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After months of lockdowns and virtual learning, many studios across the country are opening their doors and returning to in-person classes. Teachers and students alike have likely been chomping at the bit in anticipation of the return of dance-class normalcy that doesn't require a reliable internet connection or converting your living room into a dance space.
But along with the back-to-school excitement, dancers might be feeling rusty from being away from the studio for so long. A loss of flexibility, strength and stamina is to be expected, not to mention emotional fatigue from all of the uncertainty and reacclimating to social activities.
So as much as everyone wants to get back to normal—teachers and studio owners included—erring on the side of caution with your dancers' training will be the most beneficial approach in the long run.
Start With a Conversation
<p>In addition to any sort of COVID-19 screening you're doing with students upon entry, be sure to also assess their overall physical well-being. "From kids taking Zoom classes in their kitchens to those whose parents transformed their basement into a full-on dance studio, everyone's experiences will be different and you need to be prepared," says Marissa Schaeffer, a physical therapist and strength conditioning specialist for The Ailey School.</p><p>Set up a system with an email questionnaire or hold individual check-in conversations with dancers and their parents to establish an open yet private and judgment-free line of communication. Inquire about things like how much physical activity students have done since March, if they've developed any injuries, and how their bodies have been feeling generally. (In the rare case that you have a student who has recovered from and tested negative for COVID-19, be sure to check in about any lingering health issues.) Schaeffer also points out that students with asthma might be at greater risk for an asthma attack while dancing in a face mask, so keep an extra-close eye on those students.</p>Focus on Reconditioning
<p>While students will likely be itching to jump back into normal dance class, the reality is that many of them were less active than usual throughout the summer and are physically deconditioned.</p><p>"Now is the time for teachers to pull back the reins," says Schaeffer, "and make class meaningful without dancing the entire time."</p><p>Instead, for the first month back, take the information gleaned from the initial screening questions and tailor a class that focuses on reconditioning your dancers. This could include an extended warm-up with additional stretching, an extra sequence of core strength-building or incorporating cross-training, like yoga or Pilates.</p><p>"Going slow out the gate," says Schaeffer, "is a win–win, decreasing risk for injury while increasing dancers' strength, flexibility and mobility."</p>Implement Emotional Check-Ins
<p>It's important to acknowledge with students that this has been a wild, traumatic year. But a long therapy session usually isn't necessary.</p><p>"Let students know 'I'm here and I'm open to talking about emotions," says Rachelle Theise, a licensed clinical psychologist in Westport, Connecticut, and clinical assistant professor at NYU Langone's Child Study Center. Simply inquiring about how your students are feeling will let dancers know that you're available if they need extra support. If a student does seem to be withdrawn, stressed or overanxious, let the student's parent know.</p><p>Parental anxiety is also to be expected. "If a parent approaches a teacher showing concern about their child's progress or what they've lost technically," says Theise, "it's important that teachers not join in on the criticism." Try to calm the parent's worries with the reassurance that their kids will soon be back on track.</p><div class="htl-ad"
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Avoid High-Impact Movement and Jumps
<p>Schaeffer advises that the last portion of the class, typically reserved for leaps and high-impact work, would be better served to reacclimate dancers to the impact of jumping.</p><p>For the first few weeks, replace across-the-floor exercises with center combinations that build strength and control. Schaeffer suggests single-leg relevés—both élevés and forced-arch relevés—or single-leg squats that target the lower extremities. From there, practice deconstructing jumping. "Do a fast plié to relevé in the center with a slow lowering so dancers can work on controlling the movement," says Schaeffer.</p><p>After two weeks, add jumping off of two legs (sautés in first, second and fifth). The following week, add two-feet-to-one-foot exercises (sissonne assemblés), and slowly add high-impact jumping from one foot to one-foot sequences.</p>Focus on the Positive
<p>It's safe to assume that the pandemic has been a stressful time for many of your dancers. Their emotions, just like their physical bodies, need extra TLC right now.</p><p>"Kids have been emotionally impacted by what's been going on with COVID-19," says Theise. "They will have more anxiety about being out in the world and might be anxious about being back in the studio."</p><p>Even more than usual, focus on creating a warm, uplifting environment. Give students positive reinforcement just for showing up to help prevent feelings of inadequacy or shame.</p><p>Emphasize to your students that questions about how frequently they did or did not practice over the past six months or what their bodies are capable of are strictly to gauge their physical health, not pass judgment on what they've lost during the pandemic.</p><p>"We don't want kids to be functioning from a deficit place," says Theise. "We want to meet kids where they're at now and not to feel that they're at a disadvantage or that they've not done enough to keep up."</p>
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Photo courtesy TUPAC
When legendary Black ballet dancer Kabby Mitchell III died unexpectedly in 2017, two months before opening his Tacoma Urban Performing Arts Center, his friend and business partner Klair Ethridge wasn't sure she had what it took to carry his legacy. Ethridge had been working with Mitchell to co-found TUPAC and planned to serve as its executive director, but she had never envisioned being the face of the school.
