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





What You Need to Know About Morton’s Toe

On my last post about feet, one of the comments was about Morton’s Toe. Morton’s Toe, also known as Morton’s Foot—named after one Dudley Joy Morton—or “Greek Toe,” likely affects about 20% of the population. It challenges the body’s balance and can cause muscle and joint pain, but with the right tools it is manageable. I suspect that many people (like myself) who are told that they have high or fallen arches actually have this condition, but don’t know it.

What to know about Morton's Toe blog post by Abigail Keyes

6 Facts about Morton’s Toe

1. Even though it’s called “Morton’s Toe,” it really refers to the bones behind the toes.
In a “normal” foot, the first metatarsal extends more forward than the rest. This causes the big toe to hit the ground first while walking, running, and dancing. (Cue “Part of Your World” from The Little Mermaid.) For those of us with Morton’s Toe, the second metatarsal makes contact first, throwing off our balance, and putting pressure on the second toe and middle of the foot.

Common callus areas for feet with Morton's Toe

Common callus areas for feet with Morton’s Toe.

Some people with this foot structure have second toes that are visibly longer than the rest, like the feet on the Statue of Liberty. Others might not. An X-ray will show for sure.

2. Symptoms include pain in the ball of the foot. If you’ve had pain in the ball of the foot, you might have been told that you have “metatarsalagia.” A fancy word that isn’t really a condition, but just a description of discomfort and inflammation.

Additional clues can be where your foot develops calluses, particularly on the outside of the big toe, underneath the second metatarsal head, and on the outside of the foot right behind the baby toe.

Morton’s toe can also make you prone to plantar fasciitis and achilles tendonitis.

3. It can create trigger point and referred pain all the way up the body.
If your second metatarsal is sticking out more then the rest, it can make your foot feel wobbly. Indeed, your body is trying to balance on a single point, where people without this condition can more easily place their weight on either side of the ball of the foot.

This constant balancing act can cause the shins, calves, quads, hips, and back to overcompensate. These areas are bracing and stabilizing so much that it causes muscle and joint fatigue. Your body has to work overtime just to keep you standing, let alone the extra balance and muscular engagement it takes to be in relevé!

If you’re prone to shin splints, calf pain, tight IT bands, and lower back pain, it might all start in your feet.

4. It’s not the same as Morton’s Neuroma, although the two are sometimes related. Apparently podiatry attracts a lot of Dr. Mortons. The neuroma is named after one Thomas George Morton. Totally different guy.

Morton’s Neuroma occurs when nerves between the metatarsal bones are trapped and become inflamed. It can lead to severe pain as well as numbness. Some people with Morton’s Toe do develop the fibrous neuromas, but not all. Those with the neuroma should avoid high heels and constrictive shoes.

5. Special insoles can help mitigate pain and improve balance. I’ve been able to manage the discomfort through regular self-massage, exercises, and insoles. A few years ago, the pain in the ball of my left foot was so awful, I couldn’t put weight on it. A (not-so-great) podiatrist told me I must have had a stress fracture, but the X-rays showed nothing wrong. Thankfully, a fellow dancer referred me to her dad, a trigger point massage therapist (shout-out to Chuck Duff). He worked on my calves, shins, feet, and hips, and within a few hours, the pain had disappeared.

Chuck also suggested I try out the insoles sold at mortonsfoot.com. I don’t get any kickback for linking to them, but I will say that their insoles have saved my dancing. They have thin insoles that I wear in my jazz shoes if I know I’ll be an intense workshop or on my feet for an extended amount of time. Their thicker insoles fit right into my regular boots and street shoes.

6. Massage can really help. Massaging the muscles between the shins, the calf muscles, and the soles of the feet will help loosen the muscles and joints in the foot itself, allowing it to relax. Use a foam roller, stick roller, or a lacrosse ball. I like to use a lacrosse ball on my shins and calves, because it’s a bit more precise than the foam roller. For your shins, place the ball on the floor, then kneel on the ball, as shown in this video. Find the tender parts, and don’t put too much weight on it, but just enough to relax the muscles. The same technique works for your calves.

Also you can massage the muscles between metatarsals with your fingers or a soft pencil eraser. This will help the toes spread out more, distributing your weight more evenly throughout the ball of the foot. The website of Bonnie Prudden, a pioneer of trigger point therapy, has lots of great exercises to mitigate the pain of a long second metatarsal.

7. It’s not a deformity, and if you have it, you’re not a freak (unless you want to be). This kind of foot structure is pretty common, so if you have it, accept it, discover ways to manage it, and give some extra love to your feet. They deserve it.

If you have Morton’s Toe, how have you managed it? Share in the comments!





6 Travel Tips for Dancers: Staying Well on the Road

As a child, going to the airport filled me with wonder and excitement. The smell of jet fuel and the hustle and bustle of the airport still means, in the words of Bilbo Baggins, “I’m going on an adventure!”

As an adult, I’ve spent a big part of my dancing career traveling to cities at odd hours to teach and perform in places I’ve never been before. It’s a fantastic job, and I am grateful for every moment of it.

