13 Dance Class Etiquette Tips You Should Know

Today’s post is brought to you by Angelique Hanesworth, dance instructor and photographer based in New York State. Originally posted to her Facebook page, I thought it could use a little extra visibility and love. 


Following proper dance class etiquette is essential for dance students at all levels. Some of you might know these tips, but we can always use a little reminder.

General rule of thumb: Be aware, be respectful, be kind (to others as well as yourself) and have fun!

13 Dance Class Etiquette Tips guest post by Angelique Hanesworth

Essential Dance Class Etiquette

1. Arrive on time. Arriving late to class is disruptive to the other students, the teacher, and can set up the potential for injury if you do not have enough time to properly warm up. If for some reason you must be late, contact the instructor beforehand to get approval.

Most dance classes, regardless of where they are or what style of dance they teach won’t allow you into class if you’re more than 10 minutes late.

2. Have a good attitude. Energy begets energy, and for a lot of students, this is their one hour a week that they get to leave the house and do something fun for themselves. It can be frustrating when we don’t get something on which we’ve been working, but remember, if it were easy, everyone would do it.
We all have our own challenges—every last one of us—and learning how to manage them properly will help you on the dance floor, as well as in life.

3. Turn off your cell phones. ‘Nuff said.

4. Try not to leave the dance floor for the duration of class. If an emergency arises, leave discretely.

5. Do not talk when the teacher is speaking. You might think you are being quiet, but if you’re talking, you’re likely not as quiet as you think you are. If you have a question for the teacher, wait for the right moment, and raise your hand. Make sure it is a question that you cannot figure out on your own.

6. Do not correct other students. That is the teacher’s responsibility.

7. Do not correct the teacher. If the teacher has made a mistake (which is bound to happen) and it is causing confusion in the class, it is fine to politely ask for clarification. If you have a difference of opinion or philosophical perspective, it is best to save it for after class. Give the teacher the courtesy of judging for themselves whether it is something that should be shared with everyone else.

8. Take correction well. If a teacher corrects you, congratulations! That means they are invested in your development. Perfection is a myth, so don’t let your ego get in the way of your progress. If you hear a correction being given to another student, pay attention! There is a good chance it applies to you as well!

9. Practice. You go to dance class to learn, but you’ll make your progress when you practice outside of class. Make sure to do all homework, and work on any combinations/choreography, so that upon returning to class, you can spend the majority of your time learning new material instead of spending that time on review.

10. Wear appropriate attire and mind your hygiene. Proper attire will vary from class to class, but as a general rule, you are training, not performing. Wear something you can get sweaty in and move comfortably in. Keep your jewelry to a minimum; it can be noisy and catch on clothing. Please wear deodorant to class. And many people are sensitive to scents, so please avoid perfume.

11. Keep it clean! No food or gum on the dance floor. A water bottle is fine. As a general rule, if you brought it in, take it out.

12. Use common sense. There is no way I can list every etiquette rule for every situation. Being respectful of the other students, the teacher, and being a hard worker will cover many of the bases.

13. Have FUN! Ultimately, this is YOUR class too, and you should be having a good time. Every teacher feels good when their students leave the room happy, so enjoy the process. Dance is an enriching experience, so be proud of your hard work, celebrate your accomplishments, and keep your eye on the continuing journey ahead.

Dance teachers: What etiquette tips would you like new students to know? What would you like to remind your current students? Share yours in the comments!


Angelique HanesworthAbout the Author

Angelique Hanesworth began belly dancing in 1997, training with top talent from all over the world. Specializing in a Salimpour interpretation of Modern Oriental dance, she holds her Level 5 certification in the Suhaila Salimpour Format and Level 4 in the Jamila Salimpour Format. She is a highly sought after performer, with experience in theater productions, festivals, weddings, restaurants, and more. Between regular classes and workshops, she has taught hundreds of students and is known for her clear direction and creative insight. Angelique can also be seen on her acclaimed instructional DVD, Advanced Layering Drills. Angelique holds a degree in Computer Science, and black belts in Wing-Chun Kung Fu and Ishin-Ryu Karate. She is an accomplished portrait photographer, as well as Mom to two feisty and wonderful girls. Visit her website at angeliquebellydance.com





Flock You! How to Be a Better Dance Company Member

I’ve spent most of my movement “career” as a soloist, only responsible for the placement of my own body in space.

As a figure skater, I had to learn quickly how to dodge other skaters, maneuver around small children on skates for the first time on crowded public sessions, and predict the pathway of experienced national and international stars preparing for triple-revolution jumps. As I navigated around the other skaters, I had to avoid the crowds, and work through them to take advantage of space and openings to practice my own jumps, spins, and programs. Occasionally, I would perform group numbers with other skaters, but that didn’t always go so well for me. (One of these days I’ll tell a story about that…)

As a belly dancer, too, I’ve spent most of my time as a soloist. But for the past several years, I’ve been performing as a core member of a company, and my responsibilities are quite the opposite. Instead of avoiding other dancers, I must move in unison with them, predicting their movement not to get out of their way, but to match their body angles, arm and leg lines, and facings.

