Q: The parents of my competition kids keep requesting fundraisers, and it's driving me nuts. In our contract, I said we would do three fundraisers, but now they're pushing for more. What's your fundraising policy?

A: Before any student and family can commit to our competition team program, they are given the cost of full participation and have to be able to afford classes, costumes, entry fees and rehearsals without any fundraising. Although we cannot require our parents to commit to a binding contract, we do have them sign a commitment letter stating that they have read and understand the expectations we have for them—including the financial investment. If they do raise money, it's simply extra help, not the means for their participation.

We recommend delegating fundraising activities to a committee of parents, subject to your approval. Here's an excerpt from our 2017–18 Calendar of Fundraising Events, published by our parent fundraising committee at the start of the season: "Fundraising for dance events are not Kathy Blake Dance Studios functions. If you have any questions regarding the events, or if you have any ideas for other fundraising opportunities, it should be brought to our attention. All fundraising activities pend approval from Kathy Blake."

Kathy Blake (Kathy Blake Dance Studios in Amherst, New Hampshire) and Suzanne Blake Gerety co-founded DanceStudioOwner.com.

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Photos by Amy Kelkenberg

Whether a dancer has too much or too little, turnout can be one of the most frustrating aspects of technique. Students often feel they must achieve 180-degree rotation to become successful in the field. In reality, the average person only has 45 degrees of external rotation in each leg, meaning their first position should be no greater than 90 degrees.

Because range of motion in the hip is ultimately determined by the joint's structure, it is impossible for dancers to increase their structural turnout. Often, though, students do not use what they have to the greatest potential. By maximizing their mobility they will find greater ease within movement, improve lines and, most important, prevent injuries caused by forcing the joints.

Deborah Vogel, co-founder of the Center for Dance Medicine in New York City, says the best way to unlock external rotation is to balance out muscle strength and flexibility. “Dancers are working the turnout all the time. They're always engaged and focused so much on using it. The minute they learn how to release those muscles they bring everything into balance," she says. “That middle is where dancers last the longest."

Here, Vogel suggests exercises that stretch and strengthen the muscles that activate turnout:

Sitting Stretch: For Stretching Turnout Muscles at the Back of the Pelvis

Sit on the edge of a chair with knees at a 90-degree angle and feet flat on the floor. Cross the right ankle onto the left knee. Lace your hands together and nestle them under the right knee, lightly pressing energy into your hands and toward the floor (though the knee should not actually move). Sit up straight—some may already feel tension here.

With a flat back, bring the belly button toward your legs. Continue gently pressing the right knee into your clasped hands.

Experiment with turning the upper body toward the knee or the foot to stretch different muscles.

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Photo by Jim Lafferty

Have you ever attended an audition and wished that you knew what the director was looking for? We've rounded up some of our favorite quotes from our Director's Notes column over the past few years to give you a deeper glimpse into the minds of 10 artistic directors.

Ashley Wheater, Joffrey Ballet

"I want to develop and nurture artists," says Wheater, seeking "people who are not afraid to be expressive, and understand all the layers that go into making a work above and beyond the steps."

Ingrid Lorentzen, Norwegian National Ballet

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Dance Teacher Tips
Via Kenedy Kalls Instagram

Dancers have a language all their own. From French technical terms to scatting out choreography dynamics, it's a wonder any nondancers understand a word we say! Perhaps some of the most confusing dancer terms are the various foods we use to describe our feet. To help dance outsiders out, DT broke down the foods that are commonplace in dancer lingo. Share them with your loved ones, so they can better understand the weird and wonderful breed of dancer that you are.

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Injuries can be devastating to a dance career, but you can reduce their occurrence or avoid them—if you know what to look for. To learn why certain injuries happen and what can be done to prevent them, we consulted a group of experts: Jacqui Greene Hass, director of Pilates and Dance Medicine at Wellington Orthopaedic & Sports Medicine Therapy Services; Marijeanne Liederbach, director of research and education at Harkness Center for Dance Injuries; Jennifer Deckert, assistant professor at University of Wyoming (holds an MFA in ballet pedagogy and has presented at the International Association for Medicine and Science); and Michael Kelly Bruce, associate professor at The Ohio State University (certified in Pilates and specializes in conditioning).

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Dance News
Image via Michaels' Instagram

We all know and love Mia Michaels. She's a fearless choreographer and teacher, who's inspired a generation of dancers with her unique style, grace and brilliance. What's not to love? And now we can't help but gush over a personal confession she recently shared on Instagram.

Bottom line: No matter your age, size or shape, don't wait to love your body or yourself.

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Dancer Health

I recently started back in modern dance after a long hiatus—I stopped dancing at age 11 and went back two years ago at age 24. I've found that when I'm on the floor, I can't open to a very wide second. Also, if I'm sitting in butterfly on the floor with my feet together, my knees are some distance from the ground. What can I do to loosen my hips?

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Dance Teacher Tips
Standing on stage is as important as moving. Photo by Arthur Coopchik

When your students are onstage, every dance step matters, of course. But so does every non-dance step. The simple act of being onstage—whether standing still, walking to a position or running from one place to another—requires a constant presence. And as Kitty Carter, of Kitty Carter's Dance Factory in Dallas, Texas, points out, "walking and running are actually part of the dance. They act as transitions from step to step." So teaching your students to understand the importance of active stillness and pedestrian choreography is essential, and it will help them see the "big picture" of a performance. But it's not easy.

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