I was probably about 15 years old when the director of my local dance school, seeing my drive and ambition, asked me to work as a teaching assistant for one of the main ballet instructors. She asked to meet with me to discuss the details of my new job. She explained what my role was in the studio, expectations of me in the position and more. But as we approached the end of my meeting, I wasn't expecting the conversation to take the serious turn that it did.


"Now, Barry, I need you to be very, very careful about how you work with these young girls. Kids are sensitive and, especially considering that you are a man, if you correct them in a way that can be viewed as sexual by either a student or a parent, even if you didn't do anything, you could be jeopardizing your future as a teacher and in this field." The look on my face must have been utter shock; the prospect of losing my job or getting sued over sharing my artform had never crossed my mind. This forever changed my perspective on being a dance educator, and I still find myself overly cautious about the way that I work with my students today.

Unless you've been hiding underneath a holiday blanket, it has become abundantly clear that we are undergoing a massive cultural shift here in the States. It started in the entertainment industry, then shifted to major corporations. Sexual misconduct in the form of harassment and assault that had been swept under the rug for years is bubbling to the surface. Things began to boil quite quickly, and those interested in our performing-arts world were speculating that something was going to be brought up in our tight-knit community, especially considering the hands-on approach that teachers have with students, dancers have with other dancers and artistic staff has while coaching employees. I had to sit on my own hands for over a month, after I was given a heads-up that a major news publication was working on an exposé about Peter Martins and his many alleged abuses (which had been quietly circulating around our dance community for years).

I've struggled throughout the entirety of my career as a dance educator with the decision on whether I should be a hands-on teacher. Dance is essentially the art of ultimate control of one's own body. Understanding how to use your body correctly could mean the difference between an amazing feat or a debilitating injury. For example, proper execution as a student lifts their leg in adagio could result in greater height, better line and exaggerated lift in the working leg. But more important than how it looks, if a student is not using proper technique while lifting their leg at superhuman heights, this can cause bulky muscles, seizing cramps, painful hip tendinitis or worse.

Sometimes, a teacher has to put their hands on a student to show them what their body should feel like when they aren't properly aligned or are supporting themselves incorrectly. I know for a fact that this is effective. And I look back fondly on my teachers who were willing to get hands-on to show me how to work properly and assist me on my path toward my performance career. For this reason, I have made the decision to be one of those teachers who shares a very hands-on approach to teaching. Though, to be completely honest with you, I'm frightened by the idea of a poorly placed correction or an extremely sensitive student misinterpreting the intended purpose of physical adjustment.

I feel that this item isn't as much of an issue for female teachers (though, I do know for a fact that they also have to deal with concerns about physically touching students for corrections), because of a few sensationalized cases of inappropriate teacher/student contact, which historically have been committed by males.

In fact, there was recently a guest instructor who was arrested on the premises of a well-known New York dance school for sexually assaulting an underage boy at another one of his jobs. I was shocked to hear about this just as much as anybody else, especially considering that he hired me to teach master classes at his school in the past. But what was most disappointing for me was that it gave dance parents fresh reason to be concerned that their kids' teachers could act inappropriately toward their young ones. It is easy for protective parents to focus on one negative story. But for the few stories that have ever come out about these unfortunate circumstances, there are millions of positive experiences that students have with their teachers every day. It is important that schools focus on this and cultivate a safe environment that also includes educating parents/families on what is happening inside their studios.

Since dance is the artform of controlling our own physicality, we require students to wear skin-tight clothing that shows physical alignment and muscle movement. This uniform leaves eager-to-please, impressionable children and teens exposed in a way that wouldn't be acceptable in many places outside of a dance studio. If a student's school isn't educating its student body and their respective families about what is happening in the studio, this could lead to a more sensitive environment that could potentially be harmful to a qualified teacher's career.

Every school that I work for must have a waiver that is signed by all parents explaining that physical touch is an integral part of the learning process of dance. I refuse to work for a school that doesn't have this protective measure in place. Beyond this, it is important that schools have regular parent observation days. Allowing parents to take a step into the learning process can offer them a better perspective on why certain practices are necessary.

