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.
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?
“Your fall registration will only be as good as your last recital!” These words were often repeated by my mother, who believed that the quality of a recital had much to do with a school’s success. I think of those words every time the topic of recitals comes up at my seminars.
Dear Rhee, Recently I saw that you answer readers’ questions. I’m hoping that you’ll have an answer for me. I have a 7-year-old daughter who has developed tap-dancing skills way beyond what her classmates can do. The other kids in her class have to keep repeating what they learned in previous classes, and my daughter…
by Rhee Gold As we begin a new competition season, let’s remember that our goal should be to instill in our students a passion for performing rather than merely the desire to win awards. The satisfaction of an excellent performance is all the inspiration we and our students need to work harder and continue improving.…
Teaching tap slides can be trickier than you think. Most students like to lift their heels off the ground and straighten their legs when they slide; however, doing this makes it harder to control the slide and maximize its length. Three rules to guide them: feet flat (helps maintain balance); plié (makes sliding on a challenging surface like marley easier); and weight evenly distributed (helps with connecting the slide to the next step).