Now, Ethridge is heading into her fourth year of leading TUPAC, which she has grown from a fledgling program in an unheated building to a serious ballet school in its own sprung-floor studios, reaching hundreds of students across the Tacoma, Washington, area. The nonprofit has become a case study for what it looks like to carry out the vision of a founder who never had the chance to see his school open—and to take an unapologetically mission-driven approach.
<p>For Mitchell, who in 1979 became the first Black company member of Pacific Northwest Ballet, TUPAC was the culmination of a longtime dream: a professional-level ballet school for Black students, where no one would be excluded or overlooked. Ethridge, who first connected with Mitchell in San Francisco while on tour with <em>The Wiz, </em>and then 20 years later in Tacoma, had studied at American Ballet Theatre as a child. As the only Black student at ABT at the time, she felt overlooked, alienated and inadequate. She went on to dance professionally—performing in <em>The Wiz,</em> at The Golden Globes and in commercials—but found real career success in film and television production, ultimately winning an Emmy Award. "We were very fortunate, and we had these opportunities," Ethridge says of Mitchell and herself. "We wanted to give these opportunities to people in this community."</p>
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<p>When Mitchell passed, the future of TUPAC hung in the balance. But with his memorial came an outpouring of support, encouragement and donations. Dozens of students had already enrolled in the school, and TUPAC's board of directors believed wholeheartedly in Ethridge. There had never been a ballet school for Black students in the Pacific Northwest, and the Tacoma community had already rallied behind TUPAC. So Ethridge retired from her production work and focused all of her energy on opening the school.</p>
Building TUPAC's Foundation
<p>To bring TUPAC to life as planned, Ethridge had to step up to the plate quickly. And she did: TUPAC held its first class on July 10, 2017—just over two months after Mitchell's death. Ethridge built on her and Mitchell's professional network to pull together an esteemed faculty with professional dancers and instructors from diverse backgrounds. Julie Tobiason, a former principal dancer with PNB, became TUPAC's founding ballet director in Mitchell's stead.<br></p><p>But by December 2017, TUPAC's students were wearing coats and hats to the barre. The space Mitchell and Ethridge had secured that summer had enabled TUPAC to launch on a thin budget, but it didn't have heating.</p><p>With the financial backing of the school's first donors and grants, Ethridge focused on finding and renovating a new space for the growing program. In 2018, TUPAC reopened in a spacious studio in downtown Tacoma, complete with sprung floors, marley and mirrors—and nearly twice as many students. TUPAC now employs a faculty of 16 teaching artists and 5 accompanists, and has tripled enrollment from 83 students in 2017 to nearly 250 today.</p><div class="htl-ad"
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Striving Towards Sustainability
<p>Though Ethridge is single-minded in her focus on providing opportunities to Black students, she realizes the connection between an organization's capacity to give back and its financial sustainability. But as much as TUPAC's enrollment and programming have grown over the past three years, achieving sound financial footing is still a goal—one that COVID-19 has made more difficult to achieve.</p><p>With tuition making up only about 12 percent of its annual revenue, TUPAC relies on donations, grants and fundraisers, including a yearly dance concert, frequent master classes with guest faculty, plus their original—and consistently sold-out—<em>Urban Nutcracker</em>. This September, opera singer J'Nai Bridges performed <a href="https://www.youtube.com/watch?v=b03L6fD7odc&feature=youtu.be" target="_blank">a benefit concert on YouTube and Facebook Live</a> in support of TUPAC.</p><div id="a2fbc" class="rm-shortcode" data-rm-shortcode-id="67389648757fd31bd81492fedf2bb380"><blockquote class="instagram-media"
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<p>But TUPAC's two largest fundraisers have been canceled this year due to COVID restrictions, and the <em>Urban Nutcracker</em> will likely be canceled too. An emergency check from The Bamford Foundation helped to weather the first few months, but Ethridge isn't sure what the fall will look like financially.</p><p>But just as TUPAC's lean budget has posed problems for the organization (Ethridge has funneled her own savings into TUPAC at times, and has never taken a salary), it has also taught Ethridge to be resourceful. This spring, in addition to holding online classes, TUPAC held its African classes outside, with an instructor, a live drummer and students dancing—literally—on a rooftop.</p>
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Creating a Mission-Driven Model