Learning how to move as one with a group of people, while remembering choreography, facings, staging, and other complexities is not easy. But it taps into a kind of sixth sense that we humans do have.

Flock

Moving With Others Is Instinctual

Humans are social creatures. We learn at a very young age how to read the body language of our parents and the other people around us. By mimicking and interpreting the gestures, facial expressions, and other physical movements of our fellow humans, we learn to integrate into increasingly larger and larger social circles.

One way that we integrate into social situations is by literally imitating the physical actions of those around us.  In dance improvisation, we call this “flocking.” Of course, we see flocking in nature, too, in the flight patterns of migrating birds and in swirling schools of fish. And several recent studies of human behavior indicate that this instinct is inherently human, should we allow it to manifest. We see it in the behaviors of demonstrators, concert-goers, and Black Friday deal-hunters….whether we like it or not.

The ability to harness this human instinct conscientiously and flock and change direction within a crowd is essential to being a strong member of a dance company.

Then, if it is born into us, why is it sometimes so difficult to match our fellow dancers in rehearsal or on stage?

Well, when we add in additional cognitive and physical actions, such as remembering choreography, counting music, playing finger cymbals, additional blocking or staging, the brain is doing much more than just following the crowd. We must not only keep track of where we are in space in relation to our fellow dancers, but also trust our technical training, engage with the audience, and put on an entertaining show. This takes time, but with practice and mindfulness, you can improve your ability to read your fellow company members.

Fostering the Flocking Feeling

How can we work on our flocking instinct and become more integrated members of our dance company?

  • Start in class. When you’re in class, you are not alone. Sure, you are there to work on your own technique and progress, but you are also part of a group. Also, we are often in class with other students who are in our respective dance companies. Being in class is regular, low-pressure opportunity to “vibe” out your fellow company members, and get in sync with them as you drill, work across the floor, or dance a combination. In many of the modern classes I’ve taken, the instructor will encourage following the other dancers over following the music.
  • In rehearsal, when running group choreographies, pay special attention to the upper backs of your fellow dancers. The width of the upper back, including the shoulders, often determines the facing the body, and when performing set choreographies with changing facings, it’s important that everyone’s upper bodies are all facing the same direction at the same time. You’ll notice that if one dancer’s back is slightly off from the rest of the group, the entire group will look look less cohesive.
  • If you’re a company director, take some time with your dancers to try some improvisational flocking games. Try the second game on this page, aptly called “Flocking.” Encourage your dancers to play with facings, arm pathways, traveling directions, and level changes. See how tightly the group can move together, and how closely the dancers can follow one another.

Of course, some choreographies, such as modern and contemporary pieces, don’t always rely so heavily on strictly-timed, unison movement. Each dancer might be dancing a different phrase, or the same phrase in different timings. But many dance forms do feature this choreographic device, such as the tight unison of this hula halau at the Merry Monarch Festival in Hawai’i.

Next time you rehearse, remember these shoals of anchovies and mumurations of starlings in the wild, and know that the ability to follow your fellow dancers is already in you.

 

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How Dance Company Rehearsals Aren’t Technique Class

We dancers rely on repetition. When we work on the same movements again and again, refining and expanding them, we help integrate them into our muscle memory. From that memory, we can call upon those movements when we need them, be it when performing a choreography, improvising, or creating new work.

Sometimes it feels like because we are practicing the same choreographies again and again that attending company and troupe rehearsals might also be a substitute for taking technique classes. Yes, rehearsals require refinement of movement, learning the skills of working with others, matching their lines, flocking, and also showcasing your clean technique. But rehearsals and technique class have different objectives, and your mindset in each should be slightly different.

TechniqueNotRehearsal

Attending rehearsal is not the same as attending a regular technique class.

In most dance forms, skipping technique isn’t even an option. Professional dance companies, from ballet to modern to hula, almost always require their members to take at least one weekly class. If you’re skipping out on technique, you’ll be missing out on opportunities to work on the essential movement elements you need to use in rehearsal. Plus, rehearsals just aren’t the time to be learning how to do the movements.

Here’s what you’re missing if you regularly skip technique:

Working on you. When you attend a technique class, you are there to push yourself with the instructor’s guidance. You don’t need to worry about what anyone else in the class is working on at that moment. You are there to work on what you need to work on and receive feedback from your instructor to make you a better dancer. You are pretty much only responsible for your own learning. You are solo, unencumbered by responsibility to the group (apart from the usual classroom courtesies and etiquette of not running into people, managing your personal space, and staying in lines and groups as necessary). In rehearsal, however, you are one member of a larger unit. A whole. Everyone in a company rehearsal is responsible for everyone else. It is not a solo venture. Let technique class be a time to work on what you need to work on.

Expanding your physical and embodied knowledge beyond what is necessary for the next performance. When a student attends more rehearsals than technique classes, they are only working for the short-term. What’s the next show? What dances are we performing? What are we working on next? If you’re only attending rehearsals, you’re very likely working on choreographies that might be using one side of the body more than the other, and it’s very unlikely that the choreographies you’re working on are going to include the wide breadth and scope of technical skill required of your dance form. Technique classes challenge your body and your physical skills, so that when you attend rehearsal, you can bring those skills in right away.

