run with relaxed knees, with the legs and feet extending in front of the body and passing swiftly through each movement. The body should be held still with the weight forward and the runs should be smooth and even, not what I call “Peg-Leg Pete” with a “clip-clop” sound.

The arms should move smoothly and gently into any position you request. An arabesque line is always easiest. For frequent practice, have the dancers run into and out of place throughout the class.

Words from the publisher

By Rhee Gold

All of us, as dance teachers, whether we teach at a university or local community center, in a small town or big city school, share a certain instinctive understanding. We understand the difference that our art makes in life—our own and others’—because we have all lived it. We identify with the feeling of being lost in the spirit of the music and the movement. It is common knowledge that in performance, and sometimes even in the classroom, we don’t feel our bodies’ aches or pains, don’t feel the sweat dripping into our eyes, because dance just feels so good that nothing else matters. No distraction can interrupt this special passion.

Those who teach at the university or professional level work with a higher percentage of students who will move on to a professional dance career than teachers in other kinds of schools do. Yet the reality is that only the tiniest fraction of students will experience a lifetime in the field. But that passion is there for life, once instilled, and it will come up for air when those former students, whether or not they still dance, see a performance or hear a certain song. And as teachers, we know why: Once dance grabs hold of your soul, it hangs on forever!

If we were to strip away all the movement vocabulary and technique attained by our students, we would discover human beings who possess an abundance of life skills that they learned through the process of their dance education. And more important, they have that passion flowing in their blood. These gifts will lead the majority of dance students to a lifetime of success.

One example of successful practice that I witness over and over again is the ability of serious dance students to balance their commitment to dance with their responsibilities to achieve academically. Somehow they manage to finish rehearsal at 11:00 p.m. and still pass an exam at 8:00 a.m. That’s because the concept of discipline was instilled in them from dance class number one. This may not always lead to the ability to do multiple pirouettes, but it certainly helps our students dance their way into the finest colleges and universities across the country, which is not a bad return from an investment in a dance education.

So that leaves me contemplating whether we can assess the quality of a dance educator by the level of technique their students attain or how many of their former students’ names land on billboards. Is it really the degrees achieved, the accolades received, or ownership of a huge school that makes a teacher great?

Could it be that great dance teachers are those who create an atmosphere that stimulates the students’ minds, bodies, and souls in such a way that they believe they can achieve anything they aspire to? Could it be that, as teachers, we become truly great once we realize that the blending of the human spirit with the emotions in the music and the powerful voice of movement is what’s most important? Are those moments of transformation what lead to a great life for the millions of students who dance through our classrooms? I wonder.

Words from our readers

I just arrived home to find the latest Dance Studio Life on my doorstep and immediately flipped to find the article on Andréa [“Dance Against Disease, November 2008]. I am overwhelmed and speechless, and yes, crying over this beautiful gift to The Foundation, Andréa’s memory, and ultimately all of the children who will be helped because of this wonderful exposure. The layout is phenomenal! I want to send this to all who will be touched by this incredible gift. Many, many thanks to everyone there for all the time, effort, and talent that you put into this beautiful piece.

Susan Rizzo Vincent
The Andréa Rizzo Foundation
Charlestown, RI 

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Just a short note congratulating you on your publication, Dance Studio Life, and the many excellent articles in your October 2008 issue. Most notable to me because of their importance to all members of the dance community are the following informative selections: “On My Mind” by Rhee Gold, “Beyond Expectations” by Lisa Traiger, “Conquering the Class Divide” by Debbie Werbrouck, “Wish They’d Stay, Wish They’d Go” by Melissa Hoffman, “Hip to the Movement” by Michael Wade Simpson, “Teaching for Healthy Bodies” by Darrah Carr.

My wife, Carol Harsell, and I started Kinderdance 29 years ago. We are always on the lookout for exceptional reading material and your publication, in our opinion, is among the best in our business. Keep up the good work!

Bernard Friedman
Executive Vice President, Kinderdance
Melbourne, FL

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I have told more dance teachers about your magazine because it is the very best one out there. We are a small town with a studio of about 400 that my daughter started at age 15, 17 years ago. You touch on every problem and concern we have, [including] the burnout part. My daughter is so busy teaching that I am usually the one who gets to read the articles. I dog-ear or put sticky notes on so many pages for her that I am sure it is overwhelming. Every month, she would love or could benefit from reading almost every article. I cannot tell you enough what a great job you are doing. I am a mini advertising person for your magazine in Washington. Thank you so much!

Pennie Bleil
Just for Kicks School of Dance
Port Orchard, WA 

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Thank you so much for the brilliant and funny article written by Diane Gudat [“Fantasy Comebacks,” DSL, September 2008]. I have, without a doubt, been asked every one of those questions and depended on the “nice” filtering system before giving a friendly, sensible reply. So glad I’m not alone!

Kelly Torza
Ballet Soleil
Haydenville, MA

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Thank you for allowing Diane Gudat to express her phenomenally hysterical ideas in “Terpsichorean Calendar” [DSL, August 2008]. I sat at my computer cracking up, reading it and then rereading it over and over again. I have known Diane for years and she is still able to make me laugh with her quick wit and brilliant, oftentimes wacky humor! I look for her stories each month to add laughter to my life.

Your magazine is such a great contribution to the dance world. We are very fortunate to be able to read about celebrations, challenges, humor, inspiration, and lives of other dance teachers and choreographers throughout the world. Thank you, thank you, thank you for all you do!

Sandi Duncan
Hudson, NH

By Maureen Janson

My mom was smart. When I was an awkward 14-year-old with designs on being a gold-medal gymnast, Mom insisted that I enroll in ballet class. Having just joined my high school gymnastics team, I was enthusiastic about improving my floor-exercise routines, so I gladly agreed.

One early fall evening, Mom took me “uptown”—to the business district of our Northwest Chicago neighborhood—for my first ballet lesson. I felt like I had entered a different world. In the studio a tidy group of serious young dancers whirled across the floor. They were so beautiful! In their black leotards, pink tights, and impeccable buns, they balanced on pointe and leapt from one end of the studio to the other. And they worked hard.

In the corner the teacher, with cropped red hair and wearing a black turtleneck and flowing black skirt, called out in a thick accent over the taped piano music, “Ent von, ent too, plié—no! No! You must plié!” Sibyl Spalinger had trained and danced in Switzerland and although her English was near perfect, she maintained a thick German accent. She tapped a bamboo cane on the floor with each downbeat. “Again from ze corner!” she called. A knot grew in my stomach in anticipation of my class—this ballet stuff was serious!

As we adult beginners entered the room for our first class, Sibyl warmed us with a sparkling smile. Up close, she was smaller than I had thought. Her cat, Gigi, sat curled up next to her on the floor, oblivious to our presence. Sibyl’s warm smile quickly disappeared as she launched into directions on how to stand in first position and how to demi-plié.

Although it was likely that many of us would never be professional dancers, Sibyl treated us as if we were. Her expectations were high, and I loved it. By the end of class I felt completely absorbed. Contrary to my laid-back gymnastics training, Sibyl expected things of me. If something didn’t go well, she demanded practice until it got better. I wanted to improve and look like the advanced girls. Within a few weeks, my gymnastics dream fell  aside and ballet took over.

I enrolled in more classes, even one that was too advanced. My body could make the shapes, but I had no idea what the steps were and I could barely keep up. Sibyl was stern but encouraging, and she always ended each class with that smile.

Soon I began to work as a demonstrator for one of her children’s classes and later took on a working scholarship, washing the studio floor and mirrors every Saturday in exchange for as many classes as I wanted. I rode my bike there every day after school, dancing and going to the soda fountain across the street for french fries with my new dance friends. Homework fell by the wayside, but somehow I made it through high school fueled by my hours at Sibyl Spalinger School of Dance.

I progressed quickly in four years and was accepted into the ballet department at Indiana University. The transition was eye-opening. What Sibyl had called “out-turn” I learned was referred to as “turnout” by the rest of the world, and the way we began frappé exercises was much different  from the “chicken foot” that Sibyl taught. But I had the fundamentals to stay afloat. For a few years during college, I returned to Sibyl’s classes during breaks, but soon I felt that I had outgrown the neighborhood studio. I longed to be downtown with the professionals, and to move on.

Years later, when I was guest teaching and dancing on the West Coast, I received a letter from my mom telling me that Sibyl had closed her studio and returned to Switzerland.

On a recent Chicago visit, I parked my car in front of Sibyl’s old studio, now a daycare center. The blinds were open enough for me to take a peek. The tiny, L-shaped room was strewn with kids’ toys, drawings, and small chairs and tables. But I could see the beautiful wood floor underneath, and mirrors were still on the wall.
I let my mind slip back to the days of sweating in that room, and having the time of my life. In that room my career direction was determined. The years I spent there changed my life forever.

This is the first column of a new department featuring funny and heartwarming stories from dance teachers—we hope you enjoy it! If you’d like to see it in every issue, start jotting down those “it could only happen to a dance teacher” moments and send them to us (see box below for how to submit). We look forward to laughing along with you!

The Height of Dedication
I was teaching a class of preschool dancers when, as usual, one of my little students needed to have her shoes tied. I had crouched down to tie them when all of a sudden she went potty on my head, which was not usual! So I said to her, “Honey, I think you have to go to the bathroom.” While she was in the restroom, I skated around on paper towels and talked to the other kids the entire time as a distraction. The little girl returned to class (without tights this time) and kept dancing. I give her an A+ for coming back!

Rosemarie Boyden
Mansfield, MA

Surprise Birthday Party
Our studio’s birthday party teacher, Miss Kristina, asked me to pick up balloons and decorations for a party that was to be done later that afternoon. I dropped them off at the front desk with her name on them before I left for the day. But when Miss Kristina got to the studio to do the party, there were no balloons or decorations. Later that day we got a call from a former longtime client—whose daughter’s name was Kristina—thanking us for being so sweet and remembering her daughter’s birthday. She had stopped by the studio and saw the balloons and decorations with her daughter’s name taped to the front. And since it happened to be her Kristina’s birthday that day, she took them home to her daughter!

Sandy Averill, Office Manager
Misty’s Dance Unlimited, LLC
Onalaska, WI

“I Pledge Allegiance”
A student who has several siblings who take dance classes often hears the phrase “Richard’s School of Dance” at home. So when she was asked to recite the Pledge of Allegiance over the PA system at her elementary school, she confidently recited the following: “I pledge allegiance to the flag of the United States of America, and to the republic for Richard’s School of Dance, one nation, under God, indivisible, with liberty and justice for all.” This child also has a hard time pronouncing her Rs, so “Richard’s” came out like “Which-ards.” The principal called to let me know that our school should feel pretty important that day!

Patty Verhoeven
Richard’s School of the Dance
Oshkosh, WI

“You’re So . . . Ugly?!”
As I was buckling a tap shoe for one of my 3-year-olds, a cute girl came up to me and said with a Russian accent, “Miss Danielle, you’re so”—long pause—“ugly.” Then she stared at me with a grin on her face from ear to ear. I was taken aback, but politely responded, “Thank you.” Every week after that, she asked me to put her hair up just like mine. To make myself feel better, I’ve decided that her choice of adjective must have been due to the fact that English wasn’t her first language. Either that or she can really deliver criticism with a smile!

Danielle Andriano
Yvonne’s School of Dance
Edison, NJ

“Mr. Laura”
It is tradition in our studio that the students refer to the teacher as “Miss,” so I should be called “Miss Laura.” Once I had a dancer in the 3- and 4-year-old class who was always so excited to get to class that she would run up and hug me and say, “Mr. Laura! Look, Mr. Laura is here!” At the end of the class she would always thank me and give me another hug and yell as she was leaving, “See ya next week, Mr. Laura!” She is now 6 and still dancing—and I am still “Mr. Laura.” What a gift!

Laura Ruiz
Celebration Street Christian School of the Performing Arts
Roseburg, OR

From the Mouths of Babes
My office manager, Tracy, and I were in the office with a 4-year-old dancer, waiting for her mother to pick her up. It was around Christmas time so I asked her, “Are you excited for Christmas? Have you been a good girl?” As I was talking to her, Tracy was working on the computer and the girl was watching her. All of a sudden the girl stops answering me and looks up at Tracy and says, “What the hell is that?” I was completely taken aback and said, “I’m sorry—what was that you said?” In a matter-of-fact tone she answered, “I said, ‘What the hell is that?’ ” Tracy and I had a hard time containing ourselves. You know the saying—out of the mouths of babes!

