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I often teach ballet over Zoom in the evenings, shortly after sunset. Without the natural light coming from my living room window, I drag a table lamp next to my portable barre so that the computer's camera can see me clearly enough. I prop the laptop on a chair taken from the kitchen and then spend the next few hours running back and forth between the computer screen of Zoom tiles and my makeshift dance floor.
Much of this setup is the result of my attempts to recreate the most important aspects of an in-person dance studio: I have a barre, a floor and as much space as I can reasonably give myself within a small apartment. I do not, however, have a mirror, and neither do most of my students.
<p>Online teaching is precarious and challenging. But, as many dance teachers know, the last eight months have not gone to waste. Over Zoom, my students have learned how to maintain correct posture through a grand plié and demonstrate a proper arabesque line. They can now consistently extend their feet at the height of a jump and track their knees over their toes upon landing. In other words, at-home learning did not halt their ability to maintain and improve their dancing.<br></p><p>I know I am not alone in seeing this: As many dance studios make cautious returns to in-person teaching, I hear this sentiment echoed by colleagues and community members across the world: Not all was lost, and some things were even gained. Notably, most of this learning happened in rooms without mirrors.</p><p>Dance's relationship with the mirror is not uncontested. Though it's a seemingly ubiquitous symbol of any proper dance studio, teachers have talked for years about its potential drawbacks, including <a href="https://www.researchgate.net/publication/233668162_The_Impact_of_Mirrors_on_Body_Image_and_Classroom_Performance_in_Female_College_Ballet_Dancers" target="_blank">evidence</a> that it harms students' body images. I see small signs of this all the time, and you probably have too: Developing children furrow their brows as they adjust leotard seams or stare angrily at growing limbs. Beautiful dancers finish perfectly acceptable combinations only to walk angrily into the corner because they are mad at what they just saw themselves do. Decades of staring into one's own reflection, searching for mistakes, creates a pattern of self-surveillance that no doubt contributes to this industry's ongoing struggle with body dysmorphia and eating disorders.</p>
<p>As students, and even as teachers, we're taught to dismiss these threats to mental health because the pros outweigh the cons—we supposedly need the mirror to teach students how to understand alignment and develop spatial awareness. It's true, pre-COVID-19, I did this all the time: "Look in the mirror," I would say, "do you see the difference?"</p><p>But the mirror comes with technical downfalls, too: When students correct their alignment using only their reflections, they often learn to engage the wrong muscles or end up lost when the time comes to perform onstage without a mirror. Plus, the impulse to stare at one's own face prevents the use of more dynamic eye lines, and hampers a student's ability to project their focus.</p>
<p>For months now, I have stood crouched in front of my laptop's screen carefully choosing words to describe corrections that I would previously have used the mirror to demonstrate. If I truly cannot find words, I will back up and show them using my own body. Both these tactics do not require visual self-surveillance and instead ask the students to activate internal self-discovery—rather than telling the students to look, I now make sure they can <em>feel</em>. The process can take more effort on the teacher's part, and this may be why we've been too slow to admit that the mirror's problems outweigh its benefits. Nevertheless, it leads to real results, and ones that are far stronger in the long run.</p><p>I often spend time daydreaming about a safe return to those coveted in-person studios. But I do not daydream about returning to the mirror. As the months of COVID-19 drag on, my fear that students will face increased anxiety in relation to their bodies when they return to the studio only grows. After almost a year of being stuck inside, there's a likelihood that many students bodies' will have grown, shifted or, at the very least, lost muscle. These are natural changes, but they are spun in a negative light by body-shaming messages like "The Quarantine 15" or "COVID Curves"—not to mention ballet's continued obsession with thinness.</p>
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<p>This makes me especially wary of forcing my students to stare at themselves in the mirror once we return to the studio. I do not want them left thinking that all their work over Zoom meant nothing simply because the image they see on a reflective wall at the front of the room is different from the one they left in March.</p><p>So as we continue to make safe returns to the studio and leave virtual teaching behind—at least for the moment—let's leave the mirror behind, too.</p>
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Allie Burke, courtesy Lo Cascio
If you'd hear it on the radio, you won't hear it in Anthony Lo Cascio's tap classes.
