Posts Tagged ‘age appropriate’

In regards to the recent controversy regarding the video of 7 and 8 year old girls . . . As I see these posts throughout the Internet defending the choreography and costumes as the norm, I am feeling frustration. Yes, the dancers are strong, but no they do not have to be presented in this way. Whether they were participating in an urban competition is irrelevant. The same group of dancers can be presented in a way that shows off how technically savvy they are with choreography and costumes that will not offend anyone.

This is not about whether or not these young dancers are talented, instead it’s about the decisions that the adults in these children’s lives have made on their behalf. If this was a good decision, why has it created so much stir? If another choice was made by the adults, this controversy would not be on national television.

The really hard part to accept about this video and the controversy is that I believe the “Adult Decision Makers” have caused our entire field to take a hit. My frustration lies in the knowledge that there are thousands of dance schools and educators who are doing so much good for future generations of children. They know that they are mentors with tremendous influence on their students. They know that the awards are no reason to sacrifice the opportunity for a child to be a child.

Good Morning America and other national shows are focusing on this group of dancers, which I totally get because I do not believe that their performance was appropriate and I also believe that the subject of age-appropriateness needs to be discussed. However, there are young dancers, schools and teachers who do get it and I wish they too could get the kind of coverage that this incident have been given.

What’s fair—and healthy—for talented young dancers

By Melissa Hoffman and Debbie Werbrouck

Melissa Hoffman Dance Center

As teachers, our job is not only to develop properly trained dancers and performers who make the most of their natural facility, but also to do so in a manner that fosters confidence and a love of dance. And to make things even more complex, we need to do all this in ways that are age appropriate for each child.

Young, precocious dancers who are placed in an older, more advanced group may find they are surrounded by role models.

So here’s the problem: How can we do all this and still challenge and encourage talented young dancers who are capable of far more than their peers?

Problems with mixing ages
In theory, the obvious solution would seem to be to let the dancer move up to a level that’s appropriate to her skills and will challenge her, even if it is with older dancers. What’s wrong with that? Quite a bit, in fact. One problem is simply the age difference; the child will not be able to mix socially with her classmates. Speaking as a parent, I would not want my 7-year-old involved in the types of conversations that 12-year-olds would engage in.

Another issue is dealing with age-appropriate choreography, music, and costuming when you have too broad an age span in the class. Not only does a 7-year-old not move like a child who is 12, but there are movements that are appropriate for older dancers that a young child should not be doing.

The most important consideration, though, is the pressure placed on these young dancers. It can come back to haunt them. Pressure on dancers who excel at a young age comes from many directions: from parents, dance teachers, and themselves. In fact, chances are that many of the dancers who excel in the studio also do well in much of what they do; often, they are perfectionists who place enormous pressure on themselves. Moving them into classes with older dancers only adds to this pressure and their desire to be perfect. As a result, I have seen many tears and a loss of confidence. These kids are trying to keep up, and they are no longer having fun.

Solutions
I have come up with a policy that is fair and reasonable. It takes into account these young dancers’ physical and emotional health by challenging them without asking them to grow up too fast. It places them in an environment that makes sense, and so far it seems to make the dancers, as well as their parents and teachers, happy. Of the roughly 650 dancers at my school in Hudson, New Hampshire (120 of whom dance competitively or are professionally tracked), 4 are part of this program this year. In past years the number has ranged from 2 to 10.

For all but one class, I place these young dancers within their age group and as close as possible to their level of ability. They leave these classes feeling confident and great about themselves. As Patty Brearly, a master teacher/adjudicator from Rhode Island, points out, “An astute teacher will be able to do some modification for these dancers, such as having them do double pirouettes while others do singles.” However, do so with caution so that you do not make the other dancers in the class feel inadequate.

Then, for one technique class per week, these dancers are placed in an older, more advanced group where they are surrounded by role models to admire and try to emulate. This is their “challenge” class. They are no longer the strongest dancers in the room. By doing this just once a week, they do not feel defeated or put too much pressure on themselves. However, if at any time you see these children losing confidence, remove them from the situation; they simply are not ready to handle the challenge.

I reassure the older dancers that their class level will not be lowered to accommodate the younger dancers (which is usually their concern) and ask that they attempt to make the younger dancers comfortable. Also, I might assign an older dancer to do progressions across the floor with the younger ones.

As for performances, generally the young dancers do not perform in choreography with the older dancers unless a particular theme warrants combining the two age groups.

The kids’ perspective
Jaclyn Hoffman (my daughter) and Amanda Shaw, now both 17, were the first dancers I tried this method with, when they were 10 years old. Dancing with the older kids once a week made them feel “cool,” they say, but that soon gave way to feeling intimidated. They felt like they had to work twice as hard to fit in, but because there were two of them, they could support each other (which is something I now keep in mind).

Ultimately, though, they were glad they were given the opportunity because they liked the challenge and being with their role models. They also said that the confidence they gained made them feel even more comfortable in their normal classes, so that they could “have a blast.” And because they went through the experience themselves, they are very accepting of the current young dancers in their class.

Victoria Dumoulin, age 12, and Jillian Hoffman (also my daughter), age 11, agree with Jaclyn and Amanda. However, even though they were accepted right away, socially they still feel that the “older girls” don’t think they know what they are talking about. Despite the initial pressure, now they say they feel great because they are able to figure out how far they can go.