Dee Reusch
Studio Dee
Covington, KY

Anatomy Lesson
I was teaching a musical-theater camp over the summer and one day I took two of the younger students to the bathroom. Both girls are 4 years old, and they left their stall doors open in order to engage me in conversation. One of the girls decided that she needed to educate me about the differences between boys and girls, so she told me all about how her daddy and brother have “wieners” and how they have to go to the bathroom standing up, but that girls have to sit down. She then told me how her baby brother will someday have a “wiener” too! It was very hard to control my laughter. I never thought that as a dance teacher I would hear something so “educational” and funny from a 4-year-old.

Natalie Harber
Cal Elite Kids
Rancho Santa Margarita, CA

Send your funny or touching stories to Arisa at arisa@rheegold.com or Dance Studio Life, 10 South Washington St., Norton, MA 02766. Please include your name and contact information.

Strategizing to make stress a manageable part of your life

By Suzanne Martin, PT, DPT

Stress is a fact of life. We can’t live with it when it gets overwhelming, and we can’t live without it because it motivates us to stage the next big project. I tell my clients to go for the “athlete recipe”: alternate stress with relief, stress with relief. 

Finding ways to modulate stress is crucial. Too much unrestored stress (stress that’s not countered with relief) leads to chronic headaches, high blood pressure, diabetes, ulcers, even loss of fertility. Many physicians believe that most major illnesses derive from unaddressed chronic stress. Note the words “unrestored” and “unaddressed.” The idea is not to get rid of stress but to learn strategies to cope with it, balance it, and keep it at bay.

In the December 2008 issue we discussed how to identify unproductive thought patterns that can blow stress out of proportion. This time we will reach for coping mechanisms that help to balance the inevitable stress in our lives. Let’s look at three categories: avoiding, reducing, and relieving stress.

Avoiding stress
Avoiding stress can be as simple as training yourself to get up at least 15 minutes earlier each morning. For me, it’s a sacred time when exercise, meditation, and reading set up the day. Another strategy is to prepare for the next day as much as possible by preparing coffee pots, clothes, and lunches the night before. On Sundays I often fill refrigerator containers with fruit, nuts, cottage cheese, and salmon so that I can quickly throw lunches together.

Many physicians believe that most major illnesses derive from unaddressed chronic stress.

One hidden stressor is wearing clothes that don’t fit or feel good. It’s better to chuck or donate pinching shoes and clothes with itchy materials and creeping waistbands. It’s surprising how a few user-friendly “uniforms” can take the stress out of a morning.
 
Rearranging your commute times by just 30 minutes at either the beginning or end of the day can mean avoiding traffic snarls and so decrease your frustration. 

Most people keep their calendars on handheld devices these days; if you don’t, use a planner. Never rely only on memory, because when the multitasking inevitably starts, some important appointment is sure to be forgotten. Having a central wall calendar to coordinate family appointments ensures that everybody knows where everyone else is. Use color-coded highlighters to keep track of people or recurring events.
 
Setting appointments a little ahead of time can be helpful in getting clients to show up and not waste your time. Let people know your time frame and ask them to arrive 10 minutes beforehand. Ending a conversation with a frank “I have to let you go now,” or “That’s all the time I have for today” is clear and respectful and keeps appointments on schedule. Giving a 10-minute warning of “Do you have any other concerns?” is gracious and keeps you both on track.
 
Practical matters can be less stress filled if attacked proactively. Simple things like scheduling routine maintenance on washers, cars, and heaters can keep you out of emergency mode. Making duplicate keys and exchanging them with a trusted friend can be a lifesaver at times. Buy essentials in bulk and keep an emergency stash of toilet paper, tampons, and toothpaste on hand; only dip into the supply when necessary so you’re never caught off-guard. Have multiples of frequently needed items; for example, I keep lipsticks upstairs, downstairs, and in my purse. Most important, make copies of all legal papers, such as birth certificates, Social Security cards, insurance policies, and car or house ownership records and keep the originals in a safe deposit or fireproof box. Do get that crucial durable power of attorney and living will notarized and stored.
 
And last, the biggest stress avoidance tactic is never to shop for clothes with critical teenagers, skinny friends, or anybody who is a perfect size 0.

Reducing stress
The art of reducing stress means going with the flow and detaching from the stress-inducing person or situation. As comedian Bill Cosby says, “You can turn around painful situations with humor; if you can find humor in anything, even poverty, you can survive it.”

Waiting in line at the doctor’s office or bank can try even the best of us. Counting your blessings instead of the minutes is a great way to keep things in perspective. Take several deep breaths and treat the waiting period like your own personal break instead of stewing about going nowhere. When waiting on the phone, multitask by reading emails or organizing your calendar.
 
What about those long-winded phone calls or coffee appointments with a friend who needs a sympathetic ear? Keeping engaged but detached is a self-preserving tactic to ensure that the crisis—and the stress—doesn’t get transferred over to you. Use a paraphrasing conversational technique (rephrase what she’s just told you) to show your friend that you hear her and you care. As she gives gory details of her husband’s infidelity, tell her it sounds like it must have hurt her badly. If you keep gently reinforcing what she says, she’ll feel understood. Of course, what your friend really needs is to empower herself, not just take other people’s advice.

One great way to foster self-preservation and keep other people’s problems at bay is a nightly Epsom salts bath (1/2 cup Epsom salts in a warm bath for at least 5 minutes). A therapist client of mine suggested it to me since I work so intimately with others; it’s a technique to discharge other people’s energy from me. As dance teachers, you too take on a lot of energy from others, so give it a try. Whether this technique is New Age hooey or based in science doesn’t matter—it’s become my ritual of creating a physical and behavioral boundary, to let go of the day and restore and refresh my muscles and my spirit.

A final way to reduce stress is to lower your standards. Keeping in mind the rhetorical question “How important is it?” can’t be beat when selecting which battles to fight.

Relieving stress
Relieving stress requires lifestyle adjustments. Physical contact is the greatest stress buster of them all. I call my pets my “hairy stress relievers.” Stroking a pet, holding hands, hugs—they’re all good.
 
Exercise is a top-notch reliever and is of concern to many tired dance instructors. Cross training is the way to go so that you put your mind somewhere else besides the choreography and class plans. I’m a Pilates devotee, but I couldn’t live without early morning walks. Getting even 5 minutes of fresh air, a sometimes limited resource for studio inhabitants, can be immensely restorative. Swimming, yoga—you name it; but do it. 
 
Giving yourself a chance to get things off your chest is crucial. Think of all the hats you wear, and find an ear for every hat. I’ve gotten practice mentoring from two important colleagues, business mentoring from others, plus three health advocates for my various health needs. Find and nurture your team before you are in a crisis. Everyone needs counsel; even King Solomon said that a man is only as wise as his counsel.
 
Finding your health advocates ties in with structuring time for yourself away from your business. Scheduling local getaways and healthcare appointments such as massage and acupuncture, even months in advance, will help you pace yourself and provide psychological relief in knowing that help is on the way.
 
Last on the list of stress relievers is your nighttime routine. Sleep hygiene is essential to restoration. Creating a nighttime pattern of unwinding, as hard as it is after nighttime classes and rehearsals and performances, is a must. Sleep is a restoration of the oxidation that the body and brain have experienced during the day. The fourth stage of sleep, the REM cycle, is where most of the body’s and mind’s healing takes place.
 
Now you know how to avoid, reduce, and relieve stress. It may take a while to create your own version of this template. Get started, and have patience. I have faith in you. 

Stress-Management Tips

To avoid stress:

• Get up earlier.
• Organize your calendar.
• Arrive early for appointments.
• Anticipate others’ time-management issues.

To reduce stress:

• Go with the flow.
• Practice assertive conversation closers.
• Take warm baths with Epsom salts.
• Ask yourself: “How important is it?”

To relieve stress:

• Unwind.
• Get worries and frustrations off your chest.
• Exercise (something other than dance!).
• View the entire forest. Take off the blinders; you know what you are doing.

Joni Goldstein, teacher, North Suburban School of Dance, Northbrook, IL

NOMINATED BY: Lizzie Leopold, school’s co-director: “Joni has been teaching at this dance program for more than 25 years. The students can’t get enough of her. A couple of years ago Joni was diagnosed with breast cancer, and through her illness she rarely missed a class. She let dancing help her through her cancer and today she is healthier than ever. In her free time, she offers private lessons in her basement for students who want extra work, and she has been a wonderful private teacher to a few local high school boys who are too shy to enter a [mostly female] ballet class.”

AGES TAUGHT: Preschool to adult.

GENRES TAUGHT: Ballet.

TEACHING DANCE FOR: 33 years.

WHY SHE TEACHES: My mother always loved to dance but never had any formal training. She instilled her love of dance in me. Now my daughter Dori, the third generation, is a professional ballerina. To me the natural progression is to become a teacher and to pass my love of dance to my students. 
 

GREATEST INSPIRATION: When I was a young dancer I performed in The Nutcracker with New York City Ballet. Maria Tallchief was the Sugar Plum Fairy, and once I saw her dance my heart was set on pursuing dance as a career. 
 

PHILOSOPHY OF TEACHING: I try to challenge all my students, to stimulate their senses, and to instill discipline. Most important, I try to motivate them to bring out their best artistry. 
 

WHAT MAKES HER A GOOD TEACHER: I work with my students individually. For those who are dancing for recreation I teach them discipline and enthusiasm for the art. For those dancers who are serious I also pass along my passion. I keep lines of communication open and always work to have the students believe in themselves. 
 

FONDEST TEACHING MEMORY: I have a great sense of pride in all of my students. I am so proud to see them perform and mature through the years. One student in particular stands out. She began with me as a preschooler and advanced through college. After that she formed her own dance company. I could not be any prouder. Discipline, hard work, and—of course—talent did pay off. She is still making memories for me. 
 

BEST PIECE OF ADVICE FOR STUDENTS AND/OR TEACHERS: My best advice is to dance from the heart. My favorite dance quote is “Dance is the only art where we ourselves are the stuff of which it is made.” 
 

WHAT SHE WOULD DO IF SHE COULDN’T TEACH DANCE: I began my career in academics as a teacher and teaching is in my blood. There is nothing that I would rather do than teach ballet. 

MORE THOUGHTS ON DANCE AND TEACHING: The foundation of all dance is ballet. The beginning years are as important as the later ones. Good technique is essential. As a teacher I pass my enthusiasm along to my students. Hopefully they will realize how much fun it is to dance. Always believe in what you are teaching. 
 
 

DO YOU KNOW A DANCE TEACHER WHO DESERVES TO BE IN THE SPOTLIGHT? Email your nominations to David@rheegold.com or mail them to David Favrot, Dance Studio Life, 10 South Washington St., Norton, MA 02766. Please include why you think this teacher should be featured, along with his or her contact information.

Simple exercises—and the right shoes—help budding ballerinas

By Alice Korsick

Every little girl who studies ballet dreams of her first pair of pointe shoes. In her imagination, those much-desired shoes will take her to magical places. Dance educators make those dreams come true. But the dreams start with careful teaching and become real only after many years of dedicated work. Here’s how to get your young ballerinas-at-heart started.

Shoes
The first step is getting the right shoe. Have students make an appointment for a fitting at a reliable dancewear shop. The following guidelines will help them find a good fit.

• For a foot with a high instep, a high vamp is necessary to ensure that the instep has adequate support and the foot will not fall forward out of the shoe.
• For a foot with a normal or low instep, a lower vamp allows the foot to be on top of the box.
• A wide platform offers more support for beginning students than a narrower one.
• Shoes should fit snugly without room for the foot to grow. Shoes that are too big will not give proper support.
• Students should be instructed to use only a small amount of padding to protect their toes; too much and they will not be able to feel the floor.

Readiness
There is no specific age for starting pointe, though some professional schools have age minimums and performance benchmarks (see “FYI,” DSL, August 2008). But there are guidelines that apply to all schools, including those whose students do not study ballet exclusively. Students are ready to begin a pointe class when they have achieved enough strength in their feet and legs to relevé to the highest demi-pointe (with instep over the toes). On average, students who have taken two technique classes per week for two to three years should be ready.

In many schools, students are allowed to go on pointe when the majority of the class is ready. Since every class has stronger and weaker dancers, the teacher has a choice: Tell all of the students that they can be fitted for pointe shoes, or tell the weaker ones that they are not ready for pointe. (In the latter case, teachers should be prepared to lose those students.) Another option is to suggest that the weaker students take the pointe portion of the class in soft shoes.

If school owners do not want to risk losing any students, it’s best to keep all students at the barre until the weaker ones gain strength. Encourage the weaker students to practice at home as often as possible. Appropriate home exercises (all done while holding on to a barre, chair back, or countertop) include relevés in coupé on right and left in soft shoes (to develop a higher half pointe and strengthen feet), and, on full pointe, échappés and sous-sus.

The class
It is important for teachers to approach pointe training with an eye for detail so that the students learn good habits. That foundation is crucial to their development.

