You and your phone have more in common than you might guess, says Dr. Rafael Pelayo, pediatrician and clinical professor at the Stanford Center for Sleep Sciences and Medicine. "If you charge your phone halfway, it works for a few hours," he explains. "But it's not performing at its full potential, and you have to be careful about how you use that energy."

It'd be nice to just plug into the wall for nine hours until you hit 100 percent battery, but for (human) dancers, it's not that simple. So DS asked Dr. Pelayo and Dr. Argelinda Baroni, co-director of the Child and Adolescent Sleep Program in the department of child and adolescent psychiatry at NYU Langone Health, how to maximize your own battery life—ensuring you'll dance better and more safely in the process.


Mistake #1: Underestimating the effects of caffeine

"Caffeine is the devil!" says Baroni. If that sounds extreme, consider this: Caffeine stays in our bodies for six hours on average. If you drink a cup of coffee at 4 pm to jumpstart an afternoon of dancing, that's the equivalent of drinking half a cup at 10 pm. "Even if you have no trouble falling asleep, caffeine blocks adenosine receptors, making your sleep less deep," explains Baroni. "You wake up less rested."

The Fix: "If you like coffee and you're used to it, drink only decaf in the afternoon," says Baroni. "It sounds harsh, but it's super-effective in making you sleep better and need less caffeine."

Mistake #2: "Catching up" on sleep over the weekend

Long rehearsals, late-afternoon classes, and hours of homework have a way of interfering with weeknight shut-eye. But catching up on sleep after the fact is not actually a thing. "You wouldn't stop eating Monday through Friday, then gorge yourself over the weekend," says Pelayo. "Even if you skip sleep completely one night, you don't sleep 16 hours the next. Ten hours or so is the most your brain allows based on evolutionary needs." And one to two extra hours on the weekend won't negate an ongoing or acute sleep deficit.

The Fix: Get the sleep you need, when you need it. This is one area where procrastination is really not your friend.

Mistake #3: Being left to your own devices

We're talking about electronic devices, like phones, tablets, and laptops. Using these bad boys close to bedtime can make you toss and turn because they emit blue light, which interferes with production of melatonin (the hormone that helps you drift off). "You might think watching a movie or chatting with friends helps you relax after a stressful night at the studio, but the screen (and the need to be constantly connected) interferes with your ability to sleep, and your sleep quality," says Baroni.

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The Fix: Give your devices their own bedtime an hour or two before you nod off. Have last-minute homework on the computer? Turn on the "nighttime" display mode, and turn the brightness down.

Mistake #4: Abusing naps

Ever gotten up from a nap only to feel groggier than before? You probably slept too long or too late in the day. "Too long or late of a nap gets you into deep sleep," says Pelayo, "so you feel more tired as soon as you wake up." (Don't rely on napping to make up for last night's insufficient sleep, either—shorter sessions don't allow you to enter the deeper sleep stages in which complex mental and physical rest and repair occur.)

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The Fix: "Nap between 3 and 4 pm for no more than a half hour," Baroni says. "I would never suggest anybody nap at 5 pm or later."

Mistake #5: Changing "time zones" every Monday and Friday

Do you wake up at 6 am for school, but sleep until noon whenever you don't have morning dance commitments on the weekend? "That's the same amount of 'jet lag' as going to Paris for the weekend," says Baroni, and it can make falling asleep on Sunday night much harder.

The Fix: "Avoid sleeping marathons, and keep wakeup times within a two- or three-hour range," advises Baroni. "If you wake up at 6 am Monday through Friday, don't sleep later than 8 or 9 am on Saturday and Sunday."

The Conversation
Dancer Health
"We think as dancers, 'Oh my gosh, if this thing isn't working hard enough, I have to work it harder.' In order for these muscles to work, they have to have a chance to relax, too." –Kathryn Maykish

As deeply familiar as dancers are with their bodies, there's one muscle group that can remain mysterious. You can't see it, and it can be tough to access, but the pelvic floor serves a major role in your posture and body function. Dancers and other athletes are more prone than the general population to dysfunction of the pelvic floor, and this can have major ramifications in dance and life.

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Showstopper sees all types of different dancers from across the world at their dance competitions. Sometimes it can be hard to know how to stand out among the 100s of dancers that perform on their stages.

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Studio Owners
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The holidays are here, and as everyone knows, the real best way to spread Christmas cheer is serving your community and helping those in need. Luckily for dance teachers, dance studios are the perfect backdrop for the start of some seriously awesome service projects. Your dancers will learn the value of helping others, and you will all feel warm and fuzzy inside!

