Dance Life Magazine Online

A collection of articles, thought-provoking commentary, classroom tips and strategies, smart business concepts, advice, and more. As always, Rhee Gold and his team will offer content to challenge the dance education field to hold each other and every student in high regard.

Choreography You're an Artistic Genius

Choreography: You’re an Artistic Genius

“You’re an artistic genius! How do you come up with an idea like that?” “Motivated to be different” is the motto of the teacher who choreographed the piece that everyone is raving about. She’s the one who doesn’t want to be like anyone else or follow the current trends in choreography.

Making Peace with the Mirror

Making Peace With the Mirror

by Sandi Duncan It’s a new day of classes and you’re ready to share what you know and love. You’ve chosen your music, created your combos, and put on your workout attire. You enter the empty dance space, set up your music, and glance in the mirror. “Whoa! Wait, is that me?” you wonder. “Have…

The Right to Make a Living

The Right To Make a Living

Often, we’re comfortable within the classroom but we tend to feel a little “on-edge” when it comes to collecting tuition or other fees owed by our clientele. Some school owners don’t want to create “waves” that could result in losing a student.

Fun Facts American Ballet Theatre

Fun Fact: American Ballet Theatre

Dance knowledge for teachers & students The world of professional ballet is often stressful. Which stress-busting items are American Ballet Theatre dancers allowed to bring with them to the studio every day? a. Adult coloring booksb. A personal masseusec. Pillows and blankets for mid-afternoon napsd. Their dogs

Barre Boredom

Barre Boredom

by Casey Davenport Are your ballet babes bored with barre? One typical Friday afternoon I watched as the 6-, 7-, and 8-year-old petit rats in my Ballet 1 class spent their precious barre time focusing on all the fundamentals that will serve their future dance goals—fidgeting, lip-synching the latest pop tune, and posing for imaginary…

The Sequin Eating Boy

The Sequin Eating Boy

In my years as a teacher and studio owner, I have produced more than 27 year-end recitals and at least 16 full-length story ballets. If I have learned anything about the production part of the dance business, it is that it requires two important attributes: the ability to compromise and the ability to enjoy the humor in the things that can—and always will—go wrong.

The Case of the Disappearing Students

The Case of the Disappearing Students

Through my research with dance school owners, I’ve discovered that it is not uncommon for their businesses to have up to a 30 percent turnover of students from year to year. Looking deeper, I discovered that a large number of that 30 percent are recreational and preschool-age students—which means that not only are school owners losing students; they’re losing the very children who are the financial lifeblood of the school. When those numbers dwindle, the future looks a bit gloomy.

What We Gain by Losing

What We Gain By Losing

Although I discourage using the word “lose,” it’s the best way to make my point. Some of the smartest and brightest people got that way from losing many of their battles. We learn from the losing process or by not getting what we want. It’s how we improve ourselves.

Look for the Little You

Look For The Little You

When I do my seminars, I always ask, “How many of you were the best dancer in your class?” In groups as large as 500, only one or two people raise their hands, and sometimes no one does.

Who Owns the Choreography

Who Owns the Choreography?

She intends on still bringing these dances to competition . . . has said she will give me full credit. But, I feel the choreography is mine,

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