A beginning pointe class should be held twice a week for 1/2 hour. It should immediately follow a technique class so that the students are properly warmed up. All beginning pointe work should be done only at the barre; barre work will strengthen all students, including those who are not quite ready.

All beginning pointe work should be done only at the barre; barre work will strengthen all students, including those who are not quite ready.

All exercises should be performed with weight on two feet at all times. As the students gain strength, increase the number of repetitions of each exercise and add new one.

Beginning exercises
For all exercises, take the time to give individual attention to make sure that all students are working correctly.

1. Walking on half pointe and full pointe: This exercise will strengthen the legs and feet. Facing the barre in parallel position, have the students walk in place, first on half pointe for 8 counts and then on full pointe for 8 counts. Repeat as needed. At first some students will not be able to get on full pointe (or even half pointe), but they will as they gain strength.

Pay attention to the following (and point these details out to your students):

• The knees should be straight for both half and full pointe.

• All toes should receive an even amount of weight.
• The ankles should be directly over the front of the shoes.

2. Demi-plié in first position: Facing the barre in first position, students should perform a demi-plié, keeping the heels on the floor. They repeat the demi-plié and then with straight legs, rise to half pointe, lifting through the thighs. From half pointe they should then relevé to full pointe and balance, holding the barre, for a few counts. Finally they roll down through half pointe with straight knees, returning to first position flat. Repeat as needed.

Pay attention to the following:

• Instruct the students to feel the pulling up in the thighs as they straighten their knees (never snapping the knees back).
• Encourage turnout by instructing the students to bring their heels forward as they come down from half pointe.
• Look for straight knees on full pointe, with as much turnout as possible, and make sure that the students are working to be on top of the box. This may not happen at first, but show them where they should be on the box.
• Watch for students who put too much weight on their little toes on full pointe; this will sickle the foot and lead to ankle injuries.

3. Demi-plié in second position: Facing the barre in second position, repeat exercise 2.

Pay attention to the following:

• The normal width of second position on flat in soft shoes is not the same as on flat in pointe shoes. The feet should be closer together so that when the dancer is on full pointe, the legs are not too wide apart. Demonstrate how the feet would be too wide apart on full-pointe relevé by starting the plié in a normal flat second position.

4. Grand plié: Facing the barre in first position, do a grand plié making sure that the body is held straight all the way down and all the way up. Roll through half pointe to full pointe as in exercise 2. Repeat in small second and fifth positions. In fifth position, both feet should spring up (sous-sus) and legs and feet are locked together.

Pay attention to the following:

• Make sure that in full grand plié the feet are not pushing over the box; the foot should be right on top of the box with ankles straight.
• Repeat grand plié in all positions, this time springing up to full pointe from demi-plié. This is achieved by a quick action of the feet and ankles while simultaneously straightening the legs. The student should end up on full pointe with the shoe’s box at the point on the floor where the middle of the foot had been on flat.
• Explain the difference between rolling up through half pointe and springing up to full pointe. Each is used for a different purpose. Here’s an example of an exercise (for a more advanced dancer) that will demonstrate the difference: Roll up through half pointe to full pointe into a relevé arabasque, then lower the heel and relevé again in that same arabesque. The dancer cannot roll up; she must spring up from demi-plié.

5. Sous-sus: Facing the barre in fifth flat position, spring up to full pointe with legs and feet locked together. Come down to fifth flat in demi-plié. Repeat 8 times with the right foot front, then repeat with the left foot front. This is a good strengthening exercise.

Pay attention to the following:

• The knees should be straight on full pointe and on top of the box.
• In demi-plié fifth flat, the heels must be down every time.
• Students must adjust their fifth position coming off pointe because if they come straight down, the front foot will cross over the flat fifth position. The back foot must come down slightly before the front foot, allowing the front foot to complete the fifth position.

6. Échappés: This is one of the most important exercises for strengthening the feet and legs. Facing the barre with feet flat in fifth position, spring up to second position on full pointe with straight knees. Return to fifth position flat in demi-plié, with heels down, changing feet with each échappé. Repeat 8 to 16 times, first with the right leg in front, then with the left.

Pay attention to the following:

• Legs and ankles should straighten in one motion to reach second position on full pointe. Watch that ankles do not wobble.

7. Bourrée: Facing the barre, bourrée in place. Start in fifth position flat in demi-plié and snap up to full pointe in fifth position. Move the feet in place quickly, alternating right, left, right, left with a fluttering motion. Start with 8 counts of bourrée with the right leg front; then while still on pointe, change to left leg front for 8 counts.

Pay attention to the following:

• Both knees must flex in bourrée.

More barre and center work
The above exercises can be combined into longer combinations as the students grow stronger. The next part of the process is to add steps that are executed on one leg, such as piqué-passé, relevé in passé, and pas de bourrée. These should be introduced only when the teacher decides that the students are ready. The same holds true for center work.

Beginning center work is an extension of most barre exercises. Laying a strong foundation at the barre with good work habits will make that time come sooner rather than later. In preparation, have the students try letting go of the barre for brief periods.

There is no magic moment when the class will be ready for center work. However, generally, students are ready when their knees are straight in échappés and sous-sus and they are working on full pointe and on top of their box. If some students are ready for center work and some are not, have them work in two groups, giving both the same exercises. As those at the barre get stronger, they will be able to join their classmates in the center.

Teaching beginning pointe is rewarding and inspiring, as you watch your students grow in strength from their first sous-sus to more difficult steps. And isn’t that what dance education is all about?

‘So You Think You Can Dance’  crosses the cultural divide

By Nancy Wozny

Just over a year ago, in the December 2007 issue of Dance Studio Life, I wrote about the phenomenal popular success of TV’s So You Think You Can Dance. I commented on what the show was doing well but also made some observations about how to make a good thing better—specifically, to drop the fill-in appearances by music artists in favor of showcasing concert dance performances that would appeal to (and maybe broaden the horizons of) the show’s viewers.

Well, guess what? So You Think You Can Dance tried something new this year: It gave viewers a sampling of dancers and choreographers from the big leagues—not enough to scare off the culture-shy, but enough to make the open-minded sit up in their Barcaloungers and say, “Whoa! Those guys got skills!”

Performances by Alvin Ailey American Dance Theater and Los Angeles Ballet and choreography by Dwight Rhoden and Desmond Richardson of Complexions Dance Company raised the barre for the show. It may have taken four seasons to reach a loving hand out to the concert world, but it was worth the wait.

Jeff Thacker, senior producer of So You Think You Can Dance, felt the time was right to branch out. “[Concert dance] has always been something the show has wanted to include as part of the dance culture. Nigel Lythgoe [the series’ co-creator and executive producer] was instrumental in promoting all forms of dance. This year we were able to have dance companies participate, which we were delighted with,” Thacker said. “It was a question of choosing the right balance of styles with the different companies that would complement our musical guests and fit well within our show. Nigel wanted to include L.A. Ballet and Ailey, and it worked perfectly with their schedules. By showcasing these wonderful dancers, it gave them the opportunity to reach 10 million viewers.”

So why is this move so welcome to viewers like me? Until this season, the show has proceeded as if the concert world did not exist. When we heard statements like the “greatest choreographers working in the business,” we were thinking, “And what about the greatest choreographers whose works are perennials in concert dance, like Martha Graham, Paul Taylor, Merce Cunningham, George Balanchine, and John Cranko (and the list goes on)?” And what about other brilliant choreographers, like Christopher Wheeldon, Mark Morris, Jiří Kylián, Glen Tetley, and Hans van Manen?

So You Think You Can Dance gave viewers a sampling from the big leagues—not enough to scare off the culture-shy, but enough to make the open-minded sit up in their Barcaloungers and say, “Whoa! Those guys got skills!”

So You Think You Can Dance’s breakthrough began on July 10, 2008, when Kirven J. Boyd, Clifton Brown, and Jamar Roberts gave a riveting performance of “Sinner Man” from Ailey’s 1960 Revelations. After reviewing several selections from the company’s repertory, Thacker discussed his choice with Ailey’s artistic director, Judith Jamison. “I thought ‘Sinner Man’ would work well because of the three solos within a trio,” he says. “They didn’t just rock the house; they gave it a bloody great shaking.” The audience’s wildly approving response proved that a 48-year-old “contemporary” dance piece can still bring an audience to its feet. (To be fair, ABC’s Dancing With the Stars showed an excerpt from Revelations last season. Nice, but the Ailey troupe was a better fit on So You Think You Can Dance.)

Next up, on July 16, and repeated on the finale, were Dwight Rhoden and Desmond Richardson, co-directors of Complexions Dance Company, in the choreographer’s seat. “We had been wanting to include Complexions for some time, but scheduling had prevented us from working together until this year,” Thacker says. “We can see why Danny [Tidwell, the runner-up on So You Think’s third season] was very proud to have worked with them and they with him.” Lythgoe even made a special announcement raving about Richardson’s and Rhoden’s special talents. Dancing to John Lennon’s Imagine (sung by American Idol runner-up David Archuleta), contestants William B. Wingfield and Katee Taira Shean did a fine job, without a speck of the over-dancing that’s so common in the hyper-energetic world of competition dance.

The piece, repeated on the show’s August 7 finale, was singled out by Mia Michaels, a judge and choreographer on the show, as her favorite choreography of the season. Michaels said that Complexions’ participation added an “intellectual” element and “gave our show a different heartbeat.”

Finally, on July 24 Aubrey Morgan of Los Angeles Ballet and L.A. Ballet guest artist Eddy Tovar of Orlando Ballet performed “The Man I Love” pas de deux from Balanchine’s Who Cares? Thacker says, “Who Cares? melds Balanchine’s choreography with Gershwin’s music using traditional classical ballet, and that was exactly what we wanted to include in that week’s show. It was beautifully danced, I might add.”

The choice of Los Angeles Ballet was auspicious, too. It’s a young company in a city that has not been able to sustain a professional ballet dance company for decades; perhaps its national television breakthrough will help it grow its audiences.

While mass-market exposure for concert dance of this caliber is welcome news, it’s also a bittersweet reminder for some viewers of the days when dance was a regular part of television fare. I remember curling up with my Grannie to watch the June Taylor Dancers on The Jackie Gleason Show. During the variety-show–era, dance was all the rage on TV.

Then there was a major dry spell (unless you count American Bandstand) until 1976, when PBS launched Great Performances: Dance in America, the crowning achievement of television dance. The Joffrey Ballet, Martha Graham Dance Company, American Ballet Theatre, Dance Theatre of Harlem, and the dance companies of Twyla Tharp, Merce Cunningham, Paul Taylor, and Mark Morris were just some of the show’s offerings. The three-part documentary Dance in America: Free to Dance, co-produced by American Dance Festival and the John F. Kennedy Center for the Performing Arts, chronicled the African American contribution to dance. Meanwhile, Alive From Off Center, a short-lived but exciting PBS show, highlighted experimental work.

More recently it’s been a danceless TV universe, broken by the success of So You Think You Can Dance, the top-rated show for its time slot, winner of a slew of Emmys, with an army of fans for the show and the live tour. The program’s embrace of concert dance gives hope to every lover of the form. The Ailey troupe, for example, is about the best gateway dance company on earth. There’s nothing not to like about this company, and there’s no big gap between the style the TV dance world mistakenly likes to call “contemporary” and the work that comes out of the Ailey dance shop. (It’s modern dance, people!) The challenge lies in getting its work seen. With So You Think You Can Dance, millions are getting that chance.

So You Think You Can Dance is not Dance in America, nor does it attempt to be. It’s an entertainment show. And while hip, sexy, popular dance can be entertaining, so can the kind of dance we call art. Nearly 60 million people voted for America’s favorite dancer, and many of them probably saw the work of Balanchine, Rhoden and Richardson, and Ailey for the first time. Imagine if even a small percentage of those voters were moved to attend a dance concert because of something they saw on this show.

I hope this welcome direction in So You Think’s programming continues with even more daring choices in the future. Why not get the artistic director of a ballet or modern dance company to serve as a judge next season? Why not sing loud and clear, “Dance is one happening art form, with plenty of talent in every genre”?

As I stated in “Two Worlds, One Dance Planet” (DSL, November 2007), the concert and commercial worlds are moving closer together. A door is opening on the airwaves, and it has the potential to open even wider and expose audiences to the vast, wonderful, and diverse art of dance. America’s favorite dancer of 2008, Joshua Allen, was right on when he said that there’s nothing that can’t be done when we put our minds to it. We can be part of an inclusive dance culture that would make June Taylor’s head spin.

Readers’ favorite music for preschool classes

If you’d love to know which music for preschool classes makes it onto other dance teachers’ “favorites” lists, wonder no more. Here’s what some of our readers recommend.