Check out these three service-project ideas, and try implementing them at your studio this season. Let us know over on our Facebook page, or in the comments below, what other projects you do at your studio that make a difference in your community!

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Photo by Allef Vinicius via Unsplash

The holidays can make this time of year fly by. But successful studio directors know that December is not the time to rest on their laurels. Here are four projects to consider this month to give your business a year-end boost.

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Dance Teacher Tips
Eva Stone directs The Stone Dance Collective, shown here in Eve, reconsidered. Photo by Rex Tranter, courtesy of The Stone Dance Collective

Unlike the majority of my students and colleagues, my journey in dance has been unorthodox. At age 14, I enrolled in modern dance at my high school, and something about the large open studio with room to move thrilled me (and still does). I immediately set out to impress my dance teacher with my complete repertoire, a solo interpretation of "Bohemian Rhapsody" created in my living room, infused with several badly self-taught ice-skating moves. In that moment, an awareness of the power of movement, music, space and performance aligned, and I instinctively knew I was someplace special.

My high school dance teacher was smart. Knowing that she did not have the time to mold us into technically proficient dancers, she introduced us to the craft and skill of making dances. I spent four years opening the door to my creative voice, becoming a confident choreographer. As a dance major in college, however, I quickly realized I was lacking something very important: actual dance training. So I began an intense regimen of studying, analyzing, copying, stealing and emulating every movement language, quality and nuance with which I could connect. Later, I completed a master's degree in choreography and choreological studies, formed a small dance company and set out to fund my artist's life with teaching.

As a modern dancer, and having come to dance late, communication and imagery were significant in managing the demands of my training. I had to ask a lot of questions, because I had not yet developed a physical vocabulary of answers. I needed a sense of humor, to prevent me from quitting. I had to negotiate, rationalize, moderate and articulate, both verbally and physically, a pathway through much of what I was performing in or choreographing. This allowed me to solve problems more creatively, from a place separate from a perspective of pure technical ability. I now use these same methods for teaching students.

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Dancer Health
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According to the American Foundation for Suicide Prevention, suicide is the 10th leading cause of death in the U.S. In 2017, 47,173 Americans died by suicide, and there were an estimated 1.3 million suicide attempts. While it's a myth that suicide rates are higher in December than any other time of year, the holidays give us an opportunity to consider the health and happiness of those we love. As dance teachers, we spend more time with our students than even their parents do, which means we are in a particular position to notice the pain and distress they're experiencing.

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Dance Teacher Tips
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Q: What do you do with parents who constantly complain about where their daughter is placed in choreography?

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Studio Owners
Photos courtesy of Google

Valentina Bagala and Rafael Savino held their studio's very first registration at a Subway. "We didn't even have an office," says Bagala, who heads the artistic side of Ascendance Studio in Doral, Florida. "This lady called us over the phone, and we said, 'OK, we can take your registration. Would you mind meeting us at the Subway that's downstairs from our studio?'"

Now, five years later, Ascendance is thriving, with a growing competitive team, a 5,000-square-foot space and 300 students—one of whom is the same dancer who was registered in that Subway. Today, registration mostly happens online, as do many of Ascendance's processes—attendance, billing, e-mail marketing campaigns—thanks to Savino, who heads the studio's marketing, finances and administration. To what do Bagala and Savino credit their impressive growth? Digital advertising. Despite working in an industry where many still rely on old-school methods of operation—manual registration, tuition paid in person by cash or check, fliers handed out in parking lots—they took the plunge to modernize their advertising strategy and found it a game changer for their studio.

Slow, but consistent

Bagala and Savino admit Ascendance got off to a rocky start. They rented space from a fitness studio for three months. "We didn't get the best schedule," says Bagala, who could only rent the space by the hour when it wasn't being used. Still, she managed to amass 25 students. Eventually, she found a small, 550-square-foot space of her own in a shopping center. "I remember for our first classes, we would have people who were supposed to show up but didn't," says Savino. "If we had one student in class, we had to teach to that student. That happened multiple times."

When two more spaces became available in the same shopping center, the couple grabbed them, despite the inconvenience of the units not being connected. "You had to step outside," says Bagala. "It wasn't very comfortable."

"The fliers weren't working."

With more space came more responsibility—to increase enrollment. They had been passing out fliers at nearby schools, but that approach, Savino says, "became unscalable. That's when I started looking at digital advertising." He didn't have much money to spend on it—his budget was $5/day—but he began looking into advertising on Google. He also enrolled in a local digital marketing course at nearby Miami-Dade College. "That gave me strategy," he says.

