Teaching Tips

“It’s Not My Place to Talk About Racism,” and Two Other Dance Teacher Myths Busted

Photo courtesy of King

In the wake of the murders of George Floyd, Ahmaud Arbery, Breonna Taylor and other Black Americans, you may be wondering if, and how, you should talk to your students about racism.

If you've convinced yourself that it's not your place, reconsider: As your students' dance teacher, you hold a unique place in their lives and offer them a powerful outlet for expression and catharsis. And odds are, they are already aware of what's going on in our country and have questions, and feelings. Here are three common reasons why you may have decided not to bring up racism—and why, instead, you should.

"My students are too young." 

According to the American Academy of Pediatrics, children between the ages of 2 and 4 learn and understand racial differences and bias. The concept of fairness is a significant and easy-to-understand one for children, making it a good place to start when focusing on treatment of Black and brown people through U.S. history. Point out things in their everyday lives they may see as unfair, and have them talk about why—then draw connections to larger issues of racism.

You may also find that even your youngest dancers will appreciate the chance to channel difficult subject matter into movement. "Something I have in common with my young students is that when I have intense emotions, I listen to music and move," says Cynthia King, owner of Cynthia King Dance Studio in Brooklyn, New York. In 2017, King premiered a piece that dealt explicitly with police brutality against Black people called Hands Up. She's kept it a part of her studio's repertory—it can feature a rotating cast of as many as 25 dancers—and has added younger and younger dancers to it each year. This past week, she taught a portion of it via online classes to students as young as 6.

"There's a lot of movement in that piece where you have to throw yourself around," King says. "Expressing through that—doing that movement—was a good outlet. We all felt better after we danced."

"It's not my place, as their dance teacher." 

"The arts for me—and dance in particular—are absolutely the place to reflect on what's going on in our lives and our world," says King. "My students and I can come together on things that affect them outside of the studio, and I can let dance be an emotional and artistic outlet for them."

After premiering Hands Up, she admits she received some pushback. "Somebody's racist uncle called the studio, upset at what we did," she says. "Who cares? Who needs him? I have never run my studio as a try-to-please-everybody type of school. You have to act courageously."

If you are hesitant to introduce topics like racism, white supremacy and police brutality with your students, keep in mind that your dancers are likely experiencing the same feelings of tumult, anger and confusion that you are.

"I shared with my students that I'm feeling angry and scared and hurt and confused—all the things that we're all feeling," says King. "In these times, I want my kids to have some resource, to make sure that their physical and mental health is being guided, cared for and paid attention to."

King stands with a group of around 30 students, who sit and stand, on a makeshift stage in front of a basketball court outside.

King with her students

Photo courtesy of King

"It's not the right time—we only see each other over Zoom." 

If you're worried that communicating with your students via an online platform might feel impersonal or superficial, consider the alternative. If you don't talk to your students about racism—even if it is over Zoom—you will have missed an important opportunity to share helpful and meaningful information that could impact their outlook and situation. You may also send the message that you are not a resource or someone your dancers can confide in about troubling issues.

In every virtual rehearsal that she held this past Tuesday, with age groups ranging from 6-year-olds to teenagers, King and her staff opened with a discussion about recent events. "We started talking about what was going on, asking if they have feelings about it," she says. "We're open about our students talking to us when they want to—we're constantly trying to get them to share with us."

King's studio manager, Vanessa Gordon, shared a poem written by her 13-year-old daughter about the week's events, and reminded every group of students they virtually met with this week to speak out if they saw or heard racist activity, or even something that felt "not right." "It was powerful that she was sharing that with them," says King. "We're all having bad days. We're all worried about our families."

"I can't tell other people how to run their studio," King says, "but to not address certain issues like these seems like a waste. If you have a studio, you're a leader. You have to not be afraid—or you have to be afraid and do it anyway. You can't be in hiding."

Teachers Trending
All photos by Ryan Heffington

"Annnnnnnd—we're back!"

Ryan Heffington is kneeling in front of his iPhone, looking directly into the camera, smiling behind his bushy mustache. He's in his house in the desert near Joshua Tree, California, phone propped on the floor so it stays steady, his bright shorty shorts, tank top and multiple necklaces in full view. Music is already playing—imagine you're at a club—and soon he's swaying and bouncing from side to side, the beat infusing his bones.

Keep reading... Show less
Teachers Trending
Evelyn Cisneros-Legate. Photo by Beau Pearson, Courtesy Ballet West

Evelyn Cisneros-Legate is bringing her hard-earned expertise to Ballet West. The former San Francisco Ballet star is taking over all four campuses of The Frederick Quinney Lawson Ballet West Academy as the school's new director.

Cisneros-Legate, whose mother put her in ballet classes in an attempt to help her overcome her shyness, trained at the San Francisco Ballet School and School of American Ballet before joining San Francisco Ballet as a full company member in 1977. She danced with the company for 23 years, breaking barriers as the first Mexican American to become a principal dancer in the U.S., and has graced the cover of Dance Magazine no fewer than three times.

As an educator, Cisneros-Legate has served as ballet coordinator at San Francisco Ballet, principal of Boston Ballet School's North Shore Studio and artistic director of after-school programming at the National Dance Institute (NDI). Dance Teacher spoke with her about her new position, her plans for the academy and leading in the time of COVID-19.

Keep reading... Show less
The author with Maurice Hines. Photo by Anthony R. Phillips, courtesy Hopkins

In March, prior to sheltering in place due to the coronavirus outbreak, my husband and I traveled from New York City to Miami to screen our award-winning documentary, Maurice Hines: Bring Them Back, at the Miami Film Festival.

Our star, Tony Award–nominated dancer and choreographer Maurice Hines joined us in Miami for the festival—stepping and repeating on the opening night red carpet, sharing anecdotes from his illustrious seven-decade career with local tap students, and holding court at a cocktail mixer with lively female fans.

Keep reading... Show less

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.