From Tara Wildeman, Ambition Performing Arts Inc., Calgary, Alberta, Canada:

From Primary 1 & 2 tap syllabus from Al Gilbert:

• “Open Shut Them”
• “Twinkle Twinkle”
• “Up in the Sky”

From Dora the Explorer:

• #5 “Let’s All Move Like the Animals Do”
• #7 “Reach Up & Catch the Stars!”
• #9 “Popping Bubbles”
• #21 “Do the Robot Walk”
• #22 “The Chicken Dance”
• #24 “The Itsy Bitsy Spider”
• #27 “Mary Had a Little Lamb”
• #34 “ABC (The Alphabet Song)”
• #44 “Twinkle Twinkle Little Star”

From Megan Cottrell, Haddonfield School of Dance, Haddonfield, New Jersey:

These songs are a hit in all my combo classes:

• “Do You Love Me” by The Contours
• “Rock the Boat” by the Hues Corporation
• “Build Me Up Buttercup” by The Foundations
• “Brown Eyed Girl” by Van Morrison
• “Ain’t No Mountain High Enough” by Diana Ross

From April Spisak Nelson, Spisak Dance Academy, Glendale, Arizona:

“Good Ship Lollipop” by Shirley Temple is very popular. It can be purchased on iTunes. The “Hokey Pokey” is great—it’s also available from iTunes, along with Ray Anthony’s “Bunny Hop.” Disney has a nice shortened version that is a little more updated in tempo and sound, but I have it on a mixed CD. I find that anything by Dan Zane is also great.

From Cole Freeman, Dance Star, Chapel Hill, Tennessee:

My baby class, ages 2 to 4, likes the CD Fantasy Garden Ballet Class. My 4- to 6-year-olds like any of Hannah Montana’s CDs.

From Lovetta Downes, Skagit Valley Academy of Dance, Mount Vernon, Washington:

• Sesame Street’s Hot! Hot! Hot! Dance Songs: “Doing the Penguin”
• From Tiny Tots #3: “Left Foot, Right Foot,” “Tick Tock,” and “Little Apple Tree.” I found them at Fusionsoundmix.com. I think they might be from Kimbo Records originally, but I found great Tiny Tots compilations at this site.
• Baby Genius’ Kids’ Party Favorites (disc 1 of Kids’ Dance Party two-CD set): “Mexican Hat Dance”
• Greg & Steve’s Kids in Motion: “The Freeze” and “Animal Action I and II”
• Danc’eM Inc.’s Ballet Vol. 1: “Five Positions”
• Hap Palmer’s So Big: “Jack-in-the-Box”

From June Harmon, Elite Dance Forum, Jackson, New Jersey:

All of the Greg & Steve CDs for kids, especially the songs “Animal Action” from Kids in Motion and “Bop ’Til You Drop” from Kids in Action.

From Kim Rowley, Academy of Dance, Warner Robins, Georgia:

• “Hokey Pokey” (from any compilation CD)
• “Chicken Dance” (from any dance compilation CD)
• “I Like to Move It” from the Madagascar soundtrack
• “Shake My Sillies Out” by Raffi
• “Skippy the Squirrel” from the Fantasy Garden Ballet Class CD
• Disney’s Beauty and the Beast soundtrack
• “The Twist” by Chubby Checker
• Mousercise by Disney

From Dawn Belle, Yvonne’s School of Dance, Edison, New Jersey:

Anything from Deanna Low of Danc’eM! If you love Al Gilbert music, you will absolutely love this music. It makes the time fly by in our preschool classes.

• Tap Volume 1: “Rock & Roll Tap,” “Twist & Tap” (ages 4–5)
• Tap Volume 2: “Genie in a Bottle,” “Tap Dancing Barbie,” “Jungle Beat”
• Stories to Dance, Vol. 1: “Toy Story,” “Deep Sea Diving,” “Hello” (good songs for ages 4–7)
• Ballet Vol. 1: “Perfume,” “Ballet Is in French,” “Five Positions”
• Ballet Vol. 2, Stories to Dance: “Magic Carpet Ride”
• Ballet Vol. 3: “Toy Store Ballet”
• Under the Sea Tap and Ballet Performance: “My Name Is Pearl,” “Highland Pirates Fling”

From Suzie Baxter, DanceArts Studio, Hot Springs, Arkansas

We use “Witch Doctor” with Alvin and the Chipmunks. Also, kids love the “Monkey Dance” and “Shake Your Sillies Out” by The Wiggles.

From Dyanne Ifland, Killearn Kids Dance Troupe, Tallahassee, Florida:

I love the following: “Shake Your Sillies Out” by The Wiggles or the same song, called “Shake My Sillies Out” by Raffi; “Catelina Madelina” (from Giggle Toons Music); “Wake Up Toes” (on various compilation CDs, one version by The Wiggles).

For stretches, my little ones love “Pink Panther” and “Siamese Cat Song” and love to stretch like cats. For performances, “Teddy Bear” by Elvis is so cute when performed with their very own bears. Or “Teddy Bear Hug,” on Raffi’s Everything Grows CD, is always good.

“I’m a Believer” from the Shrek soundtrack is a constant favorite in my classroom.

From JoAnn East, The JoAnn East Dance Education Centers, Ashburnham & Winchendon, Massachusetts

I love the Imagination Movers’ CD Juice Box Heroes, especially “Please and Thank You,” “Can You Do It?” and “Shakable You.” It has a perfect song for everyone from preschoolers to elementary ages. Each song has a great educational message. I still use classical music in every class and find that incorporating selections from this CD offers a musical variety that the children really enjoy.

How to make auditioning a positive experience

By Mignon Furman

Since I founded the American Academy of Ballet Summer School, I have held 100 auditions and observed 4,000 dancers from practically every state in America, traveling 100,000 miles to do so. As a result, I’ve developed an audition process that I think is fair to the students and useful for my staff and myself in choosing the dancers for our program. Whether you’re holding auditions for a summer session, a competition team, or a performance, you’ll want to make it a positive experience for everyone involved.

Structuring the audition class
These practices can be used for auditions for any form of dance. Hair should be neat and clear of the face and jewelry should not be worn.

• Give a 1 ½-hour class with a pianist accompaniment, not taped music. Live music allows you to observe the students’ musicality.
• Divide the class into sets of five or six dancers, depending on the total number of dancers. Rotate the lines so that each set has a chance to be in front during the audition.
• Ask the dancers to perform a step on their own, e.g., a pirouette or step across the floor. That way no dancer can complain that the class was not fair.
• Allow all of the dancers to take the complete class rather than eliminating them as you go. I believe they are entitled to complete the audition, especially if they have paid an audition fee. It is unkind to make poorly trained students feel inadequate by asking them to leave the audition prematurely.
• Insist that students get into their places quickly without dawdling. In across-the-floor work, they should be ready to go when the previous students have completed their turn.
• Invite any teachers who are present to watch. It is important for teachers to see their students in relation to other students of the same age, as well as to observe how another teacher gives class (an experience that seldom arises unless they attend a teachers’ course). If your auditions are for a summer program, the teachers can form an idea of what their students can expect from you.
• Do not allow parents in the studio. You may choose to let them watch from the door or viewing window, or ask them to return when the audition is over.

Allow all of the dancers to take the complete class rather than eliminating them as you go. It is unkind to make poorly trained students feel inadequate by asking them to leave the audition prematurely.

What to watch for: ballet students

• Turnout. Many students who can stand turned out in fifth position cannot maintain the turnout in the supporting leg when the working leg moves. With proper training, turnout will be present in linking steps such as glissade, steps like pas de chat, and basic steps.
• Dependence on the barre. Students who have been given too much barre work look presentable at the barre but literally fall all over the place when they move to the center.
• Footwork. Allegro is the true test of dance technique. Students who have the correct control should be able to achieve fifth position. Quick footwork in petit allegro is usually seen only in well-trained students.
• Pirouette technique. Correct use of the head and ability to maintain the pirouette position, with a straight supporting leg, until the end of the turn are important. Pirouettes should finish with a flourish—a bang, not a whimper, as T.S. Eliot might say. Too many dancers get the impetus for a turn by flinging their arms, which is why I start the teaching of pirouettes with the hands on the waist.
• Strength for pointe work. Students who are strong enough to dance on pointe can hold their knees straight and correctly place the weight of the upper body. Those who are not ready for pointe wobble around on bent knees and weak ankles with collapsing or strained upper bodies.
• Expressiveness of the upper body. Carriage of the upper body and arms is an important part of a dancer’s training. The arms should be soft and curving; the head should be inclined, turned, or raised as the style of movement requires.

What to watch for: all students

• Level of training. Some dancers are extremely well trained; others are sloppy. It’s always clear which students have teachers who need to refresh their knowledge and improve their skills.
• Ability to pick up a combination. Some otherwise competent dancers experience difficulty in picking up combinations, even when given ample opportunity to learn them. Often this is the result of a regular routine of classes that progress too slowly or combinations that are not complex enough.
• Musicality. Musical dancers link the music to the movement or move in the style that the music suggests. Students who are used to dancing to taped music (with rhythms they have probably memorized) do not actively listen to the musical accompaniment.
• Presentation. Style, polish, and showmanship are desirable as long as they are not a ploy to cover cracks in technique and do not come across as affectation. A smile or two is not out of place in an audition.

What the horoscope says about your coming dance year

By Diane Gudat

Horoscope columns have always fascinated me. Although I know they are just for fun, I cannot resist reading their anonymous advice. While consulting my birthday horoscope this year, I noticed that I share the date with many celebrities from the tabloids. But I wondered if I have the same fate as any noted dancers or choreographers. Turns out I do. And probably so do you.

Below is my advice for the upcoming year, based on widely accepted horoscope traits, how they match our studio lives, and the well-known talents of your famous zodiac family.

Capricorn: December 22–January 19

Your attention to detail and your need to set high goals for yourself will lead to great choreography this season. Expect some recognition here. Try music by fellow Capricorns Ricky Martin, Elvis Presley, and Aaliyah.

Sign up for a new dance experience. Try ballroom, line dance, or square dancing, just for fun.

Like Capricorn Robert Joffrey, you possess the organizational skills to get things done and leave your mark on the dance world. Other outstanding Capricorns include Bella Lewitzky, Ray Bolger, and Gelsey Kirkland.

Enjoy your successes, but do not forget to notice the little things. Keep a journal to help keep your memories in order.

You love to feel like you are in total control. You like to get things done at rehearsal and love to present squeaky-clean routines. Be careful not take the fun out of rehearsal for your dancers. Plan for fun and allow it to happen in the classroom.

You might have problems right now with your studio staff, but you will overcome them and come out better than before. It might be a difficult time for you, but be patient.

Aquarius: January 20–February 18
You my doubt your career as a dance teacher, but it is the perfect outlet for your overly creative mind. Stick with it! Concentrate on choreography as the perfect tool to use those creative juices.

Be realistic with your expectations of yourself and your dancers. Like famous Aquarian Ellen DeGeneres, sometime you just have to dance for fun. Not every Aquarian can be as legendary as Mikhail Baryshnikov, Gregory Hines, Maria Tallchief, or Anna Pavlova.

The humanitarian in you will lead you to stage a fund-raising performance with your dancers.

Let your staff be creative too! Your unusual way of looking at things can be stifling for them. Start a “Positive Suggestion Box” to get them started sharing their ideas.

Find a new creative outlet. Try costume design or take a photography class. Your unique perspective could make you a huge success.

Sometimes you take an unconventional approach to things, but if you look at the examples of fellow Aquarians George Balanchine, Lester Horton, and Ruth St. Denis, it could be the start of something big.

Pisces: February 19–March 20
Pisces love to express themselves through noisy dance styles like tap or flamenco. Like Pisces Cyd Charisse, you love to stand up and be seen (or heard). Do not worry about mistakes! Your lighter side will let you laugh them off and improvise something even better.

Close the door to the office. You love to socialize, but you work better when left alone to concentrate. Think of legendary Pisces Marius Petipa, who changed the world of dance forever.

You are naturally artistic and spiritual. Like the famous and slightly crazed dancer Vaslav Nijinsky, Pisces prefer to work in a fantasy world. Try a fantasy theme for your next recital.

Schedule some private time. Although you like to hang in groups, you must have some time to yourself. You love to daydream and this could be an excellent source of new choreographic ideas. Turn on some dreamy music by fellow Pisces Harry Belafonte, Liza Minnelli, or James Taylor and keep a paper and pen close by.

You like to nurture and solve other people’s problems, but this can become overwhelming. Try not to play psychiatrist around the studio.

Aries: March 21–April 19
You run full-speed into every challenge. Like fellow Aries Cher and Janet Jackson, you live large and fearlessly in the public eye.

