Teaching Tips

Eight Contactless Corrections Your Students Can Give Themselves

Pamela Montgomery, courtesy Kerollis

When it comes to teaching dance, few tools are more effective than hands-on corrections. As the COVID-19 pandemic has overtaken the globe, dance classes have either shifted to virtual platforms or socially distant classrooms where no physical contact is allowed. We've all had to adapt our teaching styles to ensure students continue to improve until we can return to business as usual.

For me, this has meant finding creative ways to have my ballet students self-correct issues that I'd normally address with a touch-based correction. Here are some of my favorite contactless "hands on" corrections I've been using:


The Point & Shift

What it corrects: Alignment; improper placement

How I explain it: If a student is struggling with a placement correction, I will ask them to point a finger on the joint I want them to move. Once we've noted the area that needs to be shifted, I have them move the pointed finger away from their body into the air where I want that joint to move. Then, I ask them to shift the joint over to the pointed finger in the air, moving them into proper placement.

The Tin Man

What it corrects: Transference of weight to the ball of the foot

How I explain it: Every generation knows The Wizard of Oz, so I often reference The Tin Man with students who struggle to shift their weight from their heels onto the ball of the foot. I start by discussing that iconic moment when Dorothy and The Scarecrow find The Tin Man in the woods. His joints are stiff, which causes him to lean from side to side, nearly falling over.

To show a student how to transfer their weight properly, I have them stand in first position and mimic The Tin Man, leaning side to side without picking up either foot. Once they have the hang of this, I have them practice "Tin Manning" onto their supporting leg as they release their working leg out to tendu.

The Cereal Bowl

What it corrects: Maintaining turnout when lifting the leg off the floor

How I explain it: Novice students often have difficulty maintaining their turnout to the front and side when lifting one leg off the ground. So, I have students put one hand out like they are holding a bowl full of cereal. We discuss how their cereal will only stay in the bowl if the hand remains underneath. If the bowl tilts, cereal will pour all over the floor.

Next, I note that the shape of their glutes can also fill the bowl. I then have students take their hand and hold one of their glutes to fill the cereal bowl. As they lift their leg off the ground, they have to keep the bowl facing up. If the leg loses rotation and turns in, the bowl turns sideways and their cereal spills.

​The Resist Yourself

What it corrects: Sagging retiré

How I explain it: Many students have a nice lift in their leg as they move from 5th position through coupé up to retiré. But once they arrive in this bent knee position, it droops and looks heavy. To stop this, I have students use their hand to push down against the top of their knee at the height of their retiré to create resistance without dropping their working leg. This push shows students the energy required to properly hold their leg in this essential position.

The Dreidel

What it corrects: Shoulder rotation in preparing for multiple pirouettes

How I explain it: There are a few common issues that arise when students execute pirouettes. One of these involves creating torque with the upper body for multiple rotations. Often, students focus more on their arms when they should be thinking about their shoulders.

To make my point, I ask students to find a dreidel (or top) to spin. When spinning a dreidel, there is always one of three outcomes. If you don't twist your fingers evenly, the top spins out fast and flies across the table. If you twist your fingers too slowly, the top spins a few times before it wobbles and falls over. But if you twist your fingers evenly with a sharp, aggressive twist, the top spins quickly for an extended period of time in one spot until it calmly ceases to rotate.

Once a student understands this concept, I have them focus on their shoulders as if they are their fingers turning the top. If turning en dehors to the right, students will pull their right shoulder back sharply as they abruptly push their left shoulder forward like their fingers spinning the top. This creates an even rotation of the upper body and offers students a fighting chance to execute multiple pirouettes.

The Tendu that Went Too Far

What it corrects: Creating length in legs

How I explain it: Many students don't see the correlation between tendu, jeté, grand battement, or any extension that ends with a straight knee. In reality, anything off the ground is just a tendu that has gone too far. To clarify this concept, I have students stand in tendu devant. We pick a point on the floor directly in front of them that is impossible to touch. Then, I have them try to touch that spot without shifting anything except reaching their big toe to that point. Once they know they can't reach any further, I ask them to allow the working leg to rise off the floor and to try to reach their shadow over the impossible point on the floor. Once the student accomplishes this to the height of a jeté, we work up to 90 degrees. This exercise can be executed in all directions. Just make sure students don't shift their hips to reach the point on the floor.