Building your movement vocabulary. This is certainly related to the previous point. If you’re only ever attending rehearsals, you’re not working on an a wide range of movement vocabulary. Even if you’re running an evening-length show. Technique classes keep your body primed for whatever the next choreography might be, so that you can just jump right into doing that dance without figuring out how to do it. That’s not what rehearsal is for; that’s why you attend technique classes.

Pushing yourself in a relatively risk-free space. Sure, when you attend dance class, it can feel like you need to get everything right each time you try something. But technique class is an opportunity for you to experiment. What happens if you reach your arms a little more, breath deeper, extend through your toes more, or press up into your forced arch just a little higher than you did last week? Does it work? If not, why not? If so, how can you find that sensation again when you need it? What could you do to make your next round of movement clearer, cleaner, more effortless, and more confident? You also learn how you work under various stresses. Maybe it’s a bad day at work, a bad night’s sleep, an injury. You still come to class and do the work. How does that work change from week-to-week? You won’t know unless you attend regular classes. In a technique class, you should be pushing yourself beyond your technical limit so that when you do perform, either in a company or solo, you can be so confident with your movement that you don’t have to think about it. You bring these discoveries to rehearsal, rather than making them there.

When you miss technique class, you miss an opportunity to work on yourself. Plus, you might find that when you are tired and maybe even a little bit grumpy, that taking that time for you will make you feel uplifted and reinvigorated. Make technique class as high a priority as attending rehearsals. Your body will thank you, and it will make learning that new company choreography so much easier.

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How Sitting Out Can Make You A Better Dancer

When you’re a dancer, sitting out might make you feel like you’re not doing enough. You want to get the most out of every class you take. And sometimes, that means you can be really hard on yourself when you might be laid up by an injury or having a difficult day with your body. Well, I know I can be really hard on myself.

The reality is, though, as dancers we do get injured, have off days, and if we are consistently training and taking classes, our bodies will need breaks…. but we’re still expected to attend classes and rehearsals.

How sitting out can make you a better dancer.

Sitting Out Is Still Participating

While earning my MA at Mills, I had to take a set number of technique classes, and our grade depended on our participation. That meant showing up for class, even if we were injured. If we had to sit out, our instructors required us to take notes, so that we could still engage mentally with the movement material. They didn’t let us leave halfway through class, and there were only so many absences we could take without it affecting our grade.

When I tore my hamstring (again) in February 2015, I sat out for nearly three weeks of technique classes. While I felt completely devastated by not being able to participate, I now realize that this was an opportunity to refine my eye for watching dance and learning material in a new way.

It also gave me an opportunity to work smarter when I was healed enough to participate.

5 Ways Watching Class Can Improve Your Skills

  1. You can rest your body while still observing and learning. Sometimes we get so wrapped up in pushing ourselves and our bodies that we forget that recovery is essential to being strong dancers. Plus, being in the studio classroom with your hard-working, talented colleagues is a great antidote to self-pity.
  2. You can see how others apply the cues and techniques presented in class. Then you can ask yourself if you are doing the same when you return to the floor. I noticed in one of my technique classes at Mills that several students allowed their pelvis to over-tuck during battement exercises, and now I pay better attention to that in my own body. You can also feel how the energy of the room shifts when an instructor asks dancers to be bigger, commit more, and think less.
  3. You can be present and supportive of your fellow dancers. Energy in the room depends on who is there and how engaged they are with the material. If you’re not there, your energy isn’t there. I know that when my fellow dancers are sitting out, I can still feel their engagement and support from the sidelines.
  4. You can take notes in your dance journal. Taking notes is another form of motor memory. When you sit out and observe, you can write what you see, which helps commit new ideas to memory. I know I will be referring to my notes for years to come. Plus, notes are far more permanent than a combination that you learn once and never repeat.
  5. Your instructors will not think you are a failure. They won’t think you’re weak, or that you aren’t dedicated if you sit out. It’s more likely that they will appreciate that you took care of yourself that day, and that you were present for everyone else in class.

Additional Sitting Out Strategies

This isn’t to say that you should sit out whenever you’re tired or not feeling up to dancing. And I don’t think that taking notes are a wholesale substitute for dancing. When there’s a choice between dancing and not dancing, the answer should be “dance, of course!” But if you attend a regular class, and are laid up with an injury, I recommend still going to class.

Be polite and quiet if you are sitting on the sidelines. Communicate with your instructor what is happening with your body, as well as what you are doing to actively rehabilitate yourself. Remind them if a recurring injury flairs up.

If you don’t have a plan, your instructor can help direct you to body workers, PTs, and other professionals who can help. Your instructor will appreciate that you let them know your situation, and they will also note that you still showed up for class, even if you weren’t able to do everything.

That kind of commitment goes a long way, not only in the dance studio, but also on the stage, and your life outside the studio.

Have you had to sit out class because of injury? What did you learn from that experience?

Tell us in the comments!