Enforcing a Hands-on Approach

First and foremost, whether I am giving a private lesson or conducting a large master class, if there are no windows into the studio, I will try to keep the door open. I have nothing to hide, so I feel that an open-door policy allows anybody to view the classroom/rehearsal process. From here, I try to fashion the touch in my physical corrections into the most obvious, nonsexual type of touch possible.

If I am working with a group of students who are not used to my physical corrections, I will often ask the student before I adjust them, "Are you comfortable if I move your body to show you how to do it correctly?" This is often met with a positive response. Though I am respectful if the student tells me no. When correcting, I adjust students with the sides of my hands or with my palm, while my fingers are glued together like a spatula. Fingers tend to be more touchy-feely and can have misinterpreted intentions, so I try to avoid using my fingers as much as possible. If I do absolutely need to use my fingers, I will make sure they are rigid and avoid any inappropriate places.

When a student requires corrections anywhere near any private area, I absolutely do not apply physical corrections. Instead, if it is a correction near or on the pelvis, I will show by pointing to myself. If it is close to the chest area, I will often pretend there is an invisible string attached to their chest and imitate the act of pulling on the string to get them to shift their chest placement. If there is anything involving the rear-end, if it is along the sides of the hips or high enough like the gluteus medius, I will use the sides of my hands or a knuckle with my fingers tucked into my palm. The final protection that I enforce as a dance educator is that I will ABSOLUTELY NOT follow a student into a private place. If I need a student who is in the dressing room or in a bathroom, I will ask a parent or a peer to get them. This way there is never any question that I have been around a student in a private setting.

There is no better teacher than one who can build you up with confidence as they teach you our deftly difficult artform. It is pertinent that students receive information with clarity. I honestly don't feel that anybody can become a professional dancer without any physical adjustments.

Our American culture tends to be touch-sensitive, which can sometimes leave students feeling extremely cautious about any type of physical adjustment from teachers. I made the decision at the beginning of my teaching career that I would be one of those teachers that risk their livelihood to offer the best training to my students possible. And, it has worked thus far. But I would be lying if I didn't say that I approach each and every classroom with tentativeness and an ounce of fear that one of my well-intended corrections may be misinterpreted as the worst of intentions.

What has your experience been with physically correcting your students? Do you do it or not? And, if so, how do you approach making these corrections and protecting yourself as a dance educator?

Dance Teachers Trending
Photo by Kyle Froman

Darla Hoover was at Central Pennsylvania Youth Ballet's studios running a rehearsal in 2014 with director Marcia Dale Weary. Hoover had just returned the day before from staging a ballet in St. Petersburg, Russia. Jet-lagged, she mixed up her words when giving a correction.

Weary took Hoover's hand and gently said, "Honey, you work too hard."

Hoover, and the students, had a good laugh.

"Are you kidding me?" Hoover replied. "You're the one who made this monster. There is no off switch!"

Weary founded CPYB in 1955, and it quickly became an internationally known school that has produced countless principal dancers. Famous for her high standards and tough work ethic, Weary instilled those qualities in Hoover, who served as associate artistic director at CPYB under Weary, as artistic director at Ballet Academy East's pre-professional division in New York City and as a répétiteur for the Balanchine Trust.

Hoover took over as artistic director at CPYB in the spring this year after Weary died suddenly, and while she's committed to continuing Weary's legacy, students have begun to see some of Hoover's vision as well.

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Bill Johnson, Courtesy Just for Kix

Cindy Clough, executive director of Just For Kix, has been called the Queen of Fundraising by colleagues. A studio owner and high school dance coach with over four decades of experience, Clough is known for her smart and successful fundraising ideas.

Now, Just For Kix has created a new online tool to help everyone tackle their fundraising goals, whether you're raising money for uniforms, extra classes, or to cover the cost of travel for your dance team's next convention.