The Rubber band

What it corrects: Quality of rond de jambe en l'air

How I explain it: For students with access to a TheraBand, I have them tie it in a loop around their ankles in fifth position (leaving a bit of space in the loop). Students then lift their working leg to 45 degrees à la seconde. With the tension of the extended band around their ankles, dancers execute rond de jambe en l'air in both en dehors and en dedans directions. Students will feel a quick pull as they rond de jambe in and a slow push outward as they extend back out. (I do not recommend this exercise at 90 degrees for safety purposes.)

​The Flashlight

What it corrects: Head placement

How I explain it: I'm always a bit surprised to find that most students don't understand why épaulement is so important. It is all about stage lighting! If a student is struggling to find the proper angle of their head and neck, I have them grab their phone, turn the lights in their room off and their flashlight on, and look in a mirror. If the student holds the flashlight at a high angle in front of their face like a spotlight, it will put shadows on parts of their face. I ask students to focus on getting the shadows off of their eyes, cheeks and neck by having them lift their chin, turn their head and raise their cheek forward. When properly executed, the student should be able to see most of their facial features without too many shadows obscuring them.

Studio Owners
Megan McCluskey, courtesy Lown

Door-to-door costume delivery. Renting a movie screen to screen your virtual showcase as a drive-in in your parking lot. Giving every dancer the chance to have a private, red-carpet experience, even if it means sanitizing your studio 20-plus times in one day.

While these ideas may have sounded inconceivable a year ago, they are just some of the ways studio owners got creative with their end-of-year recitals in 2020.

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Higher Ed
Getty Images

As we wade through a global pandemic that has threatened the financial livelihood of live performance, dancers and dance educators are faced with questions of sustainability.

How do we sustain ourselves if we cannot make money while performing? What foods are healthy for our bodies and fit within a tight unemployment budget? How do we tend to the mental, emotional and spiritual scars of the pandemic when we return to rehearsal and the stage?


The pandemic has highlighted this shared truth for dance artists: While we've been trained to dedicate our lives to the craft of art-making, we lack the knowledge to support ourselves when crisis hits. While we may have learned much about performing and creating dance in our college curriculums, most of us were not taught the answers to these questions of sustainability, or even those that come up in the normal life of a dance artist, like how to apply for a grant. Indeed, even before the pandemic, far too many dance artists faced abuse, harassment, mental health challenges, financial stress and other issues that they weren't equipped to deal with.

In 2017, inspired by the fact that dance curriculums so often hyper-focus on making and performing art but leave out the task of supporting an artistic life, choreographers David Thomson and Kate Watson-Wallace created The Sustainability Project, which seeks to create and expand discourse addressing the gap between technical and performance knowledge, and the knowledge that supports a healthy, sustainable life.

Since 2018, The Sustainability Project has been offered as a course called Artists' Sustainability at the Pratt Institute's Performance & Performance Studies graduate program, open to students of all disciplines at the undergraduate and graduate levels. The course incorporates goal-setting workbooks, discussions and projects that model artistic life postgraduation, like getting a grant funded, complete with artistic statements, proposals, budgets and a panel review.

Pratt isn't the only school to begin addressing this hole in their curriculum. At Shenandoah University, for example, Rebecca Ferrell has students in her first-year seminar for dance majors create personal and artistic budgets, and identify their personal and professional support systems.

We still have a long way to go, however, until this kind of learning is embraced as an essential part of any dance curriculum. Thomson says that while dance artists and students have embraced The Sustainability Project, school administrators have been reluctant to incorporate life-learning courses into their programs.

But if college isn't the time for this learning, when is the time? The fast-moving, demanding and exhausting life of an artist often does not leave space to learn new skills, such as balancing a budget, conflict resolution or creating a nutrition plan. And without these tools, dance artists often won't be able to put to use the artistic skills that their college programs focused on. (You can't show off your great training if you haven't been taught how to find a job, for instance.)