You love to multitask but tend to overdo and lose focus every now and then. This leaves your head spinning like the fabulous turns of Ann Miller, also an Aries. Get organized and slow down! Your staff wants to help but doesn’t know where to jump in.

Like modern-dance Aries Merce Cunningham, you like to be innovative. Let your creative juices go and ask others to keep track of things for you. Teach your students to watch your improvisations in the classroom and be ready to repeat them.

Although you love the intricate rhythms of tapper and fellow Aries Charles “Honi” Coles and the precise choreography of Tony Award-winning Aries Michael Bennett, you sometimes have trouble with detailed footwork. You prefer the thrill provided by a large jazz production number. It works for you. Stick with it!

Take a cue from Shirley Temple, another Taurus dance icon who became a famous ambassador and diplomat, and practice patience with your staff. They cannot possibly measure up to your expectations.

Taurus: April 20–May 20
Like Martha Graham and Judith Jamison, who share this sign, you use your stubborn nature to stay on task and achieve everything you set out to do, and then some! However, your unwillingness to settle for anything less than the best can be frustrating.

Take a few risks this year. Add some new classes to the schedule or choreograph that big number you have been holding back on. Let go of the perfectionist and just go for it!

Take a cue from Shirley Temple, another Taurus dance icon who became a famous ambassador and diplomat, and practice patience with your staff. They cannot possibly measure up to your expectations. Applaud their strengths and watch what they can achieve in a nurturing atmosphere.

Let someone else deal with problem parents. Your temper flares quickly and you will take the anger home with you.

Redecorate your office space. You like things nice and it will relax you at work.

You share your eccentric and sometimes steamy Taurus personality with Shirley MacLaine and Renée Zellweger, and you sometimes like to take music and costuming choices to the edge. Review your choices wisely. You must err on the side of caution.

Gemini: May 21–June 20
Versatile Gemini Henry LeTang was not only a fabulous choreographer for film, theater, and stage; he was also an extremely gifted educator and often accompanied his own tap classes at the piano. You share LeTang’s versatility but sometimes find yourself caught between things you love to do and what you have to do. You use some interests as diversionary tactics to avoid getting the serious work done. Get organized and set priorities.

Bill “Bojangles” Robinson had an electric Gemini personality that warmed the hearts of audiences. Your outgoing personality makes you the perfect lobby celebrity. Hang out and let the parents enjoy your humor and upbeat spirit.

Schedule a training school this summer. Geminis have a never-ending need for continuing education.

You love a good costume and dressing yourself up. (This might explain Gemini Isadora Duncan’s need for a change from the restrictive attire of ballet to her signature flowing gowns.) Get a few new outfits with a little color to teach in this semester. It will put new pep in your step.

Judy Garland’s Gemini roots led her over the rainbow as a triple-threat performer. Use your electric personality and audition for some community theater. You will bring the house down and energize yourself at the same time!

Cancer: June 21–July 22
Try a home office. You are more comfortable there and will get more work done there than in the studio office.

Your nurturing temperament makes you perfect for teaching preschool classes. Older students find you to be the perfect mentor and will come to you with their problems, knowing you are trustworthy and discreet. But keep your professional distance or they will question your authority.

You love to spend time with your family and feel conflicted when the studio commands your time. Get a sub and sneak away to enjoy small family outings. Surprise your family by staying home for dinner on a weekday night.

Like Katherine Dunham, a Cancer who was a dancer, choreographer, songwriter, author, activist, and anthropologist, you have a dramatic flair that leads you to explore many interests.

Fellow Cancer dancer Bob Fosse’s life story begins with him facing the mirror proclaiming, “It’s showtime, folks!” As Fosse did in daily life, you take the road of the actor when dealing with parents and rarely say what you truly feel. You have trouble letting go of conflict and let it eat away at you. Say what you think or you will eventually explode. Nip staff problems in the bud or you will end up resenting those you work with for not reading your mind.

Enrico Cecchetti, a famous Italian Cancer, did not compromise in developing his ballet technique. Your strong sense of loyalty makes it hard to understand others who do not share your feelings. Choose a dramatic recital theme that will allow you to let out those feelings of frustration.

Leo: July 23–August 22
The dynamic and dramatic Leo has truly chosen the right field to work in. No one loves to be in the public eye more than Leo. You take over every situation and have a hard time delegating duties. For that reason, you usually feel overworked and under-loved. Hire people you can trust to take the load off, spend the time training them correctly, and let go of the control issue.

Leos crave approval. When a parent gives you a hard time, you take it personally. You cannot please all the people all the time, so learn to leave the problems at the studio.

Leos are nurturers and enjoy working with and mentoring children. You are playful and loving, and your students enjoy being with you. They will look to your strong sense of personal confidence for lifelong advice.

You love to put on a huge show, like the fabulous water extravaganzas of Esther Williams, also a Leo. Be careful not to overdo it! At recital time, find where you can scale back a bit and still put on a spectacular show.

Leos are born leaders. You see a problem and pounce on it. Do not expect your staff members to read your mind. Let them have a little input and keep those doors of communication open.

Virgo: August 23–September 22
Virgos are perfectionists. It is not surprising that the impeccable Agnes de Mille was a Virgo too. You love the discipline of dance and expect everyone to live up to very high standards. Remember that your students also need to have fun and learn to relax while in the classroom. Play with music by fellow Virgos Michael Jackson, Beyoncé Knowles, Gloria Estefan, Faith Hill, Billy Ray Cyrus, or Leann Rimes.

You have a terrific memory. Do some dance research and share it with your students. Better yet, try your hand at writing about dance or dance history.

You are always concerned with diet and exercise and this leads you to obsess about your weight. You will be much happier if you learn to focus on your positives. Give yourself permission to quit wearing those form-fitting leotards and stay away from the studio mirrors.

Like famous Virgos Gene Kelly and Donald O’Connor, you love intricate patterns and complicated footwork. Be careful not to over-choreograph your numbers. Simplify your choreography and your pieces will look cleaner and sharper.

Libra: September 23–October 22
You are a fiend for organization, but you must try to find a balance between work and play. Let the office be messy and give yourself a day off.

Like fellow Libran Doris Humphrey, you are full of grace and charm. Let loose and discover your wilder side!

Your strong sense of fairness and negotiating skills will allow you to solve any problems that arise at the studio. Return your own phone calls—you are a natural communicator and your clients will appreciate your fair approach and willingness to compromise.

You love to design your own costumes, but although this can be fun it will put you behind at recital time. Find another outlet for your urge to design, like the front of the recital T-shirt. Or learn to cut music. With your organizational quality and patience, you are a natural.

Like Jerome Robbins, a Tony Award–winning Libra, you dabble in everything from ballet to jazz and tap to modern. Concentrating on the classic structure and precision of ballet will help bring your teaching into balance. Although you probably enjoy the classic playfulness of cellist Yo-Yo Ma and the elegance and charm of Luciano Pavarotti, both Libras, choose music this year from other fellow Libras like Olivia Newton-John, Will Smith, or Hilary Duff.

Scorpio: October 23–November 21

Like the music of Scorpios k.d. lang and Joni Mitchell, you are full of passion and flair. You love lyric dance and make emotional execution a priority for your dancers. You also tend to make emotional decisions without thinking things through. Avoid surprise encounters with disgruntled parents. Tell them you will call them back and give yourself time to think through any disputes.

You have a secret side to your personality and tend to think others do too. This can lead you to mistrust people, which can leave you feeling lonely. It can also be confusing to your staff members, who are doing their best to please you. Do not read into things; they really do want you to succeed!

Famous Russian ballet stars Natalia Makarova and Alexandra Danilova were Scorpios too. Their flair for dramatic performance is also evident in you. You still love to dance and are the first on the floor at conventions. Accept every opportunity to perform, and enjoy it.

You are self-motivated and extremely independent. Like fellow Scorpios and world-renowned tappers Jimmy Slyde and Savion Glover, you like to be innovative and tend to push yourself to excellence. Remember that while on the road to perfection you must make time to stop to smell the roses.

Sagittarius: November 22–December 21
Attend workshops and training schools. You never tire of seeking knowledge.

You share your sign with choreographers June Taylor and Busby Berkeley. Their enthusiasm and optimism on large projects have made them dance legends. Your Sagittarian enthusiasm is also highly contagious. Use it to fire up your staff. You are a pacifist and usually like to avoid confrontation, so be careful not to let small studio problems build up.

Your optimism will lead you to consider expanding your business, but pay attention to details. Do not rush into anything and be sure to consult professionals.

Plan a faculty number for the recital. You still have the desire to get up and show your stuff like fellow Sagittarians Britney Spears and Christina Aguilera.

(Photo by Theresa Smerud)

by Alice Korsick

“Respect” is a big word in the dance world. It is earned daily by many, many teachers who dedicate themselves to dance education, but others struggle with a lack of respect from their students. By implementing some simple practices and expectations, all teachers can improve the atmosphere of their classrooms and gain the respect they deserve.

Post classroom manners and rules.
Make a list that states what you expect from your students. You must decide what the rules are and then you must also adhere to them. Students thrive in a disciplined classroom. The following are some examples of traditional rules: 

-Students who are late for class should stand at the studio door until the teacher acknowledges them.
-No talking is allowed during class.
-Cell phones must be turned off and put away during class.
-Students should not disturb the rest of the class by tying their shoes or adjusting their clothing at barre or in the middle of the studio floor.

-Students should be ready when it is their group’s turn to go across the floor.
-Students should let the teacher know ahead of time if they have to leave class early.

Have a dress code.
Appropriate dress is an important part of a dance class. Teachers should require the students to wear dance attire that matches the technique being taught. That sends the message that this is a serious class and deserves their attention as well as respect. Teachers should also wear appropriate clothing. Those who wear T-shirts with demeaning messages, sloppy sweats, or jeans suggest a lack of respect not only for themselves but also for their students and the art of dance.

Prepare the classroom.
Allow enough time to prepare the studio. Make sure that the lights are on, the CD player or iPod is ready to go, and you have on hand whatever teaching tools are necessary for that class. Think about what you were working on when the class last met and what the teaching goals are for this one. A prepared teacher sets a positive mood for the class.

Teachers should require the students to wear dance attire that matches the technique being taught. That sends the message that this is a serious class and deserves their attention as well as respect.

Start class on time.
Starting the class on time tells the students that you want to be there and are ready to work. You set an example for your students by being organized and prompt.

Ban cell phones.
The use of cell phones by teachers or students during class time is an interruption to all. Ringing phones break the focus of the class and students sense a lack of control on the part of the teacher.

Be active in the class.
Show your involvement in the class by demonstrating steps; those who are no longer physically able to do so can use students to demonstrate. Explaining the technical requirements of the steps reveals your knowledge and experience. Students who learn something new from each class will appreciate their teachers all the more.

Give corrections.
It’s easy to give a class—all you have to do is call out the steps and watch while the students perform them. But teachers who are willing to give a part of themselves to their students, by being attentive enough to give individual corrections, see the best results. Show passion for dance and it will reach all students. Be honest in giving out compliments; students can sense when they are not deserved.

Avoid favoritism.
Treat all students alike regardless of their ability. The natural instinct in teaching is to gravitate to the students who are gifted, but everyone is in class to learn. Those who do not have the potential to be professional dancers should receive the same level of instruction as the most talented ones. Give all of your students the attention they need to be the best dancers they can be.

Maintain a professional demeanor.
Limit personal involvement with your students, both in the studio and in encounters in the community. Some teachers want so much to be loved by their students that they forget that their main purpose is to teach dance. Being overly friendly is not the key to earning respect; in fact, there is a point where being too friendly will send a message that teachers and students are equal. You should show concern for your students but keep a healthy distance from a too-personal relationship. Teachers are role models, which means that students should look to them for guidance and not necessarily for friendship.

End class with a sign of respect.
For generations of dancers, applauding at the end of class has been a sign of respect. Even very young dancers should be taught to acknowledge the teacher in some way when class is over. If teachers show respect for their students and make it clear that they expect it in return, the classroom becomes a comfortable place to learn—and to teach.

How to cope when gifted students go rogue

By Debbie Werbrouck

It starts with the little things. A gifted student asks that the rules be bent for her since she’s one of your best dancers. Then her mother tells you that the costume you’ve chosen for her daughter isn’t very becoming or cutting-edge enough. Then Mom declares that her child must be moved to a higher-level class because her current classmates really aren’t as good as she is.
 
We all love to see our students progress and increase their abilities and their levels of confidence. It’s rewarding when someone really excels, but sometimes that student can change into someone you don’t recognize. When your sweet, talented young dancer turns into a prima donna, it can seem as though you’ve created a monster. And it can cause a world of problems for you and the other students. Most school owners have had this experience, and if they haven’t yet, they probably will.

