As every educator knows, it's just as important to keep up with your teaching craft as it is for your students to keep up with their dancing. The best way to do that? Teacher-training workshops. Get away for a couple of days to interact with your peers in the industry. You'll not only learn new ideas for teaching technique and movement, but you'll discover new communication strategies, business ideas and ways to manage changes in the industry. You'll return to your studio with a wealth of knowledge to share with your students.

We've compiled a list of three teacher-training opportunities happening later this year that you should have on your radar.

You're welcome!


1. Dance Teacher Summit

Long Beach, California | July 26–28

New York, New York | August 1–3

The Dance Teacher Summit brings together industry staples from around the country to help educators improve their teaching methods, learn new styles of movement and discover the best ways to convey choreography to students. It also provides a space for top studio owners to network and talk with one another about the challenges they are facing within the dance world, as well as brainstorm ways to solve them. Faculty and workshop schedule to be announced.


2. Bates Dance Festival

Lewiston, Maine | July 14–20

This six-day intensive is a part of Bates Dance Festival's Professional Training Program and gives teachers the chance to renew their passion for their work. It includes daily three-hour sessions with master teacher Mary Carbonara (teacher at Alonzo King LINES Dance Center and LINES Ballet Training Program, and founder and artistic director of Mary Carbonara Dances), where attendees explore appropriate age- and grade-level lesson planning, student assessment, injury prevention, conditioning, movement, improvisation and more. There are also classes on how to incorporate live music into your curriculum, and a panel discussion with BDF faculty.


3. Broadway Dance Center Teacher Training

New York, New York | August 2–4

For three days, BDC's renowned faculty—including Sheila Barker, Barbara Duffy and Eric Campros—teach seminars and classes to educators ages 18 years and older. Attendees also receive two complimentary classes to use during the event, discounted shopping at BDC's retail store and a certificate of attendance.

The Conversation
Dance News
Photo by Rachel Papo

When Monica Stephenson was a student at Houston Ballet Academy, she was cast as Lauren Anderson's swan double in Swan Lake. The role was just a few walks in Odile's tutu and a veil as the scene changed, but it was a thrill for the 18-year-old Stephenson. Anderson, one of the few principal ballerinas of color, was the inspiration for Stephenson to attend Houston Ballet Academy.

For the role, wardrobe gave Stephenson a few pairs of Anderson's special-order pointe shoes that were brown to match her skin tone. "That really helped me," Stephenson says. "I wound up wearing her specs my entire career. Sometimes people don't realize when they're impacting a young person."

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Just like your car, your studio needs periodic tune-ups to keep it humming along smoothly. If you take the time to address a few small fixes, your business will stand out. And you don't have to break the bank, either—you might be surprised how low-cost, DIY improvements can make a surprising difference.

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Here at Dance Teacher, we never miss out on a chance to help you be super EXTRA for the holidays. This month, we give you recipes to four different St. Patrick's Day treats you might consider handing out in class for your studio's celebration. Your dancers will love the festiveness, and you can use them as bribery for good behavior if you're feeling desperate (guilty 🙋♀️).

Check them out, and let us know what kinds of treats you like to make at your studio for St. Patrick's Day!

Oh, and you're welcome!

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It's officially March, and you know what that means—green dance gear all around! Your students will come to class looking like jolly-green leprechauns, and you wouldn't have it any other way—it's way too much fun! To help you and your dancers find your best green getup, here are three green outfit ideas that will fulfill all your St. Patrick's Day needs. No pinching needed!

You're welcome!

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Cleaning competition numbers is a process—and a difficult one at that. Making your dancers look cohesive without draining them of their passion and individuality can feel like an impossible task.

Here are some tips and tricks that may make it easier for you!

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We get it: Dance is exhausting, and sometimes all you want to do during a quick break is, well, nothing. Bill Evans, director of the Evans Somatic Dance Institute, recommends the following options, which are both relaxing and recuperative for the stresses dance puts on your body. From energizing restorative poses to deep breathing, here are five ways to make your downtime work for you.

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For a young student in the process of developing bodily awareness, a hands-on adjustment by a teacher can mean the difference between safe and incorrect alignment. But in many K–12 schools today, a hands-on approach is frowned upon or sometimes even forbidden. With dance being a kinesthetic art, this limitation presents a predicament for K–12 dance teachers. Here, two teachers share their views on whether to use touch in class and, if so, how they go about it.

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Like many dance traditions, it started at the Paris Opéra. (Edgar Degas' "The Dance Class")

The dance world is brimming with superstitions. One of the most common is never to say "good luck" before a show, since everyone knows uttering the phrase is, in fact, very bad luck. Actors say "break a leg" instead. But since that phrase isn't exactly dance-friendly, you and your dance friends probably tell each other "merde" before taking the stage.

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To learn more, we spoke to Raymond Lukens, associate emeritus of the American Ballet Theatre National Training Curriculum, and Kelli Rhodes-Stevens, professor of dance at Oklahoma City University. Read on—and the next time you exchange "merdes" with your castmates before a show, you'll know why.

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When Danica Paulos left Southern California at 17 to train in New York City at The Ailey School while she finished high school, she had no idea that she'd be dancing with the professional company within four years. She completed the school's professional program (on scholarship), then landed a spot with Ailey II. After a year, she was invited to replace an injured dancer in the main company, and when her Ailey II season ended, Robert Battle invited her to continue full-time.

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