His most successful venture has been with Google's AdWords. With this advertising strategy, business owners create a search ad. (Search ads appear above Google search results when people look for local services the business offers.) The Ascendance search ad, for example, includes the studio website and phone number, plus: "Dance classes for kids. All ages and styles. Try a free class today." Then, you choose keywords—the words or phrases potential customers might type into their browser—and set a daily budget for how much you'd like to "bid" on each keyword. You're charged only if users click your link. During his first AdWords campaign, Savino often bid less than $1 on keywords like "ballet classes," "hip-hop classes," "jazz" and "dance studio."

How much you bid affects in what order your search ad appears among other businesses. But a business with more money to spend on keywords won't automatically see their ad pop up first. Multiple factors—keyword bidding price, how long a user stays on your website, your click-through rate—determine what's called your quality score. And it's your quality score, ultimately, that decides in what order your ad appears on Google.

"For example, let's say there's a huge competitor who's bidding $10 a keyword, while I'm only bidding $1," says Savino. "Google is tracking everything. If users stay on my website for a while and don't click the back button to get back to the search page, Google knows my website is relevant and a good experience." That increases his quality score and gives his search ad odds a boost.

Experimenting, wisely

Savino ran his initial AdWords campaign for about a month in 2013, starting in mid-September—prime back-to-school time. Each week, he wound up getting 10-plus interested customers. He offered each a free trial class. Of that weekly number, more than 80 percent enrolled in classes. By the time the campaign was over, Ascendance had 45 new students. And it all cost him less than $150. Though he risked spending more than his daily allotted $5, he knew it would pay off in increased enrollment.

As they became more comfortable with AdWords, the couple experimented. Bagala asked her mom what words she would use to search if, for example, she were looking for ballet classes for a 5-year-old. Her responses became part of their strategy: "ballet classes in Doral," "dance classes in Doral," "dance studio in Doral." They also interviewed parents of new students, asking 'How did you hear about us?' "If they said, 'Google,'" says Savino, "we'd ask if they remembered what they typed."

Now his daily budget is $20, though he's careful to time campaigns with high-enrollment periods. "During back-to-school season, August and September, I know a lot of people are going to be looking for classes," he says. "But I also know that January is another high-enrollment period—that's when we see an uptick in our baby program. Those moms are operating on a calendar year, not a studio year."

When Google came to town

Last spring, Google itself took an interest in Ascendance, and it featured Savino and Bagala in a national video campaign as a small-business case study. Of particular interest was the studio's dual advertising campaigns: one in English and one in Spanish. Savino and Bagala are bilingual, and their community is largely Spanish-speaking—so they capitalized on that. "Since we were advertising in Spanish," says Savino, "those people were sure that they were going to come through our door and someone would be here who would speak their language."

Of course, digital advertising can only take a studio so far. You have to follow through with a great product—and that, Savino says, is Valentina's greatest contribution to the business. "At the end of the day, if the product isn't good, people are simply going to leave," he says. "She's the heartbeat of the studio."

Dance Teacher Tips
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It's a dance teacher's job to prepare students for professional careers. As everyone knows, this means more than just giving them precise technique and exceptional performance capabilities. Perhaps more than ever, it's important that teachers prepare their students to know how to make smart and safe decisions when entering the workplace. It's important that we give them the skills to say "no" when a project doesn't fit with their personal values, puts them in a dangerous or toxic work environment, or is discriminatory to their race, gender, sexual orientation or religion. Teachers need to help their students advocate for themselves in order to create a career they can be proud of.

Here are four tips for helping your dancers make safe and smart professional decisions when they leave the warmth of your caring and supportive studio.

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Dancer Health
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Q: I've noticed a clicking or popping sound coming from my right hip joint when I raise it to the side, and I tend to be far more flexible on my left leg. Are these two things connected? Should I be worried?

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Q: I want to do a holiday performance and need some advice. How do you get parents on board? How do you keep it economical? What other money makers do you do at your holiday show other than ticket sales?

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Dance News
Genshaft in Ratmansky's From Foreign Lands. Photo by Erik Tomasson, courtesy of San Francisco Ballet

Dana Genshaft was a beloved dancer in the San Francisco Ballet for 15 years, rising to the rank of soloist. Some of her SFB career highlights include performing lead roles in Frederick Ashton's Monotones I and Wayne McGregor's Eden/Eden and originating roles in Val Caniparoli's Ibsen's House and Mark Morris' Joyride, as well as working with Christopher Wheeldon and William Forsythe.

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