Q: “I’ve danced all my life but have never taught before. Now, I want to break into teaching at my local studio. Is it important that I get certified before applying, or is my dance training enough?”
A:“The importance of getting certified depends on the person. If you were a dancer on Broadway and know everything about your craft, no, you probably don’t have to get certified. But if you don’t know the terminology, the placement and how to break everything down, certification is important.
“I would hire somebody with less dance training if they are certified, because I can trust their credentials. People say, ‘I’m a dance teacher’ all the time, but unless I know who trained them, it’s hard to say how good they are.
“You can be a great dancer and not necessarily a great teacher, so even accomplished dancers might consider continuing their education. It’s most important that, as a teacher, you keep studying all the time. I compare it to being a doctor. Those people are going for degree after degree, and it’s the same way in dance. You must keep studying and studying.”
Vickie Sheer is executive director of Dance Educators of America
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.
Does your studio slow down when the weather warms up? If you don't offer a summer session, June through August can be a cash-flow challenge. One popular—and easy—strategy is to offer weeklong camps instead. We spoke to three professionals to learn how they make summer camp work.
This week Ballet Hispánico launched its first ChoreoLaB workshop, a summer intensive intended to better prepare aspiring professional dancers—with more than just excellent technique. Artistic director Eduardo Vilaro wanted to create a program that bridges the school and the company, to help dancers transitioning into the professional world and better hone their skills.