<p>Though racial justice is currently a national focus, it was always at the heart of Mitchell's vision for TUPAC. "We don't wear pink tights and shoes, we wear flesh-colored tights and shoes," says Ethridge. "When our children see other children who look like them and teachers who look like them, it really forces them to elevate. We wanted them to have that feeling of self-esteem and being accepted in a formalized ballet school."</p><div id="50d31" class="rm-shortcode" data-rm-shortcode-id="345beec85c601fca89dfd75223b6a3ec"><blockquote class="instagram-media"
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<p>TUPAC doesn't turn anyone away—most of their students are on financial assistance or full scholarship. If students can't afford leotards, tights or shoes, TUPAC provides them. Ethridge ensures there are healthy snacks and meals available at the studio for students who need them, and quiet places to study in between classes. And though TUPAC's focus is ballet, African dance classes are included in the curriculum "to keep our students in both worlds," says Ethridge.</p><p>TUPAC also partners with the City of Tacoma Office of Arts & Cultural Vitality for outreach work in the city's public schools, and in 2019 was recognized by the city with the AMOCAT Arts Award for positively impacting the community.</p>
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The Show Goes On
<p>This moment—as #BlackLivesMatter and national upheaval calls us to pay closer attention to how dance organizations are serving their communities, and Black dancers in particular—has potential to be one of new growth and recognition for TUPAC.</p><p>This summer, TUPAC partnered with Tacoma Arts Museum to present a release of an expansion on last year's production of <em>Harriet: The Black Swan,</em> an original full-length ballet based on Harriet Tubman's life and accomplishments—<em>Harriet: The Black Swan, In the Year of COVID-19</em>. The new work will be projected onto the façade of TAM on September 22. Ethridge staged, filmed and produced the ballet, with a combination of in-studio and online rehearsals.</p><span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="4b4223f926a1e636502065942f178611"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/sqKdL0V76Yo?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span>
<p>This fall, classes will resume at TUPAC—in the studio when they can, online when they can't, and on rooftops if they have to.</p><p>A dream that began in Kabby Mitchell's heart has taken hold in Tacoma—and Klair Ethridge carries the business with dedication and purpose. "It is a huge burden to have young people believe in what you are trying to do for them," she says. "We wanted them to have a place where they could be comfortable, where they could be successful, in their own eyes. That's our reason for being open. If we are teaching them correctly, even just being good human beings, then they're going to pass that on."</p>
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Courtesy A Wish Come True
With so much else on your plate, from navigating virtual learning to keeping your studio afloat, it can be tempting to to cut corners or to settle for less in order to check "costumes" off of this season's to-do list. Ultimately, though, finding a costume vendor you trust is paramount to keeping your stress levels low and parent satisfaction high, not to mention helping your students look—and feel—their absolute best. Remember: You are the client, and you deserve exceptional service. And costume companies like A Wish Come True are ready to go above and beyond for their customers, but it's important that you know what to ask for. Here are some tips to make sure you are getting the most out of your costume company.
Personalized Attention
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQyNzU5MS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxMjI3ODAxM30.vWctFbtd38AbcuBVT65dNV77cQoSXbA6-u3RLIvzWbI/img.jpg?width=980" id="b6ea5" class="rm-shortcode" data-rm-shortcode-id="b1ea54f95510ab3ca1b1fec8626189de" data-rm-shortcode-name="rebelmouse-image" />Rosa D'Aleo on her visit to A Wish Come True's Bristol, PA, factory
Courtesy D'Aleo
<p>Developing a relationship with your sales contact will help you understand the company's procedures and fulfillment processes, and they'll learn your style preferences and specific needs. Are you currently on a first-name basis with your sales representative? If not, you might want to rethink whether you're getting the best customer service experience. </p><p>Luckily, it doesn't take much effort on your part to get the ball rolling. Renee Stojek, A Wish Come True's Marketing Director, explains, "You can take small steps to building a relationship, like signing up for a quick Zoom meeting, or following the company on <a href="https://www.facebook.com/awishcometruedance" target="_blank">Facebook</a> or<a href="https://www.instagram.com/wishdancecostumes/" target="_blank"> Instagram</a>."</p><p>When Rosa D'Aleo opened Royal Dance Center of Babylon, New York, in 2014, she first researched several companies before choosing one for her recital costumes. She was most impressed with <a href="https://awishcometrue.com/" target="_blank">A Wish Come True</a> in Bristol, Pennsylvania, and she is still working with the same sales rep she's had since day one. "I went to their annual costume show, met the owner, got a factory tour, and was really impressed with the quality of the costumes," she says. "That first year, I didn't have to return a single costume—the sizes were right on, and their customer service was everything."</p>Quality
