Teaching Tips

How to Teach Dancers the Art of Moving in Unison

At CPYB, students learn from an early age the importance of strong corps work. Photo by Rosalie O'Connor, courtesy of CPYB

Dancers at the University of Arizona recently performed Jerome Robbins' Antique Epigraphs, an ensemble piece for eight women that requires intricate linear formations and walking in unison. "It was super-challenging for us," says dance professor Melissa Lowe. "Students needed a heightened sense of awareness, or it wasn't going to happen." Lowe asked dancers to use their intuition and aural sensibilities to help determine where they needed to be, when they should be there and how to get to those places—together.

Teaching dancers to work in unison, whether as a large corps de ballet or small ensemble group, is an integral part of their training. It requires teamwork, attention to detail and thoughtful preparation for a successful group effort. Teachers need to provide the right steps and counts to ensure cohesiveness, of course. But how you set the material will also encourage dancers to be in line and in sync—while still allowing them to be individuals.

Make sure they show up

Photo by Ed Flores, courtesy of University of Arizona

University of Arizona students at the end of Balanchine's Serenade

Missing dancers can be disastrous for a group piece. "If it's a studio production, there has to be an agreement up front for students who want to be involved," says Lorita Travaglia, ballet mistress at Colorado Ballet. "When one person is missing and doesn't know what they're doing, it really does affect the whole group." Understanding the importance of commitment is a crucial part of dancers' (and their families') training. "They have the responsibility to everyone, not just themselves," she says.

Leap! Executive Director Drew Vamosi (Courtesy Leap!)

Since its inaugural season in 2012, Leap! National Dance Competition has been all about the little things.

"I wanted to have a 'boutique' competition. One where we went out to only one city every weekend, so I could be there myself, and we could really get to know the teachers and watch their kids progress from year to year," says Leap! executive director Drew Vamosi. According to Vamosi, thoughtful details make all the difference, especially during a global pandemic that's thrown many dancers' typical comp-season schedules for a loop. That's why Leap! prides itself on features like its professional-quality set design, as well as its one-of-a-kind leaping competition, where dancers can show off their best tricks for special cash and merchandise prizes.

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Health & Body
Getty Images

The term "body shaming" might bring up memories of that instructor from your own training who made critical remarks about—or even poked and prodded—dancers' bodies.

Thankfully, we're (mostly) past the days when authority figures felt free to openly mock a dancer's appearance. But body shaming remains a toxic presence in the studio, says Dr. Nadine Kaslow, psychologist for Atlanta Ballet: "It's just more hidden and more subtle." Here's how to make sure your teaching isn't part of the problem.

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News
Courtesy Russell

Gregg Russell, an Emmy-nominated choreographer known for his passionate and energetic teaching, passed away unexpectedly on Sunday, November 22, at the age of 48.

While perhaps most revered as a master tap instructor and performer, Russell also frequently taught hip-hop and musical theater classes, showcasing a versatility that secured him a successful career onstage and in film and television, both nationally and abroad.

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