Birth of a prima donna
One dictionary definition of a prima donna is “a star or self-important, temperamental person who has an inflated opinion of her talent or worth.” Dance educators who have dealt with the prima donna syndrome would probably agree with that description and can probably provide scores of examples.

How could this happen? After all your efforts to develop your students’ talents, why would they give you anything but respect and loyalty? Could it be that we contribute to the prima donna syndrome unknowingly? Did we give that talented student too much praise or too much latitude? If we kowtow when these students ask for exceptions and cave in to a parent’s request that her daughter (who, thanks to her mom, now thinks of herself as exceptionally talented) be moved to a more advanced class, we are on our way to creating a full-blown diva.
Once the precedent of special status has been set, it’s hard to stop the progression. After you place the student in a “more challenging” class, soon her mother will explain to you that her daughter should, of course, be featured in the choreography for performances and competitions. Since she is such an outstanding dancer, it should present no problem when she has to miss class or rehearsal for another activity. After all, she knows what she’s doing and she’s a better dancer than all the others.

Identifying divas
Many times, these situations can be prevented or at least stopped from developing into a major problem with a heart-to-heart talk. A teacher’s inclination to avoid a confrontation can sometimes let a situation fester and grow, when a conversation could have alleviated the problem.

At times it’s difficult to distinguish between making an accommodation for a good student and customer and a developing diva situation. Sometimes their requests seem reasonable and their complaints seem understandable. But the difference is that usually, instead of approaching the teacher quietly, the prima donna or her parent will voice her opinion or concern in the waiting room and engage others in her endeavor. In fact, many times the problems with the student begin with the parent. The prima donna student is often accompanied by a “helicopter” mom—one who “hovers” over her daughter and is convinced that only she knows the true talent of her child and how classes and performances should be done.

Susan Woods of Dancenters of Stoneham and North Reading, Massachusetts, had a prima donna experience at her school. She lost some dancers who were hurt after hearing that the divas didn’t think they were “good enough” to be on their team. The prima donnas continued to spread dissension. Gossip and confrontations overflowed into the dressing rooms and parking lot, creating animosity within the group and alienating more students. Eventually, the troublemakers themselves left the school feeling that it wasn’t “good enough” for them. What that probably meant to them was that the school was not focused only on winning competitions or willing to submit to the whims of dancers who need to be in the spotlight constantly. After the exit of the prima donnas and their mothers, the school was left with dancers who were willing to work. It was a happier place than when the prima donnas were causing disruptions.

Intervention and prevention
How can the prima donna syndrome be remedied or avoided altogether? The first step begins in the classroom, where you must make sure that all students receive the same level of attention and encouragement. It can be easy to overlook areas of needed improvement in a talented student when others in the class need more attention, but educators need to remember that all students can raise the bar on their performance and need corrections as well. This reminds the dancers that while each person is working to her own potential, everyone must work together to maintain and increase performance levels of the group or class.

At times it’s difficult to distinguish between making an accommodation for a good student and customer and a developing ‘diva”-situation.

Educators can encourage teamwork by talking to students about the importance of working together. Explaining that everyone’s performance depends on the performance of others in the work can help build a feeling of mutual responsibility among the dancers.

When this commitment to the whole is well established, it decreases the frequency of requests for permission to miss a class or rehearsal for birthday parties and the like. Students and parents come to understand that it’s not simply a matter of one dancer knowing the choreography; they learn that everyone needs to be familiar with what to expect from all the other dancers. I talk about learning to “breathe together” and the value of knowing what to expect from each other when I explain the importance of building a company, team, or class of dancers who work together well.

Building camaraderie among students is also important. In addition to classes, we use group attendance at professional dance performances and pizza parties to build strong relationships. It’s harder to let down a friend than someone whom you just stand next to in a dance.

Another practice to keep in mind is how you structure your choreography. When dancers are “featured” it can send a subtle message to both the featured dancer and to those who are relegated to the “corps.” When Dori Matkowski of Dance Dynamics in Walled Lake, Michigan, finds that she is dealing with dancers with attitudes, she takes away choreography. Not featuring an advanced dancer has really turned heads at her school. As a result, she has found that the number of times she has to deal with self-important attitudes has decreased.

Matkowski has other ways to keep advanced dancers from focusing only on themselves. She has a mentoring program that makes advanced dancers responsible for the well-being of younger dancers. Advanced dancers are also responsible for keeping the school clean between professional cleaning days; they share duties like removing trash and cleaning mirrors and floors.

Reward the behavior that you want repeated. Be sure that you recognize students for their positive traits other than just pure talent. Effort, commitment, cooperation, and a good attitude go a long way in making a well-rounded dancer. Those dancers who step up to help classmates who are having difficulty should be recognized and rewarded. So should those students who give their time to public service projects like providing entertainment at retirement centers or hospitals.

Younger, more talented dancers learn to develop a good perspective by working their way up the ranks of advancement. When they put in the time, they will have earned the right to certain privileges that the more experienced dancers enjoy. (When diva students are allowed to bypass the process of gradual advancement, they miss out on a great life lesson.)

Having written policies and guidelines also helps to avoid prima donna problems—or at least can prevent them from becoming unmanageable. These guidelines help students and parents to understand the responsibilities that accompany classes or performance groups. Saying “Thanks, I’d really like to come, but I have a rehearsal that day” is a wonderful character-building experience that teaches students to back up their goals with commitment. Many performance groups or companies require contracts from both dancer and parent in which they agree to the guidelines or requirements.

Written guidelines also help educators by providing them with the backup they need when approached with special requests. Allowances should be built into the guidelines for reasonable concessions that don’t adversely affect the whole group. Planning ahead can help to avoid the appearance of favoritism to a particular student.
Explain your policies so that dancers and parents know in advance what they can expect. Treat all students fairly and avoid favoring any of them over others. Don’t be afraid to hold your ground with dancers or parents who push for more than their fair share. If you find that you’re spending undue time and energy on a prima donna, it might be time to suggest that she might be happier somewhere else.

By putting these practices in place, you will establish yourself as someone who is fair and who has the best interests of all of the dancers at heart. And most likely your run-ins with prima donnas will be rare.

(Photo by Teresa Smerud)

Wildly different needs require teachers tailored to the task

By Debbie Werbrouck

How many teachers do you know who have a clear understanding of their abilities and are willing to admit to them? I got a call from a prospective teacher one day who said, “I’m new to the area and I’m calling to see if you might be hiring any teachers or substitutes for this year. I have experience teaching teens and adults and I really prefer to teach that age range. I have a lot of respect for those who teach the little ones, but that’s not my forte.” When I heard those words, I knew that this was an educator that I wanted to meet. This was someone who knew her strengths and was being honest about them.

Except for the technical levels of the material, what’s so different about teaching tots or teens? Pretty much everything! Yes, both levels require patience and enthusiasm, but each age group has unique requirements. It’s up to school owners, as educators and administrators, to make the best student–teacher match.

Tots: It’s not just babysitting
Teaching early childhood classes is not a matter of watering down technique, nor is it “babysitting fun time.” Some studio owners make the mistake of relegating early childhood (EC) classes to young, often inexperienced teachers or student teachers. Their thinking is that the classes are very simple and therefore teachers don’t need to have a vast amount of experience. This is untrue and can lead to subpar instruction. EC dance education provides a foundation not only for further dance training but also for educational basics in all areas. An ideal EC dance educator has many skills, including, of course, a solid understanding of dance technique from beginning through advanced levels; that basis is needed in order to provide students with a clear path for continued progress. In addition, she or he must be well versed in child development.

Knowledge of child development leads to an understanding of the normal timelines for youngsters’ progress (when a child should be able to turn in place, hop on one foot, follow simple directions, cooperate with others, and so on) and how those activities should be incorporated into the syllabus. It can also aid educators in detecting and addressing students’ potential physical, mental, or emotional challenges.

Most colleges and universities offer courses in EC development, and information is abundant at libraries and bookstores. Dance organizations such as UNITY and Da-Ci are also good sources of knowledge as well as great networking bases. EC educators such as Anne Green Gilbert provide materials like her “BrainDance” program, which is presented for young learners but useful for all ages. This program provides many mind–body benefits based on fundamental movement patterns that wire the central nervous system.

An effective EC teacher must blend a genuine fondness for children with the ability to maintain order while nurturing students’ engagement and enthusiasm. A dance class is often one of the first classroom experiences for these young learners.

EC educators must also know how to work with the parents of their young students. Often such parents are inexperienced in dance or are also experiencing dance as a first group learning adventure. Some are apprehensive about letting their children participate in an activity without them, and when students pick up on their parents’ reluctance, it adds to the challenge of separation. EC educators must be able to explain not only what students are doing in class but also why and to what benefit. If they don’t, it’s reasonable for parents to assume that any other entertaining  group activity could be substituted for dance.

Teachers of young students must be able to keep parents abreast of their child’s progress and challenges without providing a 40-page, minute-by-minute description of each class. They should be able to make both students and parents comfortable in the class situation.

Teens: The emotional minefield
It might sound as though all of the heavy teaching requirements fall on the shoulders of those in early childhood education and that teachers of older students have it made. If only that were true! Ask any educator working with teens and you will hear a litany of challenges: the range of emotions, influences from non-dancing friends, time constraints, and on and on.

In the teen years, physical growth and emotional maturity don’t always happen at the same time. A student who is physically ready for a certain class level is not necessarily at her classmates’ maturity level. This can present learning challenges if the student feels intimidated by the other dancers. An experienced educator will balance the class to make all dancers feel both challenged and successful.

It’s unfortunate that creative teaching approaches are more commonly used with young children than with teens. For everyone, dance classes and performances are a time to put aside everyday challenges and concerns and engage in the art of expression. If creativity is put on the shelf at a certain age, how can we wonder why teens sometimes perform movements without an emotional connection? “Smile!” a teacher will urge a class of unexpressive teens, as though a smile is an accessory that can be added like a tutu or headpiece.

I’m a firm believer that dance’s ability to accommodate different learning styles is one reason that students are attracted to it. It’s a great match for those who learn through visual, language, kinesthetic, spatial, or musical approaches. Dance also addresses both interpersonal and intrapersonal activities. These multiple intelligences, explained by Harvard University researcher Howard Gardner in his books, can provide insight and teaching tools to dance educators.

Keeping teens engaged is not for the faint of heart. Say the word “attitude” to someone who teaches teens and it’s not always the line of the leg that first comes to mind. Understanding the teen psyche helps educators to sense when to push a student or when he or she needs some space. Lending an ear to a student who is having issues with authority at home or at school can go a long way toward building a rapport that will benefit both the student and teacher. Often dancers confide in a dance teacher before they would think of doing so with a parent or teacher at school. Maintaining a welcoming but professional manner helps to develop the student’s respect for the educator.

Presenting supplemental information in dance class about well-known dancers or choreographers can add an interesting human connection to the process of learning choreography. Many teens know all of the current singers and the words to the latest songs but have little or no knowledge of artists in classical or jazz genres. Dance class is a place to remedy this, although keeping the class engaging for judgmental teens is always a challenge.

At my school, Debbie Werbrouck’s School of Dance, teachers use a variety of methods to connect with teens. Assistant director Julie Bodle posts an inspirational quote each week and refers to its message during teen classes. Jenn Wolfe, who also teaches teens at a local high school, keeps these students inspired and engaged with current music and choreography. Jaci Mullins, who also works with a high school dance team, keeps dancers interested by intertwining dance bios and information on a wide variety of music. She also uses the school’s scheduled “dress-down days” to build bonds with her teens. At the beginning of the year, she announces themes for the scheduled days, such as “the 1970s,” “prima donnas,” and “nerds.” All of these approaches make the teen classes feel special and offer them little perks that they earn through their seniority.

Finding the right student–teacher match
So how do you find the best fit of educators and students? Talk to the teachers and observe them with different age groups. Sometimes educators talk about how they love little children but then seem stressed in class when students lose focus or are unable to execute a movement. If they seem uncomfortable with being creative in getting a point across or if they expect students to learn by rote, they may not have the flexibility to work with young children.

Those who work with teens must have an even-tempered firmness that lets students know that they want their classes to be enjoyable and challenging but leaves no doubt about who is in charge. Educators must understand that their role does not include equal-status friendships with students. Inexperienced teachers who think that they will win over students by sharing personal information or becoming a buddy soon learn that they lose authority in the classroom and consequently, the ability to teach effectively.

Just as EC educators must know what will be required of their students when they progress to higher levels, teachers of teens should understand the process by which their students have been taught. This will help them formulate a successful course of study for their students. Cooperation of educators of both age groups and consistent use of a school syllabus will produce the desired outcome.

