Dancer Health

7 Self-Care Strategies to Protect Yourself While You Teach

Photo by Igor Burlak, courtesy of Tamara King

A raspy voice and sore muscles are not obligatory for teachers, but that's often what happens after hours of teaching. Being a dance teacher is physically, mentally and emotionally demanding. Unfortunately, whether it's because you're pressed for time or that you're focused solely on your students, self-care isn't always the top priority. You might think you don't have time to attend to your personal well-being, but what you really don't have time for is an injury. Here are seven strategies that will help keep you injury-free and at the top of your game.


1. Find your breath

A normal day for Catey Ott Thompson, who teaches at Marquette University, Milwaukee Ballet and Danceworks, involves toggling between administration and movement. Being aware of her breath helps her connect to her body and manage stress. "When I feel pain, am clenching or feel overwhelmed," says Ott Thompson, "I just exhale."

Additionally, talking while dancing (as you do while teaching) challenges the respiratory system and can stress your diaphragm muscle. Because the diaphragm is attached to your spine and has an essential role in core support, stress on the diaphragm can bring a host of issues, including back pain.

Breathing exercises can improve your abdominal coordination, helping your body stay strong and healthy. Ott Thompson recommends a simple approach: During an inhale, observe habits or scan for hidden tension, then concentrate on a slow, grounding exhale.

2. Preserve your voice

Unless you're a musical theater dancer, you probably never learned to care for your voice. Matt Pardo, a dancer with Lucinda Childs Dance and an assistant professor at Elon University, finds that when the studio is large and full of loud music, he's tempted to lift his chin and chest to try to push his voice out. However, years of classical voice training have taught him that it's better to resonate his voice from a relaxed chest. As Pardo explains, "Leave the head toward the back; then the neck is in alignment, and you're able to project more."

He also suggests establishing short cues and prompts with students the first few weeks of every term to spare your voice. For example, if Pardo says "Toes" during rond de jambe, students know that he wants to see better articulation in the feet.

3. Take your own advice

You probably advise students to stretch, cross-train, warm up and cool down. Don't forget to do these things yourself. Use your dancer discipline to carve out time each day to condition your body. "I absolutely religiously do a floor barre/Pilates/stretching routine every morning seven days a week. It takes about 30 minutes," says Dierdre Miles Burger, director of Orlando Ballet School. "If I can, I add 10 minutes on the elliptical, or, more likely, take the dog for a brisk walk." Before you pack up for the day, or hop in the car or sit down to a pile of paperwork, spend a few minutes stretching and cooling down, too.

4. Work bilaterally

You never did like your extension on the right side, and now that you're not a student, you might think you don't need to use it, but you're wrong. Bilateral demonstration is important for preventing injuries because asymmetry puts imbalanced loads on the body, making you vulnerable to injury by stressing the joints and tissues. Many things in the classroom can prevent you from working both sides of the body. Perhaps the spot that makes you most visible to students means you stand facing one direction, or a lingering injury discourages you from ever standing on your left leg. Hold yourself accountable to demonstrating with the right and the left. Try switching back and forth: pliés on the right, tendus on the left.

5. Treat your feet

Your feet are the foundation of your body, and without a strong base it's hard to build a good structure. The ballet slippers, bare feet or socks that worked for you as a dancer might not be enough now. When you age, your feet can become more irritable as cartilage thins, bone degenerates and muscle fibers are replaced with more-rigid collagen. A structured dance sneaker might better suit your needs. Tamara King, principal of Boston Ballet School's Newton studios, finds the arch and heel support of her sneakers is essential when she's teaching.

Your feet also provide balance feedback to your nervous system, so King recommends teachers do a 10-minute foot warm-up. Before teaching, roll your feet over a small ball. Thread your fingers through your toes, and mobilize your mid-foot with gentle twists. Practice doming your arches, and finish by pointing and flexing with an exercise band.

6. Let technology in

Emphatic demonstrations to illustrate a point to your students are tempting, but going from nothing to 200 percent is exhausting and puts you at risk for injury. Even more hazardous is imitating students' errors; there's a reason you don't want their knees rolling in on a landing from a jump. This might sound like sacrilege, but let technology help you. Using the video function on a phone can show students what you're seeing. Video is a vivid, objective medium that can help students learn how to self-evaluate. Let their devices be helpful practice tools, not just distractions.