With all my years of travel, I’ve learned a few things over the years. I’ve also learned that as I get older, my body doesn’t recover from travel as quickly as it used to. I’ve come up with survival techniques to keep limber and agile, even after being on a plane for 10 hours straight.

So, even if you’re not a dancer, or if you don’t even travel all that often, but just don’t want your body to feel like crap when you arrive, these little travel tips will help you keep moving. Just in time for your return back from your holiday vacations.

Heads up. This post contains affiliate links.

Traveling While Dancing: 6 Tips for Moving Bodies

Doubles as a wine bottle carrier.

6 Travel Tips for Dancers (and other people with bodies)

1) Rollers and other self-massage devices. This might sound dirty, but self-massage devices are the best thing for a weary traveler. No, not that kind of massager. I’m talking the kind that you roll out your cranky and sore muscles.

My favorite is the TP Therapy GRID roller. It’s short, and hollow on the inside. I can fill it up with small clothing items so it takes up very little space in my luggage. Plus, if you happen to pick up a bottle of your favorite libation while on the road, the GRID roller doubles as a protective carrying case… Not that I’ve ever done that before.

Other small, but effective, tools include lacrosse balls and stick rollers. I love this Gaiam spiky stick roller, but you’re best off packing it in your checked luggage.

2) 4-Wheel Spinner Luggage. Nothing frustrates me more than a bag that won’t stand up on its own, and worse if it’s difficult to maneuver through crowded airport and train terminals. After a trip to Europe when I had to manipulate two unwieldy, unbalanced suitcases full of costumes and products for sale, I resolved to replace my bags with upright spinners as soon as I got back to the US. Because I refuse to be stingy when it comes to luggage and shoes (see #5 in this post), I’m still using those bags, seven years later.

A quality spinner will be nearly effortless to move, and your body will be grateful for not having to drag your stuff along behind you. If you’re on a budget, because luggage isn’t cheap, check out your local Ross, Marshall’s, or TJMaxx. There’s no reason to pay full price for name-brand luggage.

3) Water water water. This one’s obvious, but flying can make us feel like human raisins. Muscles, fascia, and tendons need constant hydration to stay at tip top shape, so don’t be like me and make the mistake of not drinking enough water while traveling. Most of my injuries can probably be traced back to not staying sufficiently hydrated.

Bring a refillable water bottle (empty, so you don’t get busted at the TSA checkpoint, or you’ll find yourself chugging 16+ ounces of water very, very quickly), and don’t be afraid to ask restaurants in the terminals to fill it up for you. Some terminals have filtered water stations (San Francisco International marks them on airport maps as “Hydration Stations.” How very Silicon Valley of them.)

If you need extra hydration, pack along some Emergen-C or other electrolyte formulas. The ones that come in tablet form travel best, but individual packets of powders work well, too. Make sure your bottle is rugged enough to get beat up. I travel with an insulated bottle that I can fill with cold or hot drinks.

4) Snacks. Snacks on a plane! Haha… ha… nevermind. Anyhoo… Like many 21st-century Californians, I have dietary restrictions. I can’t eat wheat because it triggers my chronic inflammation, and I avoid dairy, eggs, and meat.

Even if you can eat anything without feeling like someone is stabbing you in the large intestine, you might have noticed that plane food is expensive and unsatisfying. If you’re lucky to be flying out of an airport with decent restaurants (i.e., not Chicago O’Hare which has almost nothing for the gluten-free traveler), eat a large-ish meal in the terminal before you board… and be prepared for the rest of your trip with ample snacks.

I bring nuts, dried fruit, granola bars, instant oatmeal, and chocolate (of course!). I also bring along my favorite tea bags to keep some semblance of normalcy and comfort when I arrive at my destination (which I brew in my insulated water bottle). Remember that you can’t bring liquids or pastes on the plane, so leave that hummus at home, you fellow food weirdo.

Merrell discontinued these boots, so I bought an extra pair. Looks like Amazon still has some, though!

5) Shoes. I have a lot of feelings about shoes and travel. Our feet are our first line of defense against gravity, and a crappy pair of shoes will make your entire body ache. Dancers don’t have time for that. Heck, parents, businesspeople, and vacationers don’t have time for that either! I also don’t have time or packing space for bringing lots of different shoes with me when traveling. Personally, I get grumpy if I have to bring more than the shoes that I wear on the plane and maybe an extra pair of flip-flops for times I don’t need to go far, like from a hotel room to the breakfast buffet.

My requirements for shoes? Easy to take off and put back on (because airport security), versatile for the purpose of my trip, flat soled, supportive, and comfortable like slippers. A good pair of shoes should last for over two years, minimum. I’m particular to the Merrell brand for my weird, narrow feet, but for the love of all that is holy, don’t be one of those people that wears flip-flops or 4-inch stiletto high heels. You don’t want to have to run to a connection with shoes like that, and both will likely make your joints very grumpy.