In a perfect world, each school of dance would have only the most highly qualified educators in each dance form, and each age group would receive the specialized focus that it deserves. Of course, not all schools have the luxury of a stable of teachers, especially in small or even one-teacher schools. In those circumstances, the teacher or teachers need to use all the tools available to them to provide the best advantages for the various forms and age groups. Some of those tools might include continuing education, especially regarding the forms or age groups that they have less expertise in. Also, bringing in specialized guest faculty to work with both students and educators can provide stimulation, new ideas, and energy.

Networking with fellow educators through organizations or conventions provides exposure to varied teaching approaches and a wealth of techniques. Simply knowing your strengths and weaknesses—and those of your staff—will help you to focus on the best methods for delivering an optimal education to your students.

When students need more than your school can offer, set them free

By Jennifer Rienert

Classrooms full of talented, hard-working, and gifted students—that is what dance teachers aspire to each year. It’s a joy to teach students like that, but there are times when we need to step aside and support them as they pursue challenges greater than we can offer them.

It’s a tough decision to make. Having strong students gives us affirmation of the great programs and teachers we have to offer. We gain credibility and respect from our fellow teachers based on the strength of our students past and present. New students can be confident that they will receive an outstanding education at our schools because of the proof that our successful alumni provide.
However, those rare students whose potential exceeds what our programs can offer pose a challenge to studio owners. No school owner or teacher likes to give up promising students, but there is a fine line between doing what’s best for business and what’s best for the student.

Since very few student dancers will successfully move on to professional careers, this dilemma does not arise too often. Still, when we have to decide whether to encourage gifted students to move on to a professional track, we must recognize our own studios’ strengths and weaknesses so that we can ensure that such students get the top-flight education they deserve. Being honest about your program and what you can offer to your students takes a lot of integrity.

For example, my school, New Hampshire School of Ballet, offers excellent ballet training, with more levels and classes than in any other discipline we offer. We’ve also expanded our jazz, tap, modern, and tumbling classes, recognizing that students need this variety to succeed. Obviously, since our ballet program is our strength, we attract many serious ballet students. Some are very disciplined and motivated, studying ballet four days a week with us. My responsibility is to train them well and set them on a path to a successful future in dance. But if we as teachers are honest with ourselves, sometimes we have to admit that their future might take them away from our own studios.
 
I encourage exceptional students to begin their journey of self-discovery during the summer months at professional schools’ programs and intensives. I advise them on various programs and prep them for the audition process. Meanwhile I still offer a six-week summer program at my school. Even though having those students study all summer at my school would help financially, I understand their need for the experience and variety of other professional programs. The question remains: “When do we let go?”
 
The answer is simple: If you honestly think a student will do better in a professional program that offers something important that yours can’t, you need to suggest this option to the student. Last year a senior student of mine, whom I had taught since he was 4, decided to leave our school a year early to move to New York to follow his dream. He has both the desire and talent to move on to a professional career.

I’m sure that if this young man had stayed with us I could have educated him successfully and we would have had a fantastic competition year. However, it was time for him to move on, and I was ready to help him do so. I spoke with his agent in depth, helped him plan with his parents, and supported his decision to go. There were tears, of course, from all of us on his last day, but I knew it was the right decision for him.

Many students would not have been able to handle this decision emotionally or physically, and for them I would never have encouraged or suggested it. It takes a very strong, talented, and dedicated person to move in a serious direction with dance. For talented students who are ready to move on—or just curious about the possibility—summer programs, weekend dance conventions, and workshops with master teachers can help them make a decision while keeping them on board in your studio. 

I went through a partial “letting go” with a student who excelled in tap. Although my tap director has done a phenomenal job, I recognize that I cannot offer the number of advanced tap classes each week that this student desires or needs. So to supplement my program, she travels to Boston on the weekends to study with an amazing tap teacher and has participated in some pre-professional performances there. I understand “supply and demand,” and we cannot take offense when our students need more than we can give. Keeping the line of communication open to these students and parents is vital in this transition.
 
Kris Samson, owner of Portsmouth School of Dance in New Hampshire, had a similar experience with a male student last year. She had encouraged him to audition for various summer dance programs for a long time, but he refused, saying he felt comfortable at her school. “I think he was afraid to go,” said Samson via email. “I spoke with the director of the Bates [College, in Maine] summer program even though he did not audition. She decided to give him a chance.”

I understand “supply and demand,” and we cannot take offense when our students need more than  we can give.

After attending Bates that summer, the boy wanted to continue his training at a full-time residential dance program, and on Samson’s recommendation, he auditioned for and was accepted at Walnut Hill School in Natick, Massachusetts. “It has been wonderful for him,” said Samson, adding that the boy also attended The Washington Ballet’s summer program. “They offered him a position in their junior company. His parents called me to discuss this option, and I said no, that he must finish high school and Walnut Hill is where he belongs right now. He will get a job when he graduates.”
 
Such scenarios aren’t regular occurrences; most studios can offer enough variety and depth in their disciplines to educate the average student. And even when students think they want to dance professionally, the reality check provided by short-term summer programs can help them with that decision. Many times students who feel they’re ready for more attend a three- or four-week summer program and come home knowing that it is not what they want for their future. Maybe dancing seven to eight hours a day, five days a week is too much for them physically; maybe the stress and discipline are more than they can handle. By trying a professional program, they realized how happy they were at our school.

Such experimentation is also an important step for students who want to study dance in college. If they cannot handle or enjoy the demands of a serious summer program, they will not be happy in a college program and will end up dropping out of their freshman year.
 
My best advice to teachers is this:

• First, identify serious and gifted students who want more than your program can give them.
• Second, collect and give advice on appropriate summer programs and workshops to your most serious students. Proposing weekend workshops and bringing in master teachers will help your students feel like they are still part of your studio while satisfying their outside educational needs.
• Finally, be open to the idea that once in a while a student may be ready to move on. When that happens, have the professionalism and integrity to help him or her make the right choice.

Whether your students stay at your school or go elsewhere for advanced training, it’s important to take a positive and informative approach to the opportunities available to them. Your openness shows their families that you are interested in doing what’s best for their children. Letting go is sometimes the way to show them how much you care.

Pain and hardship, but no regrets

By Jaclyn Hoffman

I was 2 when I first sprinted through the studio doors to my first dance class, eager in my black leotard and skirt, pink tights covering my short legs and my tiny feet enclosed in ballet shoes. I had already picked out where I would sit for warm-up and which color butterfly I would pretend to be when the time came to stretch in butterfly position. I had no idea that because of my last name, my life as a dancer would be filled with hardships that no one at the studio would understand—but also with joys that no one else would experience.

I had practically lived at the studio all my life. My mother had a studio-wide bet on when I’d be born, which gender I’d be, and how much I’d weigh. After my birth, my days were spent in the office with a babysitter, my mother already engrossed in studio work and teaching. I was allowed onstage at the recital’s finale before I began dancing, even after throwing a fit and insisting on wearing my Snow White costume. I started class at 2 as opposed to the usual 3, and I instantly fell in love with dance.
 
I first became aware of the repercussions that came with my last name when I was 8. I had been moved from my competition group to one with kids who were at least three years my senior. I was young and oblivious to all around me, at least at first. I didn’t hear the whispers of the stage mothers behind my back. I didn’t care about the hostile stares the others gave me—that is, if I even noticed them. Eventually, though, I started to catch on. No one liked me there, and I wasn’t welcome.
 
Now that I’m older I understand how annoying it is to dance with kids so much younger than you; you’re scared that they might surpass you in ability. However, my mere presence, not just my age, angered my classmates. After all, they had no problem with my friend (roughly my age) who had been moved up with me. Who I was clouded their vision, and they couldn’t see that I danced as well as they did. They, or more accurately their mothers, thought I didn’t deserve to be there. In their minds I was allowed such an opportunity only because my mother owned the studio and she could do what she wanted with me.
 
To my face, the mothers at the studio have always been pleasant, perhaps too sweet at times. But behind my back, they lash out about me and other children. I heard what they said about me then and what some of them still say about me. Today I try to give people little reason to gossip about me. I’m always pleasant to everyone, and I appear sincere, though many days I’d rather claw my eyes out than talk to some of them.
 
I’ll admit that I heard few of the things said about me firsthand, and the facts could have been completely distorted by the time they reached me. The point, however, is that I believed it all to be true. I was 8 years old, and suddenly I was stripped of my childhood. I could no longer believe that everyone liked me, and their doubt in my ability made me question my class placement. I stopped trusting people; for all I knew, they were the ones talking about me behind my back. Or maybe they were only pretending to be my friends because they wanted to get a solo. I went from being a mostly confident third grader to a girl with her eyes glued on the floor.
 
Being the studio owner’s daughter has made me feel that I must always be perfect. From the get-go, I’ve felt the need to prove myself; if those mothers don’t think I belong here, I’ll have to show them just how much I belong. The year I was in seventh grade I had the hardest time with gossip; not only had I been moved up to the highest level, but I was injured and couldn’t dance for most of the year. How could I prove, even to myself, that I belonged if I couldn’t so much as stand to prove my point?
 
No one can attain perfection; I understand that. Yet I still try my best to be perfect. The mirror is not the help it is supposed to be; instead, it is the enemy, catching all the flaws I was unaware of. Class is the place where you’re supposed to mess up, but there are days when I still stress about forgetting a combination or falling out of a pirouette. I assume that any whispers are about me, that any stares are centered on my lack of a typical dancer’s body.
 
The need to attain perfection has carried over to other aspects of my life. Any Bs I receive in school are tragedies to me; I always feel the need to get As. My projects have to be the best in the room, and I’m that annoying girl who always does the homework even when there was none.

Because no one is perfect, I’ve suffered major blows to my self-esteem. I don’t have confidence, and I haven’t had any for as long as I can remember. If people mention how well I danced, I don’t believe them. I always make up reasons why they would compliment me, whether to suck up to me or to cheer me up because I said that my dancing had felt awful.

My life as a studio owner’s daughter has had its ups and downs, but I’d never wish for any other life. Growing up as I have has shaped who I am.

However, like my mother, I can appear confident even when I’m not. For example, every year at intensive week the guest teachers hold a mock audition. We all know it’s fake, but secretly we stress about it. I am not necessarily nervous about getting the “job,” but I get nervous about how I’ll be viewed by everyone around me. Still, I feel it is my responsibility to appear confident, and I’m always the first in the room.
 
My life has not made me a basketcase, though, and I’m sure that my self-esteem would have plunged without the studio’s help; after all, I’m a typical teenage girl. I may lack confidence, but I’m not stupid. I know that it isn’t healthy to live as a perfectionist. I’m trying to rid myself of such awful habits as staring constantly in the mirror. I’m trying to no longer care what people think of my dancing, though I’m responsible enough never to give them a reason to dislike me as a person. Trust issues have often come back to haunt me; I’m trying to learn to trust with my whole heart, though all of these things are easier said than done.
 
Despite the downsides, because my mother owns the studio I receive opportunities that I otherwise wouldn’t, though none of them have to do with my class level or choreography. Teachers at master classes always know who I am, and I often have personal relationships with them. At only 15, I was given my first classes to teach on my own; though parents saw that I was young, for once my relationship to the owner quieted any qualms they might have had. I found that I love to teach, something I never expected. I don’t plan on becoming a dance teacher, but perhaps teaching will allow me to get through college without having to wait tables.

My life as a studio owner’s daughter has had its ups and downs, but I’d never wish for any other life. Dance shapes so many different people, defines who they are. Growing up as I have has shaped who I am. Through dance, I have the ability to bare my soul without uttering a word. It allows me to be free, while other aspects of my life confine me. It lets me channel my anger and frustration into something positive and fulfilling. My mother gave me the gift of dance, and though it came with unforeseen consequences, I’ve never been given anything better.

The ABCs of setting up a preschool dance program

By Nancy Wozny with Rosemarie Boyden

Part 1: Getting Started

Starting a preschool program can be one of the most rewarding and challenging choices a dance studio owner can make. Congratulations on making a difference in a child’s life. Now comes the hard work. To help you get started, preschool guru and master teacher Rosemarie Boyden outlines the essentials of a good program. Boyden, a former school owner and director who is currently on staff at American Academy of Dance in Mansfield, Massachusetts, has 55 years of experience in the field.

Step 1: Educate yourself
Just because these students are little and don’t have any dance background doesn’t mean it’s going to be easy. Now is the time to take in a conference or seminar. Visit classes in your area and talk to other teachers with successful programs. You can even hire an experienced teacher to walk you through the process. There are several excellent books on teaching preschoolers, and you should start building a library right now. Teaching children is a lifelong learning activity. Plan on becoming acquainted with basic child development as well.