"If I play a song that my kids know, I'm kind of disappointed in myself," he says. "I either want to be on the cutting edge or playing the classics."
He finds that most of today's trendy tracks lack the depth needed for tap, and that there's a disconnect between kids and popular music. "They have trouble finding the beat compared to older genres," he says.
<p>Instead, Lo Cascio prefers to play an eclectic range of tunes that includes everything from electronic DJ Bassnectar to jazz musicians like Tommy Dorsey and Count Basie.</p><p>Indeed, whether teaching or performing, Lo Cascio has always found his own beat. Beginning at the Joe Stanford Dance School in Queens, he learned to tap dance tacit, the style with no music that he continues to incorporate into his curriculum. He went on to perform in shows with artists like Stevie Wonder, Natalie Cole and Shirley Bassey, before becoming the first American to land a standing role in the Australian touring hit <em>Tap Dogs.</em></p>
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<p>For over a decade, he traveled internationally with the show while establishing himself as a teacher. "I was like the Mary Poppins of tap," he says. "I'd go in to fix things at studios and then went back out on tour." These days he can be found dancing with #Taplife Company, a New York City–based tap company he founded, teaching live classes on Zoom and working with students and teachers through his remote mentorship program, #Taplife Remote.</p><p>Every class that Lo Cascio teaches has a different groove. "From the minute I start class, there's a beat in my head, a question-and-answer," he says. He'll begin by clapping his hands or rapping the beat, creating a rhythm, then adding an exercise for students to follow in a call-and-response.</p><p>As he incorporates music, he'll use drum-loop playlists on Spotify, which have steady beats like a metronome, or genres with straightforward tempos like swing and big band. "Lyrics can get in the way for tap, and this kind of music will help to teach kids musicality," Lo Cascio says. He suggests teachers take the time to point out the different instruments in each song, identifying each sound and melody line.</p>
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<p>Lo Cascio acknowledges that popular music can excite students. But he strives to create an environment where the steps are just as interesting. "When kids ask 'What song are we using?' I'll tell them 'I don't know yet,'" he says. "I'll encourage them to focus on the steps and technique, and depending upon how well they're improving I'll choose a song for a combo." (He admits that this incentive often results in using a song requested by his students at the end of the year.)</p><p>Introducing new music can be a struggle with students, as well as with studio owners, who might have parents and kids demanding teachers play what's on the radio. Ultimately, though, the fight is worthwhile for Lo Cascio, and his students appreciate the learning experience. "When you pick a totally new song that your students don't know, they're experiencing your choreography and the music for the first time," he says.</p><p>Lo Cascio <a href="https://open.spotify.com/playlist/2vPM17WSWQi5pULBd8OJ0P?si=wr5Metv2Qd2diQcauCf2jw" target="_blank">made us a playlist of his go-to songs</a> for class, and shared some of his favorite artists and albums.</p>
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The Luminaries' "One"
<p>"This whole album is conscious, inspiring music. I recommend The Luminaries for tap because it provides a message as well as music. It's something different, and most people would never consider tap dancing to music such as theirs."</p>Jason Yudoff's "Tragic Hero"
<p>"Yudoff has quite a number of instrumental pieces, classified as funk. He often uses alternative time signatures, which are great for tap dancers to get used to. Highlights on this album include 'Good Enough,' 'Get Up,' 'Room to Breathe' and 'Locked In the Box.'"</p>Jason Mraz's "Love Is a Four Letter Word"
<p>"Mraz is one of my favorites to tap to not only for the message he brings, but he is a great musician and also uses alternative time signatures often, specifically songs '5/6' and 'Everything Is Sound.'"</p><div class="htl-ad"
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Frank Persico's "Salutations from Ozone Park"
<p>"I enjoy Persico's music because we have similar life experiences and I can relate well to it. He brings a swing that I think is important for tap dancing. Highlights for tap dancers include 'When Love Was Blind,' 'Eyes' and 'Funny Little Way.'"</p>A Louis Prima playlist on Spotify
<p>"Introduced to me by my grandfather, Louis Prima is one of my all-time favorite artists for tap. His music always seems so joyous and has that big-band swing flair that I want to bring to my classes and performances. The album I loved isn't on Spotify, but <a href="https://open.spotify.com/playlist/2aTg3V7ijqIpW7JV7JpFvX" target="_blank">this playlist</a> is dedicated to that album and includes more of his music."</p>
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Courtesy Lovely Leaps
After the birth of her daughter in 2018, engineer Lisa McCabe had reservations about returning to the workforce full-time. And while she wanted to stay home with the new baby, she wasn't ready to stop contributing financially to her family (after all, she'd had a successful career designing cables for government drones). So, when she got a call that September from an area preschool to lead its dance program, she saw an opportunity.
