Q: What do you do when a dancer shuts down because of a correction?


A: Many dancers take corrections as put-downs. You need to change their thinking. Teaching dancers how to take a correction is something we start very young at our studio.

Our Mini competitive dancers (5- to 6-year-olds) are taught that a correction is gold. We cup our hands like we are handing them something very valuable and tell them that once they use the gold we give them, we can give them more gold, and they will become better and better dancers. For example, we say, "Sara I am giving you some gold to stretch your feet on your jumps." We find this puts the correction into a positive light.

As dancers get older, we say that corrections are the biggest compliments that a teacher can give them. I explain, "If I didn't think you were capable of making the corrections, I wouldn't waste my time giving them to you." I also try to put a positive spin on what I'm trying to correct. For example, I might say, "Maya, you have beautiful feet and legs on your aerial. If you were to relax your shoulders, it would be perfect."

Finally, when dancers use the corrections we give them, we make a big deal out of it. Everyone—including myself—applauds the dancer and makes them feel special. This makes the correction an opportunity to receive praise from their classmates, and in turn builds self-confidence.

Dance Teachers Trending
Photo courtesy of Tribune

Finding age-appropriate hip-hop music can be a struggle. Choreographer Afaliah Tribune addresses this common dilemma for hip-hop teachers by making her own original tracks on GarageBand. "I love experimenting with live music, and my students think it's fun, too," says Tribune, who is an adjunct professor of dance at New York University. "There are so many ways we can open up our work when we experiment with sound."

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Karen Hildebrand (center) with 2019 DT Awardee Marisa Hamamoto and members of Infinite Flow. Photo by Joe Toreno

Every year in our summer issue, we honor four dance educators for their outstanding contributions to the field. Recipients have included studio owners, professors, program directors, K–12 teachers and more, whose specialties run the gamut of dance genres.

We need your help to identify this year's best in the profession. Do you have a colleague or mentor who deserves to be recognized as a leader and role model?

Send your nomination by March 1, 2020. You can e-mail us at danceteachereditors@dancemedia.com with the following details:

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Sponsored by Akada Software
Photo by Jenny Studios, courtesy of Utah Dance Artists

Running a dance school used to involve a seemingly endless stream of paperwork. But thanks to the advent of software tailored specifically for dance studios' needs, those hours formerly spent pushing papers can now be put to better use.

"Nobody opens a dance studio because they want to do administrative work," says Brett Stuckey, who leads Akada Software's support team. "It's our job to get you out of the office and back into your classroom."

We talked to Stuckey about how a studio software program can streamline operations, so you can put your energy toward your students.

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Dance Teachers Trending
Barbara Bashaw in Thompson Hall of Columbia Teachers College. Photo by Kyle Froman

Barbara Bashaw has always been a pioneer. Since kicking off her career in education by building a dance program from the ground up at an elementary school in Brooklyn, she's gone on to become an inspiring force in teacher training. Now, as director of the new doctoral program in dance education at Columbia University's renowned Teachers College and as executive director of the even newer Arnhold Institute for Dance Education Research, Policy & Leadership, she's in a position to effect change nationwide.

"The study of dance education is a young field," Bashaw says. "Music and visual arts are far ahead of us, in terms of the research that has been done, as well as the foothold they have in education. Anywhere education is being discussed, we want to put dance on the table—and that means developing researchers and championing research that will push public policy." In a climate where arts education feels both more endangered and more necessary than ever, Bashaw is ready to blaze a trail.

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Photo courtesy of Harkness Center for Dance Injuries

When orthopedic surgeon Dr. Donald Rose founded the Harkness Center for Dance Injuries at NYU Langone Orthopedic Hospital 30 years ago, the average salary for a dancer was about $8,000, he says.

"It was very hard for a dancer to get quality medical care," he remembers. What's more, he adds, "at the time, dance medicine was based on primarily anecdotal information rather than being based on studies." Seeing the incredible gaps, Rose set out to create a medical facility that was designed specifically to treat dancers and would provide care on a sliding scale.

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Dancer Health
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It's time to talk seriously about safety in dance education. As the physical and psychological demands put on student dancers escalates—thanks to competitions, social media and ever-evolving choreography—there is a pressing need to consider how we can successfully safeguard young dancers.

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Dance News
Photo by Melissa Sherwood, courtesy of MGDC

Martha Graham Dance Company created The EVE Project to mark the upcoming 100th anniversary of U.S. women's right to vote. The female-focused initiative includes new works, as well as the company's classic repertoire highlighting Martha Graham's heroines and antiheroines. In April, the company is showing the newly reconstructed Circe, Graham's 1963 interpretation of the Greek myth, at New York City Center. Dancing the role of Circe is company member So Young An. Here, she shares thoughts on The EVE Project and how she's approaching her role in Circe, the 57-year-old work that invites audiences to consider pressing conversations about womanhood.

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Dance News
Instead of letting 1920s stereotypes of black dancers define her, Josephine Baker used her image to propel herself to stardom and eventually challenged social perceptions of black women. Photos courtesy of Dance Magazine archives

In honor of Black History Month, here are some of the most influential and inspiring black dancers who paved the way for future generations.

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Dance Teacher Tips
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Q: I'm having such a love-hate relationship with mirrors right now. They can be distracting, as well as cause emotional distress for my students. At the same time, they're a really useful tool. I know some teachers remove theirs altogether. Is this something you recommend?

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Dance Teacher Tips

Susan Pilarre has been closely tied to the School of American Ballet for nearly her entire life.

From her first class there at age 11 through her 16-year career with its affiliated company, New York City Ballet, Pilarre learned directly from the great choreographer George Balanchine, absorbing the details of his unique style. Sensing her innate understanding of his principles, Balanchine encouraged her to teach; she joined SAB's permanent faculty in 1986. Since then, she has become recognized as an authority on Balanchine's teachings, instilling SAB and NYCB's distinctive speed, clarity and energy into generations of dancers.

Here, Pilarre shares how the specifics that Balanchine insisted upon in class contribute to the strength, beauty and musicality that define his style—and dispels common misconceptions.

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To celebrate Valentine's Day in the most dance-centric way possible, we sat down with five powerhouse dance-teaching couples to talk about their love stories. What do they admire about each other? What are their couple goals and their teaching philosophies, and how do they make their relationships work, especially when they work together? Get ready to swoon!

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For Parents
Photo by Paul B. Goode, courtesy of BAE

Watching through the studio windows—or even from the sidelines in a Mommy and Me class—can surely make parents wonder what exactly our little tykes are getting out of weekly ballet lessons. After all, they're repeating the same things class after class. Are they bored? Are they progressing? Why are they doing that again?

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