And Olivia Corlis, age 8, says she has felt left out socially. However, she says she is glad to have been given a chance and feels that being exposed to the advanced students is making her a stronger dancer.

Think ahead
It’s important to ask ourselves whether it is necessary to train exceptionally talented dancers quickly. If we push them too much, we are likely to see a lot of burnout and injury. And the truth is that some of the other dancers will catch up to these prodigies when they hit their teens, if not before. That’s hard for these kids to take. Naturally, we hope to help these dancers thrive and love what they do, but first they must be allowed to be kids. —Melissa Hoffman

Debbie Werbrouck’s School of Dance

At my northern Indiana school, the first step in helping students who show extra interest and promise is discussing their abilities and interest with their parents. While most are eager for additional advancement, some are perfectly content to maintain their current level of involvement.

I remember a discussion with the mother of a very talented student who I wanted to see take advantage of additional opportunities, such as auditioning for our student performance group or annual holiday production. Her mother explained that while her daughter enjoyed her classes and performing at the annual showcase, she had other interests that kept her from becoming more involved. I respected that and knew that while I would have loved to see her daughter do more, she was satisfied with the classes she was taking.

If we do get an indication of further interest, we have several options. The first step would be to add a class or two at approximately the same level; often, this will put the student into at least one class that is at a slightly higher level. Because this requires students to attend multiple classes, it eliminates those who are not ready or willing to do so.

Pressure on dancers who excel at a young age comes from many directions: from parents, dance teachers, and themselves. Moving them into classes with older dancers only adds to this pressure and their desire to be perfect.

Another option to foster growth in those students who seek it is a program called “Carte Blanche,” which allows them to attend an unlimited number of classes while paying for only the first five classes per week at a discounted rate. This is our gift of encouragement to students who are serious about dance. Sometimes this means they attend an additional three to ten classes per week at no extra cost. The program has helped many students who have grown into exceptional dancers and teachers. As a studio owner, you will need to place conditions and limits on such a program, since it will affect your income. Once you have a couple of students taking advantage of this program it will really take off. Make sure that’s what you want.

Performing groups are another method to expand a student’s experience and training. We offer, by audition, participation in our summer student performance group. These students attend classes and rehearsals with both resident and guest faculty twice per week and perform at festivals, special events, and senior centers. They take classes not only according to age and ability, but also in groups that include a broad range of ages and skill levels. This allows the advanced students to stand out as examples and the less advanced to experience working at a higher level.

Having younger students “understudy” specific dances or dancers helps them grow into the choreography and style and provides insurance in case of an illness, injury, or schedule conflict. An added bonus is the ability to observe younger dancers outside of their “normal” choreography and assess their potential.

Summer is a great time to focus on this type of performance group because dancers have fewer conflicts and thus more time to devote to their progress. It is also a good time to have students experience a diverse faculty, either from your school or through guest teachers. By building this type of program, you help your students—and also faculty members, by keeping them employed during summer months.

Another option is offering master classes with guest instructors, which are typically much less level specific than regular classes and will again allow younger students to experience the advantages of working at a higher level. Having students work with a variety of educators is very beneficial, not only for them to learn various styles but also for educators to make individual evaluations of each student. More than once I’ve had the experience of having a faculty member see and develop potential in a student that was not seen by another. And who hasn’t had a student spout some new “discovery” she learned from a guest teacher that you have preached for years?

With so many options to help students develop, educators who observe their students closely should have no problem selecting the right approach for each. That’s a win–win solution for everyone. – Debbie Werbrouck

More Teachers Chime In

Bonnie Cagle of Bonnie’s School of Dance in Humboldt, Tennessee, encourages students to attend the workshops of Chicago National Association of Dance Masters and Southern Association of Dance Masters. Besides experiencing a wide array of educators, such students also are likely to meet dancers who are more advanced than they are and hopefully will feel inspired to greater efforts. Cagle also invites promising students to attend a higher-level class at various times throughout the year as a “bonus” class—though she notes that doing so risks making other students envious.

Jean Wolfemeyer, who runs a one-woman show in Mishicot, Wisconsin, has an advancement plan that works almost in reverse. Since she is the only teacher, she can’t offer multiple levels of classes each day. So the students who want more than the one or two advanced classes available also attend classes for younger, less advanced students. (Students are not charged when they try a class for several weeks but are required to pay if they attend the class on a regular basis.) Wolfemeyer also allows younger students with exceptional ability to take the higher-level classes if she feels they need them.

Putting advanced students into lower-level classes serves a dual purpose. It allows advanced dancers to work on performing more basic elements “perfectly” in the lower-level classes while concentrating on advanced technique in their regular class. Younger students benefit from having more accomplished dancers in their classes, who provide them with a visual example to emulate. Because they admire the older dancers, they work harder to match their level of performance. Another benefit of this method is that there is less parental comparing of levels and student placement.

Wolfemeyer also encourages her students to take classes outside of her school and is often seen with her young entourage at workshops and auditions. She keeps a close eye on her charges and the classes they attend. Lyn Cramer of the University of Oklahoma says workshop faculty members know that they’re on the right track when they receive the “Wolfemeyer nod.” —Debbie Werbrouck