When you graduate from student to professional dancer, you still need to take daily class. But while the structure of class is the same, I've found the mindset to be drastically different. My first job post-graduation was with the Sarasota Ballet, and the last thing I wanted to do was look like a student. I knew wearing a black leotard and pink tights without warm-ups could be a dead giveaway, but all another new company member had to say was "Why are you wearing your tights under your leotard? You look like a kid," and I hurried to the dressing room to change! Beyond the way I dress as a professional, my class philosophy also changed. Here are four things I've noticed:


Company class is a bit more relaxed.

A company class is full of people with jobs—they're more secure than pre-professional students with uncertain futures. The general atmosphere is more relaxed, too. There's room to check a combination or timing with another dancer if you're unsure. More than once I've asked someone next to me for clarification, or quietly commiserated about a difficult step. Also, class won't be the only dancing you do all day—in fact, some dancers view it only as a warm up, or a way to prepare for rehearsal. It's not necessarily required to take all of class, either; if an injury is flaring up, you might not jump, or only repeat the combination once. If I have a light day, I try to give class the energy of a performance, whereas with a heavy schedule, I'll go easier. It's up to you to determine what you need from class each day.

When it comes to corrections, you're often on your own.

Photo by Indiana Coté, courtesy Madeleine Purcell.

Like in an open class, company teachers give general corrections but very little individual attention: It's assumed you know what you need to work on. Because improving is up to me, watching more experienced dancers is the most valuable part of company class. I love observing their artistry when they rehearse and perform, but seeing seasoned dancers in class means I can study their technique, break down exactly what they're doing, and apply it myself. That way, when I repeat the combination I have my own correction to apply. It also serves as a reminder that even principal dancers aren't perfect—the polished Princess Aurora you see onstage can miss a step in class, fall out of a pirouette or have an "off" day.

You'll be exposed to a variety of techniques and ideas.

I trained at American Ballet Theatre's Jacqueline Kennedy Onassis School and at Ballet Academy East. Though the style of each school is different, their respective looks are cohesive: everyone's technique is similar. In company class, however, there's much more variation because dancers are from all over. It's sometimes even surprising: I spoke to one dancer who I thought looked very classically trained, only to find out she was from School of American Ballet.

As I'm exposed to a variety of ideas and aesthetics, I'm discovering what works for me and building it into my technique, even if sometimes it requires more than observation. When I really admire the way someone does a step, I'll ask them after class what they're thinking about or aiming for in their execution. I might not always receive a helpful answer, since I've discovered some dancers don't think about anything specific. But talking about a step and learning how they were taught can help me figure out what I should change. There's nothing wrong with incorporating an idea or tool that works for you, even if it's not necessarily in the training you received!

Dancing is about the big picture.

Purcell with Sarasota Ballet coryphée Nicolas Moreno. Photo courtesy Madeleine Purcell.

In school classes, certain complex combinations could terrify me to the point of psyching myself out of a double pirouette on pointe. Because I felt so stressed, I wasn't able to focus on anything other than what the most difficult steps, and could get stuck in self-doubt and self-criticism if a turn didn't work. As a professional, I quickly realized that the whole picture of dancing was more important than a single step. Yes, a clean double is essential, but the dancers I admire most are those who can make a difficult transition appear effortless. That's what I want to master.

Company life has freed me from a lot of the stress I used to feel in class. At times when I feel anxiety creeping back in, I stop and remember my former teacher, Peter Frame, saying to me, "Stay present! I want to see Madeleine. Show me one hundred shades of you." Now, because class is for me, my focus is on growing as an artist. It's the greatest gift to find myself in my dancing, let go a little bit more, improve beyond the technical and aim for excellence rather than perfection.

Dance Teachers Trending
Photo by Jacqueline Chang, courtesy of Ailey Extension

Marshall Davis Jr.'s introduction to tap dance began at 10 years old at African Heritage Cultural Arts Center, where his father is director, in Miami, Florida. Training began in sneakers and dress shoes that Davis Jr. did his best to get sound out of. "My father was reluctant to invest in tap shoes, because he thought it was likely I would change my mind about dancing," he says. But it didn't take long before Davis Jr.'s passion for tap became undeniable, and his father bought him his first pair of tap shoes. Just one year later, Davis Jr. became the 1989 Florida winner for the Tri-Star Pictures Tap Day contest, a promotion for the movie Tap, starring Gregory Hines and Sammy Davis Jr. Through that experience, a new tap-dancing future was opened.

