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.
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 I really aged so much overnight? Where did those extra pounds come from?” Dejectedly you push aside the memory of feeling pretty good when you left the house at 8 a.m. No matter how you shift your bangs to cover new wrinkles or tug on…
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.
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
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 selfies. All sarcasm aside, I love teaching this age and level of dancers. The information I impart in these classes will be some of the most important material these dancers will ever learn. I’m always thinking up new ways to get their attention. Feeling flustered…
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.
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.
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.
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.
Each week her dance teacher makes a snide remark that duplicates the atmosphere she has at home. She becomes even more intimidated, thinking that her dance teacher doesn’t like her. Even worse, she tells herself, “I stink at dance, too!” Before long she drops out of dance. Why go to dancing school to be berated when you can get that at home?