<p>Some vendors manufacture their costumes in overseas factories, which might help bring down costs, but doesn't always guarantee a consistent, quality product. Plus, production can take longer, which can then impact shipping and arrival estimates. "You pay for what you get. A Wish Come True is charging appropriately for the quality you receive, and it's made right here in the U.S.," D'Aleo says. "I know everything is going to come on time and it's going to fit my students."</p><p>For 30 years, the family-owned business has had a goal to create the highest-quality, American-made dance costumes with the most dependable fit and exceptional customer service, says Stojek. <a href="https://awishcometrue.com/" target="_blank">A Wish Come True'</a>s offices, factory, and customer service teams are all under one roof, so it's an easy conversation amongst colleagues to see whether an order can be expedited or if a certain fabric lot is still available. "Fabric dye lots can change over time, and that's important to know when your costumes need to have the exact same look onstage," Stojek says. "We can tell you if it has changed, or if you call for an exchange, we'll be able to get you the exact same costume."</p>Special Requests
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQyNDE2NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYwNDE2NDU2NX0.Wib8L9_u6P-Ovu7Xb43qwA-__G-RSyvqnFWQymoVe48/img.jpg?width=980" id="48488" class="rm-shortcode" data-rm-shortcode-id="3db542008981f64546950fd2f5dd1328" data-rm-shortcode-name="rebelmouse-image" />Courtesy A Wish Come True
<p>What happens if you find the perfect costume to fulfill your artistic vision, but there isn't an option for the lone boy in class? Or, what if one of your younger dancers requires an adult size? Can your vendor handle special requests like these in a timely manner?</p><p>D'Aleo says she's had students grow out of their costumes before showtime, and A Wish Come True was willing to do a size exchange for her. She's also requested costumes for her male students, so they had costumes to match or complement what the girls were wearing. "They'll make it happen. It's phenomenal," she says. "With other companies, it just isn't the same."</p>Discounts
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQyNDE3Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxMzUwNzI5NX0.Kfo-dwZyaIIPWUfffFta9pme2iKNJbPr2CY3_aHdVP4/img.jpg?width=980" id="7e376" class="rm-shortcode" data-rm-shortcode-id="e8c7babd7d844216bad8ed051553b103" data-rm-shortcode-name="rebelmouse-image" />Courtesy A Wish Come True
<p>Is your vendor helping you reach your maximum potential benefits? Ask them about the company's volume discount structure, and if it offers any loyalty plans. The more you order, the bigger the discount. And some vendors give extra perks in return for your continued loyalty.</p><p>One way to get the best volume discount is by combining recital, holiday, competition and dance-team catalog orders. At <a href="https://awishcometrue.com/" target="_blank">A Wish Come True</a>, for example, the volume discount provides 8 percent off of a $1,500 order—and the savings increase as the order size increases.</p><p>A Wish Come True also offers another discount when you participate in a<a href="https://awishcometrue.com/costume-shows" target="_blank"> free in-person or virtual costume showcase tailored just for your studio.</a> Make an appointment to shop the company's full collection in its showroom, or gather your teachers together for a personalized Zoom call. Whichever way you do it, you not only get the newest catalog and some fun promo items in advance, you'll get a $100 credit or an additional 3 percent discount for attending in person, or a $100 credit for attending virtually.</p><p>"You can really increase your discount right off the bat, especially if you start getting free shipping or free size exchanges," Stojek says. "Let your teachers know what two or three books you'll be ordering from so you can get the best discounts. That will also make it so much less complicated for the studio owner or office manager."</p>The Bottom Line
<img lazy-loadable="true" src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yNDQyNDE3Ny9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTY1NDkxMzc0M30.hjHNvkJxJPv4Ccq0iVMX5MXprfnw4GhJyEWIQ1jUWW0/img.jpg?width=980" id="2ee61" class="rm-shortcode" data-rm-shortcode-id="af6eb81d0ddb4917ce58f819304fe076" data-rm-shortcode-name="rebelmouse-image" />Courtesy A Wish Come True
<p>"The bottom line is, the more your costume company knows about you, the better they can serve you," says Stojek. "Small family-owned businesses like A Wish Come True can be flexible to fit your studio's unique needs."</p>
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