The invitation to teach wasn't completely out of the blue. McCabe had grown up dancing in Southern California and had a great reputation from serving as her church's dance teacher and team coach the previous three years (stopping only to take a break as a new mother). She agreed to teach ballet and jazz at the preschool on Fridays and from there created an age-appropriate class based on her own training in the Cecchetti and RAD methods. It was a success: In three months, class enrollment went from six to 24 students, and just one year later, McCabe's blossoming Lovely Leaps brand had contracts with eight preschools and three additional teachers.
<p>In April 2019, McCabe and her husband, Ricky, rented space to open a small brick-and-mortar operation in San Marcos, California, for Mommy (and Daddy) and Me weekend classes, though Lovely Leaps remained primarily focused on the in-school model. "The studio started as a labor of love, really," says Lisa. "It was a way for me to connect with other moms, and a way for my daughter to take part too. There weren't other classes in the area for 12-month-olds, so I just created it."</p><p>That can-do-will-do, enterprising spirit is a cornerstone of McCabe's business success, along with her knack for identifying and filling holes in the market. Because when COVID-19 hit and the pandemic forced studios—and preschools—nationwide to shutter, McCabe not only figured out a way to keep her small venture going virtually, she transformed it into a brand with national appeal and reach. Lovely Leaps' database now has 400 active students, and 3,500 additional students ages 0 to 10 have participated in the brand's virtual classes by signing up through third-party platforms like KidPass and Outschool. In the month of August 2020 alone, Lovely Leaps' revenue from virtual classes was $32,000—10 times the income from the previous August.</p>
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<p>When preschools and their studio closed in March, Lisa and Ricky—a CRM systems specialist by day who manages the tech side of Lovely Leaps—followed the virtual trend, completing all of their students' remaining sessions (for preschool and studio kids alike) over Zoom. "In that process, I started learning what communicates well through screens," says Lisa, who notes that keeping little ones' attention was the biggest challenge. She also rethought performances: Instead of a showcase for parents, Lisa invited a "princess" to watch students dance and chat with them afterwards. "The kids loved it," she recalls. "After that first session ended, I realized we had something. And since <em>everyone</em> was stuck at home, I said, 'Let's continue this.'"</p><p>As contracts with area schools had been her primary model and the schools were not operating, McCabe looked for other partnerships in her area to gain exposure. She knew about fitness-focused and mom-centered meetup groups, like Fit4Mom and Pop-Up Playdate, and decided to offer free virtual classes to those groups several times a week in addition to Lovely Leaps' ongoing Zoom classes. "I really just wanted to keep my name out there, so that Lovely Leaps didn't disappear in the pandemic," she says. But free classes also proved to be a workaround in marketing across Facebook mom groups that prohibited advertising. "When moms would sign up for a free virtual class, we'd get their names and contact info so that when my studio could reopen, I could talk to them again," she says.</p><p>Of course, in-person classes didn't start back up, and there was no end in sight to virtual learning and staying at home. The McCabes added Lovely Leaps to two third-party platforms: Outschool and KidPass—through which teachers advertise small-group virtual workshops for kids in topics that range from math and science to songwriting and animation. That's also when Lisa took a leap: She hired a PR professional. "I'm a female African-American business owner, who went from engineering to dance," she says. "It was the perfect storm for media coverage." Popular mom-blogs like Motherly and Red Tricycle included Lovely Leaps on their lists of Black-owned businesses, and Good Morning America even picked up her story in late June (in a roundup of businesses that had pivoted in the pandemic). Business boomed: Lovely Leaps' initial virtual student base of roughly 65 expanded to more than 3,500.</p>