Clough shared a few of her best fundraising tips, including everything you need to know about the new tool:

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Jessica Kubat (center) with her studio staff. Photo by Vincent Alongi, courtesy of Kubat

Jessica Kubat's path to becoming a studio owner wasn't typical or glamorous or the product of a family business, handed down. When she opened MJ's House of Dance in Lindenhurst, New York, this past summer, she had just turned 40, was a mom of three, and had worked at two different studios long-term. Over the last two and a half years, she'd painstakingly saved up $25,000 and had gone to the Small Business Development Center at a local college on Long Island for help creating her business plan. Her area was moderately saturated with studios, so she spent considerable time planning what would set her school apart—live musical accompaniment, for one—and hired a marketing director nine months before the business even opened. It was a methodical, careful approach—Kubat calls it "the old-fashioned way"—to opening a studio, and it's paid off: She started summer classes with 75 students and is well on her way to reaching her first-year enrollment goal of 250 dancers. "When I turned 40, I decided that it was time to do something bigger," says Kubat. "I always wanted to own a studio—it was just never financially available to me."

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Sponsored by NYCDA
Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

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From left: Daniel Novikov, Alla Novikova and Mishella Vishnevskiy at Blackpool 2018. Photo by NYC Digital Media, courtesy of Alla Novikova

Alla Novikova began her dance training at a ballroom studio called Edelweiss in Saratov, Russia, when she was 9 years old. She was immediately recognized for her natural talent and work ethic, placing third at the Russian Open just three months after beginning ballroom lessons. The lessons she learned at Edelweiss shaped her career and provided the foundation she needed to open her own ballroom studio: Work hard to prove that you're good enough to be here, and give honor to the experiences that brought you to where you are today.

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Getty Images

Professions across the globe hold yearly conferences, and the dance industry is certainly no exception. Annual conferences exist for dance teachers, dance medicine professionals, dance educators and more. Taking the time out to attend them can be well worth your while for a number of different reasons. Let's take a closer look at four of them.

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Dance Teacher Tips
Father-daughter dance. Photo by Lisa Lee, courtesy of Dance Academy USA

Your year-end recital is your studio's pot of gold at the end of the rainbow. Not only is it the time for your dancers to celebrate what they've accomplished during the year, it's your opportunity to demonstrate to parents firsthand the value of a dance education. A successful recital can also grant your school an influential role in the local community. Whether a prominent conservatory or a small-town studio, and whether your dancers win competitions or take classes once a week, your year-end recital is the chance for your dancers—and your program—to shine.

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Getty Images

Q: How do you approach gender when teaching in 2019? When I was training, male dancers were encouraged to make their movement masculine, while female dancers were encouraged to keep their movement feminine. Today, gender has become much more fluid, and the line between masculine and feminine performance has blurred. How does that impact the way we should be teaching?

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Photo courtesy of Z Artists Group

New York City–based pre-professional training troupe Z Artists Group, along with dancers from eight professional companies in the city, are joining together to combat gun violence with, "DANCERS DEMAND ACTION," a performance aligning art with activism at The Joyce Theater, this Monday, November 11, at 7:30 pm.

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Photo courtesy of Infinite Flow

Last week, 2019 DT Awardee Marisa Hamamoto and her partner Piotr Iwanicki brought their boundary-breaking work to the "Good Morning America" stage in a segment highlighting her inclusive dance company Infinite Flow.

Infinite Flow is a Los Angeles–based wheelchair ballroom dance company (the first of its kind in the U.S.) that incorporates an equal number of disabled and nondisabled dancers, as well as a range of styles like hip hop, contemporary and other partner dances.

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Since she was hired in 2006 to create a dance program at Washington & Lee University in Virginia, Jenefer Davies has operated as, essentially, a one-woman show. She's the only full-time faculty member (with regular adjunct support). Over the last 13 years, she has created a thriving program along with a performance company—at a school with fewer than 2,500 students—by drawing on her admittedly rare strength: aerial dance.

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Savion Glover is one of the biggest names in the dance world, and perhaps the biggest in the tap world. The trailblazing hoofer's hard-hitting, rhythmically intricate style has fundamentally altered the tap landscape.

Glover is also a master teacher. But during his many years on the scene, he's never appeared regularly at a major dance convention. That is, until this season: Glover is now teaching at JUMP Dance Convention, scheduled to appear at approximately 15 more cities on its 2019–2020 tour.

We talked with JUMP director Mike Minery, himself a gifted hoofer, about working with a living legend—and how Glover is already changing the convention class game.

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