As the dance field struggles to survive the pandemic, it's more important than ever that dance education demystifies the working life of dance artists. Dance students are already taught to prevent injuries for the sake of their body's sustainability. Let's start thinking of dancers' careers the same way. As Thomson put it, "Would you send your child out into a snow storm with a pretty coat, hat and scarf without any shoes?"

Teachers Trending
Cynthia Oliver in her office. Photo by Natalie Fiol

When it comes to Cynthia Oliver's classes, you always bring your A game. (As her student for the last two and a half years in the MFA program at the University of Illinois at Urbana-Champaign, I feel uniquely equipped to make this statement.) You never skip the reading she assigns; you turn in not your first draft but your third or fourth for her end-of-semester research paper; and you always do the final combination of her technique class full-out, even if you're exhausted.

Oliver's arrival at UIUC 20 years ago jolted new life into the dance department. "It may seem odd to think of this now, but the whole concept of an artist-scholar was new when she first arrived," says Sara Hook, who also joined the UIUC dance faculty in 2000. "You were either a technique teacher or a theory/history teacher. Cynthia's had to very patiently educate all of us about the nature of her work, and I think that has increased our passion for the kind of excavation she brings to her research."


Coming off a successful choreographic and performance career in New York City and a PhD in performance studies from New York University, Oliver held her artistic and scholarly careers in equal regard—and refused to be defined by only one of them. She demands the same rigor and versatility from the BFA and MFA students she teaches today—as in this semester's aptly titled Synthesis, a grad class where students read female-authored memoirs (Audre Lorde's Zami, Gabrielle Civil's Swallow the Fish) and then create short movement studies from prompts based on a memoir's narrative structure or content. It was Oliver, too, who advocated that grad students should be required to take at least one class outside of the dance department, as a way of guaranteeing a cross-disciplinary influence on their studies.

Oliver, wearing black pants and a green shirt, dances on a sidewalk outside a building

Natalie Fiol

But alongside her high standards, Oliver has also become known for holding space for students' complexity. "I have a tendency for a particular kind of disobedience or defiance, and people usually try to punish that," says Niall Jones, who graduated from the MFA program in 2014 and has also been a performer in Oliver's work. "But Cynthia finds a way to see and attend to what's really happening in that posture. She has a capacity to listen. There's a space for otherness in her work and in her teaching, to allow people to step into different ways of being."

Though Oliver's role at the university has undergone some shifts over the last few years, the connection between her work and her art remains a thread through everything she does. Three years ago, she began splitting her time between the dance department and the Office of the Vice Chancellor for Research, where she helps scholars and faculty in the humanities and arts find support for their research. And over the summer, Oliver was named a Center for Advanced Study professor, an appointment that she'll hold until she retires, which comes with an annual research stipend and the chance to engage with other scholars across campus.

I sat down with Oliver over Zoom to pick her brain about how she crafts her legendary syllabi and what it's been like to watch dance academia slowly embrace her approach.

Oliver sits at her desk, surrounded by books and papers, leaning forward onto her forearms

Natalie Fiol

What's kept you here at Illinois for 20 years?

I came here as an experiment. I had been an independent artist in New York for many years, and I intended to continue doing that, because that was a life that worked for me. But at the same time, I would have these periods where I thought, "What am I doing?" During one of those periods, I went to grad school for performance studies. As I was finishing up, Renée Wadleigh, who had been my undergrad teacher [at Adelphi University, before Wadleigh joined the UIUC faculty] reached out to me and said, "I've been following your career. If you ever think about teaching at a university, consider Illinois." [My husband] Jason and I decided to try it for three years. We always felt like we could go back to the city if we hated it.

Many of us think: "I'm going to go into the academy, and my career will be over." It doesn't. It might amplify it in certain ways, and it might ebb and flow. For me, I needed that ebb and flow, so I could recover from a really active period and then focus on my writing and teaching for a period. It's a different kind of intellectual engagement. That's what's kept me here.