7. Stay present

Most important, stay present. Do you ever find yourself thinking about your students, business and class structure all at once? This divided focus can prevent you from catching your body's warning signals and puts you at risk for injury. Somatic techniques or meditation can help you learn to reduce mental clutter. For example, Alexander Technique (a somatic technique designed to improve postural efficiency) helped Adele Nickel to be mindful of her own experience while teaching dance: "Every time I step into the studio, I aim to quiet down inside myself and cultivate a listening attitude." Nickel feels that connecting to herself and the present moment improves her teaching by helping her see her students and relay her intentions more clearly. "If you're stressed-out and nervous, then that's what you're communicating, no matter what you're saying with your words."

Dance Teachers Trending
"Music is magical," says Black. "It just transforms kids." Photo courtesy of Black

After 31 years of teaching, Kim Black has mastered how to reach young dancers. Between a studio and private school, she teaches 34 classes per week in Burlington, North Carolina: That's 238 kids from ages 2 to 6 years old. "You have to make them fall in love with dance," says Black. The music, she says, cues this engagement.

Keep reading...
Dance Teacher Tips
Photo by Lindsay Thomas, courtesy of PNB School

Naomi Glass, teacher at Pacific Northwest Ballet School, knows firsthand the advantages and challenges of hypermobility. As a young dancer, she was told to keep her hyperextended knees in a straight position far from her full range of motion. "It felt too bent to me," she says. "But once I was able to access my inner thighs and rotators, I found strength and stability and could still use the line that I wanted."

Hypermobility occurs when joints exceed the normal range of motion. Dancers can have hypermobility in specific joints, like their knees, or they can have generalized laxity throughout their bodies (which is often measured using the Beighton system—see below). While this condition may enable students to create beautiful aesthetic lines, it can also increase risk for injury. Help dancers gain the strength they need to stay healthy while making the most of their hypermobility.

Keep reading...
Dance Teacher Tips
Getty Images

I love this level. I see it as the true origin of a student's dance journey. Intermediate students have bought in, caught the fever, chosen to move beyond inquiry about dance to investment in dance. They are yearning to advance past their beginner training and label.

As teachers, we begin to set more stringent expectations for them to commit to class, take ownership of their learning, and comprehend more terminology and skills. Yet, they are still a bit disheveled in their movement and engagement. They still sometimes forget their dance pants and confuse upstage with downstage. Some of them are still, well, terrified.

Keep reading...
Site Network

2019's movies featured some truly fantastic dancing, thanks to the hard work of many talented choreographers. But you won't see any of those brilliant artists recognized at the Academy Awards. And we're (still) not OK with that.

So we're taking matters into our own jazz hands.

On February 7—just before the Oscars ceremony—we'll present a Dance Spirit award for the best movie choreography of 2019. With your help, we've narrowed the field to seven choreographers, artists whose moves electrified some of the most critically-acclaimed films of the year.

Keep reading...
Dance Teachers Trending
Kathryn Alter (left). Photo by Alexis Ziemski

In every class Kathryn Alter teaches, two things are immediately evident: how thoughtfully she chooses her words, and how much glee she gets from dancing the movement and style of modern choreographer José Limón. At the 2019 Limón summer workshop at Kent State University, Alter demonstrated a turning triplet with her arms fully outstretched, a smile stretching easily across her face. "It should be as if…" She paused to think of the perfect analogy that would help the dancers find the necessary circularity of the movement. "As if you live in a doughnut!" she finished, grinning broadly. The dancers gathered around her laughed—her smile and love for something as foundational as a triplet was contagious.

Keep reading...
Dance Teacher Tips
Melanie George (right). Photo by Grace Corapi, courtesy of George

Teachers from coast to coast are pushing students to move outside the constraints of popular music. There is a consensus that the earlier you introduce varied musical forms, the more adept and adaptable a dancer's musicality will be.

New York–based jazz scholar and teacher Melanie George notices that many students' relationships to music can be reductive: They may think exclusively about lyrics or accents. But jazz, for example, is about swinging: an embodied comprehension of instrumentation that only comes with musical acuity. "Students are ready for this specificity, even if we aren't giving it to them," she says. When her students understand that there is a technique to listening, it becomes less about going forward, and more about going deeper into the sound and into their bodies.