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<p>To accommodate the growing clientele, the McCabes hired three additional teachers (for a total of six plus Lisa) and added classes to their formerly once- or twice-a-day schedule. They now offer 10 virtual classes daily, Monday through Friday, and each class has an average of seven to 14 students (the maximum they allow so they can see all students on one screen). For students who sign up directly on the Lovely Leaps website(as opposed to booking a class through Outschool, say), there are four payment options: per class, which is suggested for students under 5, or set membership fees to access one class, two classes or five classes each week. They continue to offer two free classes each Thursday (ages 10 months to 3 years and ages 3 to 6).</p><p>While operating costs remain low for virtual classes (teachers' fees, uniforms, and the cost of website hosting and maintenance), third-party platforms take a sizeable cut of sales to advertise the classes on their sites. Outschool, for instance, takes a 30 percent service fee from the bookings made through its site. Still, it's a valuable partnership, says Lisa, as the platform markets the classes and brings in customers, so she and her husband are okay with students repeatedly booking through Outschool instead of on Lovely Leaps' website.</p><p>Whether a student books through Outschool or directly through Lovely Leaps, repeat business is key. Enter Ricky's expertise in customer-relations management. All new participants are encouraged to take a survey after class (sent via Zoom chat or email), with questions including preferred times for classes as well as what kinds of classes they are most interested in. (Many classes have themes—i.e., <em>Trolls</em>, superheroes, or Disney princesses—and while technique does factor into each session, Lovely Leaps' classes aim to instill a general love of movement in a fun and age-appropriate environment.) "I put all answers into a dashboard to generate leads, and I can look at what classes we should create," he continues. Once a participant completes the survey (which asks for contact info at the end), they receive an email with current classes that fit their profile and a discount code to sign up.</p><p>Lisa knows that about 70 percent of Lovely Leaps' student database is made up of San Diego locals, but the third-party platforms cast a much wider net, with 70 percent of those consumers tuning in from outside the area—including about 30 percent from the Northeast and another 10 percent overseas. To track their own students, the McCabes have relied on Jackrabbit, but they are transitioning to WellnessLiving, a cloud-based management software like Mindbody, but one that also allows constituents to be lumped into households—perfect for dance siblings. (The McCabes also use inbound marketing software HubSpot for their contracts with preschools, Mailchimp for all mass email marketing, and Typeform to link the surveys and the emails.)</p>
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDU5OTY3Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY0OTI2MTQ1OH0.lLk5ednTaXmbIxricmoDpjs_VZ4GlAH2T5eE8lvJV3I/img.jpg?width=980" id="e5f3d" class="rm-shortcode" data-rm-shortcode-id="c160bb3c75b87bdfbce461adc850bf5a" data-rm-shortcode-name="rebelmouse-image" alt="Lisa McCabe, who is masked, demonstrates a tendu as six young students dance behind her" />
Courtesy Lovely Leaps
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<p>Lovely Leaps reopened its real-life studio on October 12 with three in-person classes (and has since added one more). Twenty students attended the first week—including two students from Lisa's early partnership with Pop-Up Playdate. And while they're not back in schools yet, 14 preschools have expressed interest in welcoming Lovely Leaps into physical classrooms in 2021. Still, the McCabes aren't shutting down virtual operations—at all. "I look at brands like Beachbody, or Peloton," says Ricky, citing their existence pre-pandemic, ability to scale during it, and plan to thrive going forward. "There were all these membership-based, virtual physical-activity programs for adults, but not so much for children. We've looked to those brands to help us scale." Adds Lisa: "There will always be a reason kids can't go outside—maybe the weather is bad, or their parents have to take a work meeting. I want to be the premier online studio that parents can utilize in those times, too, pandemic or not." </p>
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