Step 2: Practical matters
For 3-year-olds, a class size of 8 to 10 is ideal. For 4- to 5-year-olds, 15 is a good limit. Classes should range in length from 45 minutes to an hour, depending on the children’s maturity level, and should meet once a week. It’s a good idea to establish an appropriate atmosphere for dance right from the start, so children should wear leotards and tights with their hair out of the face. Boys should wear a white T-shirt and shorts or sweatpants that are not too loose.

Step 3: Hire your faculty
Teaching preschoolers requires mature people who have experience working with children. It should never be a job for a beginning teacher. It’s vital to hire people who love working with children and who are willing to continue to hone the program. You might want to observe a teacher in action before hiring. Parents are trusting you with their precious offspring, sometimes for the first time. Look for a positive attitude, enthusiasm, and sincerity, since your teachers will need these qualities in abundance.

Step 4: Choose a curriculum
There’s no winging it when it comes to working with little ones. You need concrete lesson plans for the semester. Several fine curriculums are available commercially, and you can always adjust them and add your own flavor. Get recommendations from experienced teachers about what works best and proceed from there. Survey the market, head back to the library, and consult the experts. A vast amount has already been written about teaching preschool children, and there’s no need to reinvent the wheel.

Step 5: Get your classroom ready
It’s time to hit the dollar store to collect some basic teaching props. These visual tools, along with simple musical instruments, can really enhance learning. Scarves of many different colors, hula hoops, Hawaiian leis, carpet squares, and rubberized mats are must-haves, as are child-size tambourines, maracas, and tom-tom drums. Sticks, blocks, and triangles are great for 5-year-olds. Useful seasonal items include pumpkins, bells, and flags, and so on.

Make sure that all props and instruments are child safe. A chest to keep them out of view when not in use is essential. The rooms should be completely childproofed as well, which includes covering electrical outlets and any exposed sharp edges.

Children often bring in their artwork from school and it’s handy to have a bulletin board where it can be displayed.

Step 6: Prepare your music
Preschoolers respond to music that is lively and age appropriate. The tempo should be varied to develop ear training. Music without lyrics works best because if the song is too familiar, they will start to sing. Sometimes that’s great, but most often you want the children to focus on the movement. Use a mix of familiar and unfamiliar choices.

A huge assortment of preschool music and even regular classroom music is available. (See “Super Songs for Kids” in this issue for DSL readers’ recommendations.) It’s best to choose music that is specifically designed for children. You will know right away if they respond to it. Overly orchestrated music may be too overwhelming. Make sure your choices match up with your curriculum.

Step 7: Market the program
With a faculty, props, and music all in place, only the little ones are missing. Fall and January are excellent times to start a new program since parents are often looking for indoor things to do with their young children.

Once you know that you’ll be starting in a few months, promote the program to parents who you know have preschool children. Have information about the new program on view on the front desk. A separate, well-placed ad with a photo of a smiling, dancing child is one way to get the word out to new parents. Don’t forget to include the program in your e-newsletter blasts and add it to your website.

Be clear in your ads and announcements that the class is an educational opportunity and that motor and social skills will be developed. Parents need to know that it’s not just fun and games.

Step 8: Monitor the program
Managing a successful preschool program takes constant attention. With each new batch of children come new issues for the teacher.

Make sure that you keep an open line of communication with your teachers: Is the class working as a team? Is every child included? How are your props working? Do any need to be cleaned or replaced?

If there are behavior issues, the teachers need an effective way to deal with them. Teacher meetings are essential. Plan on visiting classes unannounced as well to monitor progress. Also pay attention to the parents. Do they seem pleased? How are you incorporating parent feedback into your program?

Not every group of children will learn at the same speed. You might have a group of 3-year-olds one semester for whom you have to scale activities back, while other classes have a more mixed range. Maybe a class is too large and it’s time to get an assistant. A mature senior student or another teacher who would like to add preschool teaching to her skill set could make an excellent assistant.

Is the curriculum too structured or not structured enough? Frustration is an important sign of several problems: Your students are ready to go to the next level; you need to slow your class down, or you must find a new way to present the material. A strong preschool program is one that adapts to the particular set of children in the room.

Rosemarie Boyden’s Top 10 Tips for Preschool Teachers

1. Start with less; teachers often make the mistake of bringing in too much material at first.
2. Repetition, repetition, repetition—it’s the core of learning.
3. If something isn’t working, slow your class down. Children tire easily.
4. Alternate lively movements with slow movements.
5. Allow time for each of your students to talk. They have things to say to you. You need to leave time for that; plus, it allows for a nice rest time.
6. Keep parent communication ongoing. Mingle with the parents and let them know you are monitoring their children’s progress.
7. Agree with the children. If they miss their mothers, say, “Of course, you miss your mom.”
8. Remember, our job as teachers is to have the students like themselves, not us, until they know us, and that trust takes time.
9. The highs and lows of teaching come daily but the rewards are worth it.
10. Keep honing your craft through continuing education.

Part 2: Curriculum Basics

For preschoolers, Boyden prefers teaching simple motor movements like marching, skipping, walking on tiptoe, jumping, bowing, and hopping. “Seasons work well as themes. I like to follow their lives,” she says. “In the autumn we can talk about leaves; winter can be about building a snowman or skating; spring is flowers and butterflies; and summer can be a perfect day for a beach party.” Stories of a child’s life that follow various events, like birthdays and the progress of the day, can make a theme. You can also create a theme with qualities of motion, like levels, directions, and different ways of moving.

The first week
Boyden calls the first week “getting acquainted.” She has the children form a line outside the studio. Sometimes a tour of the whole studio—making sure to include the bathrooms—is in order. Learning names and just getting used to being away from Mom and in a new place are big changes for a child. (In Boyden’s classes parents can watch via a one-way mirror—having children see their parents is far too distracting.)

Sitting in a circle is a democratic way to begin. Attendance can be a lively time to let each child speak. Boyden has the children stand to talk and sit when they are done, at which point she assures them they’ve done a “good job.” This system automatically quiets a chatterbug.

Boyden likes to make a big deal of taking attendance. “They need to get to know me and each other. I use a very personal [approach to] attendance, which really shows how I value the students,” she says. “Don’t forget to look them in the eye when you say their name.”

In that first week, Boyden starts with movements the children already know, like clapping and marching. “Make them feel proud, smart, and successful,” she says. “You want to set a friendly atmosphere and make them comfortable with you and their new environment.” After attendance Boyden leads the group in sitting, stretching, and bending to touch their toes, ankles, and up the body to the head, saying, “Hello, toes,” and so on. Later in the semester she may introduce thighs and calves. “We start with just a few movements and build on them each week.”

Class structure
Classes begin and end the same way, with the middle as the place to introduce new material. Songs or poems with rhyming lyrics that they can memorize are introduced in weeks to follow. Singing and dancing a familiar nursery rhyme is a familiar scene in her class. “Keep the rhyme or song short”—no more than two to four lines—and remember that singing helps with memorization.

Each activity lasts about 10 minutes, but that can vary according to each group.

Props
You can introduce props at any time after the first week. “Children love scarves, and it’s a perfect time to learn about differences,” Boyden says, reminding her students that all colors are beautiful. “I like to teach life lessons,” she says. “They might not get the color they want, and that’s a perfect opportunity to teach a bit about disappointment. Let them make a sad face, snap their fingers, and move on.”

Boyden uses special props for the boys. They might get a blue scarf or use a boy doll. When they lead the parade they might be Superman. “I do make them part of the group and make them stand out, not stick out,” she says.

Sub-subhed: Working together
Subsequent classes will have children working in small groups or with a partner. Solo moving is reserved for later in the semester when confidence is up and shyness has disappeared. “I wait for about five weeks before I ask children to do anything by themselves,” she says. As the semester progresses, the children have built a repertoire of marching, skipping, hopping, and walking.

Content
Boyden reviews the previous week’s lesson before presenting new material. Over the course of the semester she covers a lot of ground in movement, music, and social skills. Topics include clapping to music; the identification of body parts; emotions like happiness, sadness, and surprise; and animal sounds and movements. Get the children used to strong action words like “bend,” “stretch,” “wiggle,” and “jump.” Toward the end of the semester they might even try dancing a story.

Boyden always ends class with a parade, with a new leader each time. “The parade is a perfect way to celebrate the end of class and their accomplishments. Sometimes we get adventurous and march through the lobby, but we always return to the studio.” On parent visiting days the moms and dads join in the parade.

Boyden teaches the children dance terminology and the basic positions of the feet using the simple idea of making your feet close and open like a book. “I teach proper terminology from the beginning, although we are not working on turnout,” she says. “We don’t learn technique, but I am setting the stage for the next level of training.”

Behavior
In handling behavior problems it’s important to give a child an out, Boyden says: “Sit them down, give them something to hold, and let them know they can join the group when they are ready.” She has various strategies to handle common learning disabilities like hyperactivity. “The mirror exercise works well, or having one child move another like in a clay-and-sculptor exercise. Slow, controlled movements really improve behavior.”

Boyden thinks it’s best to ignore children who crave constant attention. After a while they realize it’s not working and they join the group. “State your rules in the beginning and often throughout the semester and give lots of positive reinforcement. Include the manipulative children if they change their behavior.”

It might take a semester for the class to work cohesively as a group. “If there’s a serious class behavior problem, you need to sit everybody down,” says Boyden. “But never get angry. For a severely negative child you need to consider the safety of the other children.”

Boyden makes an appointment with a parent immediately when she feels there is a serious problem. “I may see things about their movement skills and their social behavior that they are missing.”

Age groups
Due to developmental differences Boyden prefers to have one class for 3-year olds and a second for 4- to 5-year-olds. That’s not always possible, though, and if you have a class of 3- to 5-year-olds, you need to make sure you are challenging the older students. The following basic characteristics and abilities of children ages 3 to 5 are important for teachers to know.

Three-year-olds follow simple directions, love to imitate, and are eager to please. Their attention span is short and they tire easily. It takes a lot of patience to teach this age group; this class might be their first time away from Mom and Dad. They can identify their body parts. Simple marching, jumping, tiptoe walking, and clapping are skills they enjoy. They may be bashful and have temperament issues.

Four-year-olds can jump, and their balance and other motor skills have improved. Their energy level is generally high and many need to be controlled. They can also get competitive with other children but enjoy social interactions. You can add skipping, twisting side to side, and even a simple chassé. They follow directions better and have more contact with the ground than they did a year ago. They tend to want to talk all the time as they are moving into their social skills. Shyness is less often an issue.

By age 5 coordination of all motor activities improves. Skipping and marching to music become easier. The children can count and are able to follow classroom decorum, such as taking turns and waiting in line. Their attention span is longer and they have better retention of the material. Start to prepare them for the next level by the end of the semester.

Take this fun quiz to see how much you know about dance

By Marcia Aller

As a teacher your role has many facets, but your long-term goal should be to produce well-rounded and educated performers. Including fun facts in your classes will impress your students and keep them interested. Take this quiz yourself, and then share it with your students and staff. Please let us know if you enjoy these quizzes!

1. Can you match the ballet with the character?

A. Swan Lake                                              1. Kitri 

B. A Midsummer Night’s Dream              2. Lizzie 

C. Don Quixote                                           3. Prince Siegfried 

D. Fall River Legend                                  4. Titania

2. “Old Adam and Eve,” “Birdie in a Cage,” and “Star by the Right” are all what?

A. Tap combinations 
B. American square dances
C. Types of character shoes
D. Movies about famous dancers

3. In vaudeville days this step was called “Back in the Woods.” What is it called now?

A. Over the Top 
B. Bell 
C. Cincinnati 
D. Wings

4. What is a bayadère?

A. A merchant 
B. An orphan 
C. A mythical horse 
D. A temple dancer

5. Pilobolus Dance Theatre takes its name from what?

A. A phototropic fungus 
B. A river in Greece 
C. A theory in philosophy 
D. A totally contrived word

6. In the mid-19th century, tap dance competition judges made their decisions from under the stage based on the quality of the sounds.

A. True
B. False

7. What is a balletomane?

A. A ballet enthusiast 
B. A male dancer 
C. A soloist in a small company 
D. An understudy to the lead dancer

8. Who described music as the floor the dancer dances on?

A. Michael Jackson 
B. Twyla Tharp 
C. Robert Joffrey 
D. George Balanchine

9. When do you wear raffia and wristlets?

A. For gymnastic floor exercises 
B. For liturgical dance expression 
C. For Hawaiian dancing
D. For Pilates class

10. The Slave Code of 1740 prohibited Negro slaves from beating drums or blowing horns; thus “body music” was born. This developed into what?

A. Playing the spoons 
B. Tap dance 
C. Tambourine music 
D. Whistling

There is no ranking system in this quiz, but you do get a gold star for trying it!

 

1. A-3  B-4  C-1  D-2   2. B   3. C   4. D   5. A   6. A   7. A   8. D   9. C   10. B