6) STRETCH. You know that weirdo in the back of the plane, near the galley and the lavatories, contorting themselves into some weird yoga poses as you try to get by? Don’t be afraid to be that person. Keep your blood flowing and stretch, particularly your hip flexors and hamstrings, which inevitably are shorted when you sit in those tiny little airplane seats. In addition, those seats fit about 1% of the population. The rest of us are too short or too tall. Plus, if you get up and head to the back of the plane for a bit, you can ask the flight attendants for more water… or for the wonder that is tomato juice, which we all know you only drink when you’re on a plane.

How I want to dress on planes. (Randy from A Christmas Story.)

Bonus: 7) Stay Warm. If you’re one of those people who is always cold, you understand. And for dancers, the cold can be a formidable foe for our bodies. Bring a jacket on the plane that you can also use as a blanket, as well as a big scarf that can keep your neck and head warm if you get blasted by the plane ventilation system. If it’s too cold to stay seated, and it’s safe to move about the cabin, get up and go stretch out near the galley.

Traveling dancers: What are your favorite tips for keeping limber and ready to move when you travel?





Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save


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.

 

Save

Save

Save

Save


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.

Save

Save

Save

Save


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!





Consistent Challenges are the Key to Improvement

All artists seek personal improvement, but what’s the secret?

About a week ago, I finished up my first year as a graduate student in dance at Mills College. My course work included four days a week of modern dance technique, ranging from Jose Limón’s/Doris Humphrey’s “Fall-and-Recover,” Martha Graham’s “Contract-and-Release,” Merce Cunningham’s split body awareness, and a myriad of contemporary and classic stylizations from the 20th and 21st centuries. I sustained a debilitating injury (minor tear of my biceps femoris hamstring) and have mostly recovered; I cried quite a few tears of pain and frustration.

My fellow students and colleagues have also struggled and triumphed. In addition, I have continued my training at the Salimpour School, beginning work on my Suhaila Format Level 5 and training for Jamila Format Level 4.

If I have learned anything at all in these programs, it is that consistent practice is key. But it’s more than just consistency: it’s consistent challenge.

Adult Students Aren’t Patient

Adults are a funny lot. Adult students often want the result without realizing the hard work it takes to get there. We see what we want, and we want it now. A friend of mine teaches cello, and many new adult beginner students have asked her how long it will take for them to play cello like Yo-Yo Ma.

Similarly, new adult students at the Salimpour School ask me how long it will take for them to certify Level 5 (the highest level of the program of which there are currently two dancers). The answer to these questions is complex. It depends on how hard you want to work, how much you want to be a master of your craft and your art. It will take you as long as it takes you, if you continue to work for it.

Hard Work Is The Answer

I will tell you what it takes to get there, though. Hard work. Consistent hard work that continually challenges your technical, creative, physical, and emotional limits. There will be tears. There will be frustration. There will be injuries.  …and there will be so many triumphs, joys, and accomplishments.

Many dancers talk about drilling, and while drilling can be an incredibly valuable element of becoming an accomplished dancer (no ballerina would ever go without doing her barre exercises), it is the difficult work that truly helps us grow. If you continue to drill, say, glute squeezes at a tempo that is manageable for you, it is unlikely that your dancing will ever improve dramatically. You’ll only ever be able to do hip work at the tempo at which you work in the studio. (Why would you want faster hipwork? Maybe that song you love calls for it at a particular part of the music.) If you drill them at a tempo that at first seems completely outside your abilities, but you keep a positive attitude and you work for it… ahh, then that’s where the palpable, embodied, and visible improvement lies.

Struggle Can Make You Stronger

Even plants benefit from struggle. Winemakers turn off irrigation to their vineyards in the summer, when the weather is hottest. You might think that this would cause the grapes to wither on the vine, ruining the crop, but it does the opposite. Turning the water off forces the roots to dig deep into the earth, and the vines grow grapes that have an intense flavor and rich sugars. The vines that struggle are the ones that have the potential to make a better wine.

Of course, humans are not wine, but when it comes to improvement, struggle is necessary.

Struggle Properly

In my training both at the Salimpour School and now at Mills College, my teachers ask of me work that I hardly ever thought possible for my own body. But I am tenacious. I continue to work to do movements and phrases that are just within my technical and emotional reach. I know there are things that might always be beyond my physical abilities, such as doing the splits, but I still keep working at those things.

My training might not bring me greater fame or visibility, it might not make me more money, and it probably won’t bring me love and adoration. I am not training for these fickle accolades. I train because I am in love with my own progress. I am addicted to the rush of reward chemicals that flood my brain when I can finally dance that combination on the left side without fumbling, when I can play that fast new finger cymbal pattern, or when I strike the final pose of a choreography that once seemed so outside my physical and technical abilities.

Your Work Is Never Finished… Celebrate That!

The lack of an endpoint might frighten some people, and it might discourage them. Why do something if you’re never done? For me, that’s why I do what I do. I see improvement in my work every day I show up for class. I also see it in my colleagues and my students. The students who don’t back away from a challenge are the ones in which I see the greatest improvement.

How do you get better at something? Do the things that you think you cannot do. There will be frustrations, there might be tears. That’s all right. If you can’t do them now, keep trying, and one day you will do that thing you thought you could not do. Celebrate that you did the thing. Then get back to work tackle the next challenge.

How do you keep yourself challenged in your dance practice? Tell us in the comments!