How has your approach to pedagogy changed over your time here?

In New York, I had a class that I would teach that generally was offered to other professionals who were preparing to go to rehearsal. In the academy, I had to learn a different kind of teaching, and that's where my real education started around pedagogy.

I realized that I could either continue in a kind of dominant aesthetic vein, or I could figure out what I had to offer that was different from what the students were getting from my peers in the department. So that's what I did. I called on my Afro-Caribbean background, my club dancing background, my time with Ronald K. Brown and Baba Richard González, my growing up in the Caribbean. I started to pull that material into a structure that reflected the values that I have around community and bodies being together—people understanding a depth of engagement that is not immediately Eurocentric. There was space to do my own investigation here, to think about my own pedagogical aesthetic and cultural interests, and incorporate them in my teaching. That's also what keeps me here. I can continue to question and shape and change according to certain values and attach those to my research interests.

Oliver stands in her office, leaning back against a filing cabinet and smirking at the camera

Natalie Fiol

I've always assumed that the seminars you teach in the grad program are so writing- and research-intensive because of your experience getting your PhD in performance studies. Is that true?

I have a strong intellectual interest. My experience going into performance studies enriched my practice in ways that I could not have imagined. I remember what it felt like to have all of those pistons firing while I was making work. It was overwhelming, it was stimulating, it was exciting. I wanted to cry, I wanted to scream—all at once. I think I offer that to our program. There's also my insistence on the cross-disciplinary requirement in our program. You all have to reach outside of the department to engage with other intellectuals and creative practitioners across disciplines to inform your own.

There are grad students who have cursed me for bringing that kind of rigor. But my experience in the field has been about my being able to talk about my work in-depth—about the choices I make, about epistemologies around it, about world views, influences, all of that. In order to do that convincingly, you have to have a foundation. I want you all to be legit, to know what it is you're talking about your own work in relation to. And that comes from an intellectual heft.

The syllabi you create for the grad classes are incredible. They're so thoughtful, so detailed, so well-crafted. How do you do that?

I work on my syllabi like I work on my choreographic projects. I piece these bad boys together over time. I do not do it in a rush. I take notes. If I come across something—a scholar, what I've read, what someone said—I'll jot it down. Eventually, I'll pull all of those notes together. That's when it gets exciting. There's always something serendipitous about it.

There are people who don't see the labor that goes into my class. And that's when I say, "OK, I'm going to reveal the bones of this in a way I wouldn't, ordinarily." For example, in a course I'm teaching this semester, I only used texts by women. I didn't walk in and announce it—"Well, if you would notice, all of these authors are women"—I just did it, because, for me, that was a feminist act. Because that's how a white, patriarchal voice works: It presumes authority, and it offers you this information—and you are supposed to take it, as if that's the law of intellectual curiosity, of how one should think.

Oliver, in black pants and a green shirt, dances in a grassy area by a street. She leans to the side, her arms swaying beside her

Natalie Fiol

Your longtime approach is finally being picked up by dance programs across the country that are slowly decolonizing their curriculums. Does that make you feel excited? Relieved?

There's a part of me that is tired, to be honest. Because artists of color have been doing this work for a really long time—that labor has always rested on our shoulders. I have to resist any moments of cynicism and really be willing to just seize the moment and work with folks to make the changes happen. I don't know that America as a whole is ready for it, but it feels like institutions are finally ready to look at the ways inequity has historically been established and continues through the systems in place.

So how do you combat that feeling of tiredness?

I think by seeing things happen, by seeing change—seeing more students of color in our program, for example. I'm excited that I have two additional colleagues of color [associate professor Endalyn Taylor and assistant professor C. Kemal Nance] on our faculty. We're not a perfect situation, but our department head, Jan Erkert, has made this a priority. That makes it easier to make people feel more welcome. At the same time, you have to understand that if you change your curriculum to be more inclusive—as it should be—you also have to be nimble and responsive to what the needs are of that diverse community. Those are the growing pains that have to happen.

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