Keep reading...
Site Network
Gene Kelly and Leslie Caron in a scene from An American in Paris. Courtesy Fathom Events.

If you loved Christopher Wheeldon's An American in Paris on Broadway, you can now see the 1951 Oscar-winning movie it's based on in all its Technicolor glory. Fathom Events will present MGM's An American in Paris, starring Gene Kelly and French ballerina Leslie Caron, and with music by George and Ira Gershwin, in select theaters nationwide January 19 and 22.

Keep reading...
Instagram
Photo by Rachel Papo

Alicia Graf Mack's journey to become director of The Juilliard School's Dance Division—the youngest person to hold the position, and the first woman of color—was anything but a straight line. Yes, she's danced with prestigious companies: Dance Theatre of Harlem, Alvin Ailey American Dance Theater, Complexions Contemporary Ballet and Alonzo King LINES Ballet. But Mack also has a BA in history from Columbia University and an MA in nonprofit management from Washington University in St. Louis; she pursued both degrees during breaks in her performing career, taken to recover from injuries and autoimmune disease flare-ups.

As an undergrad, she briefly interned at JPMorgan Chase in marketing and philanthropic giving, and she later made arts administration central to her graduate work, assuming that she'd eventually take an administrative role with a dance organization.

Keep reading...
Dance Teachers Trending
Morrissey (left). Photo courtesy of Interlochen Center for the Arts

When Joseph Morrissey first took the helm of the dance division at Interlochen Center for the Arts, a boarding high school in Interlochen, Michigan, he found a fully established pre-professional program with space to grow. And his vision was big, with plans to stage the kind of ambitious repertory he'd experienced during his dance career. But the realities quickly set in. During his first year in 2015, the department was denied by the George Balanchine Trust to license any Balanchine ballets—the dancers were not quite ready.

This early disappointment didn't derail Morrissey. In just four years, he has not only raised Interlochen's training standards, he's staged ambitious full-length ballets and been granted the rights to works by Merce Cunningham, Agnes de Mille and, yes, Balanchine. Guest artists regularly visit, and he's initiated major plans to expand the dance department building. Morrissey is only 37, but it should come as no surprise that he's done so much so fast—his entire life's journey has prepared him to be an artistic leader.

Keep reading...
Dance Teacher Tips
Valerie Amiss with students. Photo by Tracie Van Auken, courtesy of Pennsylvania Ballet

Jared Nelson, artistic director of California Ballet, demonstrates a tight fifth position as he talks to his class about the importance of rotating from the hips. "Having a visual image helped me as a dancer, so I try to demonstrate as much as possible," he says. "But I am also very conscious of word choice. Every dancer is different, and you have to phrase things in a language they will understand."

Teachers should always be aware of how they communicate with their students, including how they choose language for different individuals, classes or situations. Using the right terminology in early stages of training will ensure that students learn the proper names of steps. This foundation is crucial, particularly when so much of the classical vocabulary has been substituted by nicknames and phrases. (Think "lame duck" or "step-up turn" in place of piqué en dehors.) But good use of language also means using imagery and positive reinforcement to ensure the right kind of messaging. What teachers say in the studio could make the difference between dancers who listen—and ones who really hear.

Keep reading...
Site Network
Dance Theatre of Harlem's Derek Brockington and Da'Von Doane in Claudia Schreier's Passage. Photo by Brian Callan, courtesy of DTH

Back to your routine after the holidays, but still looking for something to watch? Then this new PBS documentary titled Dancing on the Shoulders of Giants is for you. The hour-long film tracks the creation of two dance pieces: Claudia Schreier's Passage for Dance Theatre of Harlem, and Sir Richard Alston's Arrived featuring students of Norfolk's Governor's School for the Arts. Both works were co-commissioned by the American Evolution 2019 Commemoration and the Virginia Arts Festival last May, in recognition of the 400th anniversary of the first arrival of Africans to English North America and the history of slavery that followed.

Keep reading...
Instagram
Getty Images

Q: My tween is begging me to go to a faraway summer intensive, claiming "all my friends are going." How do I know if she's ready?

A: It can feel like a rite of passage for serious dancers to attend an intensive at a major ballet school. They dance all day and often explore the area's surroundings or attend performances on weekends. But living away from home, having a roommate and living the "dorm life" can be a challenge.

Keep reading...

mailbox

Get DanceTeacher in your inbox