Keep reading... Show less
Getty Images

Q: Are there good sources to find replacement dance teachers? When I go through standard employment services, I get people who are not properly trained or lack experience.

Keep reading... Show less
Dancer Health
Courtesy of Susan Jaffe

Throughout Susan Jaffe's performance career at American Ballet Theatre, there was something special, even magical, about her dancing. Lauded as "America's quintessential American ballerina" by The New York Times, Jaffe has continued to shine in her postperformance career, most recently as the dean of dance at the University of North Carolina School of the Arts. She credits the "magic" to her meditation practice, which she began in the 1990s at the height of her career. We sat down with Jaffe to learn more about her practice and how it has helped her both on and off the stage.

Keep reading... Show less
Dance Teacher Tips
Getty Images

Reviewing a simple recording of your voice when you're teaching can help you hear how you sound to your students. Taking the time to play back your instructions, corrections and compliments throughout class will help you find any weak spots as well as recognize some of your strengths. It's a great technique to help you evaluate your instructional ability and make improvements, and pat yourself on the back for things you are doing well. Plus, it's super-easy to do!

Keep reading... Show less
Site Network
Including ballet competition standout Alina Taratorin (photo by Oliver Endahl, courtesy Taratorin)

Congratulations to the 39 talented dancers just named 2020 YoungArts award winners! This year's group of awardees includes several familiar faces from the competition scene.

Keep reading... Show less
To Share With Students
Photo by Brian Babineau, courtesy Burghardt

When Alicia Burghardt entered Dean College in Massachusetts as a freshman dance major, it hadn't occurred to her that the Boston Celtics had a dance team. A competition kid with aspirations for Broadway, Burghardt never imagined herself as an NBA dancer. But by the time she was finishing her senior year, she'd not only joined the Celtics Dancers, she was choreographing a number for a major playoff game. And after finishing her rookie year, surrounded on that TD Garden parquet floor by uproarious fans, she couldn't help but stay for another. "It's unbelievable performing for Boston fans," she says. "They're so loyal to their team. It could be third quarter, down 20 points, and they're still cheering."

Keep reading... Show less
Dance Teacher Tips
"The Greatest Show on Earth." Photo by Brenda Rueb, courtesy of Vona Dance

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.

Keep reading... Show less
Dance Teachers Trending

"No formal training. No dance studio. No mentor," says Erik Saradpon about his beginnings in hip hop.

"I think that's why I'm especially tough on these guys, because I don't take the relationship for granted," he says, referring to his students. "I'm like a dad to them. I had a shortage of role models in my life. I wanted that so badly. I project that onto my kids."

Keep reading... Show less
Dance Teacher Tips
From Coppélia. Photo by Toshi Oga, courtesy of MOGA

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.

Keep reading... Show less
Site Network
Nanette Grebe/Getty Images

Have you heard the story about the dancer who needed a double hip replacement…at age 16?

It's not an urban legend—just ask iconic choreographer Mia Michaels. In a video series about dance injuries, produced by Apolla Performance Footwear, Michaels tells the tale of a teenage comp kid who pushed so hard she ended up in surgery.

That dancer's harrowing story was one of the inspirations for the Bridge Dance Project. The new initiative—brainchild of Jan Dunn, co-director of Denver Dance Medicine Associates, and Kaycee Cope Jones, COO of Apolla—aims to connect members of the competition and commercial dance communities with dance science experts. While many academic and professional concert dancers have benefited from recent advances in dance medicine, that information hasn't made its way to most of the young students in convention ballrooms. And as the technical demands on those students increase, so does the number of injuries.

We talked to Dunn and Jones about how the Bridge Dance Project was born, the initiative's long-term goals, and why young competition and commercial dancers should make injury prevention a priority.

Keep reading... Show less
Dance Teacher Tips
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."

Keep reading... Show less
Dance Teacher Tips
From "Boston—Our City." Photo by Rachel Hassinger, courtesy of BalletRox

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.

Keep reading... Show less

mailbox

Get DanceTeacher in your inbox