Tag: dance studios

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Artists Careers Choreography creating Educators motivation Musical Theatre rejection

💬 10 regrets I should have but I don’t

I was a Radio City Rockette for 10 years, so I got to have the experience of achieving a top job in the industry that so many dancers aspire to. But along the way, there are some moments and periods that I definitely could’ve done without. The thing is, those are the valuable nuggets I have to pass on to anyone I teach, so I’d never frame them as “regrets.”

Here’s a list of my “coulda woulda shoulda” things, combined with things that I’m forever grateful for.

• I’m grateful that I followed my own path, seeking out as many opportunities to train as I could find, while always having my anchors for formative training.

• A tool I wished I’d learned earlier was being better at connecting with people. Talent alone is never enough. Let it be natural and not forced, but it’s a skill that, like anything, needs to be practiced.

• I’m grateful that I never let negative talk from my teachers or peers stop me, and there was a good amount. I definitely defied their expectations. I was good at not letting things stop me. It’s more challenging now with social media!

• I wish I wouldn’t have been so intimidated by other artists. Making the leap from Rockette-land to soloing as a tap dancer was a daunting one. I feared nobody would take me seriously in the tap world. I let that inhibit my journey sometimes.

• I’m grateful for the mentors I had, because they changed my life, and THAT’s what I get to pass on.

• I wish I’d learned to sing when I was younger. But I can’t look back, PLUS we didn’t have all the resources back then, as far as seeking out ideal teachers. PLUS I didn’t know I’d love musical theatre so much.

• I’m grateful to have come of age in an analog world. We got to live in the moment so much more. I hope Gen Z and Gen Alpha can experience that feeling, and for my fellow Gen X-ers, this is my year of channeling my early 20’s self and rediscovering that reckless abandon.

• I wish I’d have realized sooner that I can only be what I am right now. Too much time was spent wishing I were better at this or better at that, or wondering what ‘they’ didn’t see in me but saw in someone else. It’s all ok.

• I’m grateful that I’m never done learning, that the more I know, the more I know that I don’t know, and it makes me excited rather than anxious.

• And finally, I wish I’d have found my voice as a choreographer sooner. I let the naysayers get the best of me on that one. It doesn’t have to be amazing every single time. Just play and create, and some of it will be great.

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Dance and Social Media Educators Trends

Bodies

When kids, in my case girls, are growing into their bodies, they’re discovering what they can do. I don’t know where my 7-8 year-old students learned to move like they do when I give them some counts to freestyle, but they sure know how to isolate their hips, followed by a peace sign with their tongues out. Where did they learn that?! I’m sure I can guess.

I won’t inhibit them or shame them for moving in that way. They are learning to express through movement. They’re figuring out the different ways they can move their bodies, and they aren’t mature enough to understand what potential messages those movements can send or the kind of attention they’ll possibly attract.

We, as adults who do know, understand those potential messages. We have a responsibility to put kids on stage performing choreography that fits their age and maturity level, in costumes that fit their age and maturity level.

Let the kids move and be free with themselves during their own class time. I’ll never make a child feel ashamed of the way they move their body. But as their leader and mentor, I will protect them from being put on stage doing anything above their maturity level.

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Dance and Social Media Educators

Trust it

It seems to be escalating exponentially, the tendency to post a long saga in a dance educators’ Facebook group, seeming to not know what to do.

Thing is, we do have the answer. We do know how to handle said scenario. The outside world we are seeking advice from was not in the room where everything went down. They don’t see the day-to-day happenings at the studio. Why is the first instinct to rush to social media and compose a long post in the time it likely would’ve taken to address it and put it behind us, or at least take steps toward a resolution. The seemingly smartest person with the worldliest advice still wasn’t there to feel it emotionally and see all aspects.

Yes, it’s fun and gratifying to get that rant off our chest. Yes, being in charge feels like making decisions on the ultimate island. BUT, it’s important to trust intuition and follow what’s inside of us.

It may not always be the best way to handle it, but the only way to get really really good at handling difficult situations and difficult people is to do what we feel. We learn what works and what people respond to. We learn how to become better leaders by taking those stumbles along the way.

Looking back at emails sent 10 years ago is mortifying, but it also tells us how far we’ve come.

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Dance Competitions Educators

Honey I shrunk the costumes

Where did all the costumes go? It seems there’s a global shortage on nylon, spandex and polyester! Oh no! We must shrink the costumes to cover only the absolutely necessary body parts!

Seriously though. I feel very uneasy when adjudicating these tiny dancers in their tinier costumes. White briefs, no tights, eeek! I’m just nervous. Add that to the constantly choreographed unflattering angles (read: hello, here’s my crotch).

Truly, while I am of course giving my expertise on technique, stage presence and overall performance, I can’t help but to feel uncomfortable looking straight on at a barely clothed dancer’s, er, um, well, you know…

Choreographers and dance parents can put their kids on stage however they’d like. I’m not calling for a puritanical ban on all things inappropriate. That’s just not my department.

I’m simply saying that when I am adjudicating said dancers, I 0% enjoy this aspect of it. Do what you want though. I’m here to give you the constructive feedback you paid for.

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Artists Educators

You might be surprised

The dancers that show up on the first day, so excited and posting on social media about their first day, don’t last.

The quiet dancers in the back row, who you’re not sure are that into it, stick around.

The dancer that you put your heart and soul into all year, who progressed tremendously under your tutelage, disappears.

The young dancers that always had a great time in class and were so excited about being there didn’t come back.

The dancers you thought weren’t coming back return after 6 months, 9 months, 2 years…

The best thing we can do is keep showing up as our best selves, plan classes with specific focuses and continue personal growth as artists and humans. Those who are meant to be mentored by us will remain in the room.

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Artists Educators Training for success

What is a class

Learning choreography the whole time is not a class.

Rehearsing a routine the whole time is not a class.

30 minutes is not a class, unless the dancers are 6 years old or younger.

This applies to all dance forms, but let’s talk tap!

A tap class consists of a warmup, drills, exercises, traveling exercises (across the floor) and a combination. It needs to be consistent.

The exercises and combinations should change periodically (every 2-3 weeks) to build versatility, musicality, artistry and the ability to pick up and retain material. Dancers need a strong working vocabulary, as well as the ability to see something and replicate it. I go, you go.

Every-class drills are a great way to build and refine technique. These are constants and can be interspersed with exercises that vary. When we feel that it’s time for a change, we replace the current every-class drills with new ones.

If a class is planned with the specific intention to improve dancers’ capacities to pick up and retain a long combination (important for auditions and professional work!), OR the lesson plan is to work on a piece of classic rep, that is an exception to the first statement.

Add improv and games to encourage dancers to figure things out on their own.

Training dancers, training artists means checking all the boxes, making sure progress is continuous. Whether they train once a week or every day, the same principles apply.