After 14 years teaching on the convention circuit, Kim McSwain's known for her positivity. And in 2017, she started a dance education and consulting agency to offer personalized training for dance studios. Through Changing Lives, she and a network of 10 experts advise on faculty training, studio-business management and consultation, parent education classes, curriculum development, choreography and private lessons for teachers and more.

McSwain is particularly known for her work with the "littles," the 5-and-under dancers, having begun as an assistant teacher in the preschool room of her local studio at age 19. Combining her own dance background (her resumé includes dancing for Britney Spears and *NSYNC) and her genuine love of children, McSwain went from assisting classes to running the studio's performance and competition teams.

"It was better than anything I'd ever felt dancing professionally," she says. "I never looked back. I always tell my faculty that their class can either light up a kid's world or it can add to the darkness most kids are already dealing with. There's nothing in-between—so let's light up their lives."


Dance Teacher: You describe your consulting practice as a studio makeover for owners who've lost their love of teaching. What are some ways you've helped them turn things around?

Kim McSwain: We help them remember why they started their studio in the first place. My faculty comes in as artists in residence and provide teachers with music and syllabus ideas for their classes. I don't just bring in good choreographers, but incredible role models who are there to change kids' lives.

DT: What's something you do to help these studios build their teenage students' confidence?

KM: I do "I am" exercises. I make the dancers stand in a straight line with their hands behind their backs and say something nice about themselves at the beginning, middle and end of class. At first, they're insecure and want to cover themselves up, by the middle they are feeling a little more confident and by the end it's a complete transformation. It's miraculous! Their eyes light up, they cry, they hug and they give each other compliments. We create a judge-free space, and they become different people.

DT: What direction do you give teachers working with young dancers?

KM: It takes a special person to teach littles—you've got to put on a show. We're in a customer-service industry and those 5-year-olds don't care about where their passé is. Give them their corrections with songs, games, stories and contests. I bring a whole bag of goodies with unicorn tails, treats and stickers. Control the room. If they start to get out of hand, stop it immediately. If I have a kid who wants to be disruptive, I redirect the attention of the room to someone who isn't. I'll say, "Oh! You know who I am looking at, dancers? Suzie in the back! You come right down to my row of awesome, Suzie. You're doing such a good job being focused." Then all of the other dancers want to make it to the row of awesome, too.

Dance Teachers Trending
Photo courtesy of Tribune

Finding age-appropriate hip-hop music can be a struggle. Choreographer Afaliah Tribune addresses this common dilemma for hip-hop teachers by making her own original tracks on GarageBand. "I love experimenting with live music, and my students think it's fun, too," says Tribune, who is an adjunct professor of dance at New York University. "There are so many ways we can open up our work when we experiment with sound."

Keep reading...
Instagram
Karen Hildebrand (center) with 2019 DT Awardee Marisa Hamamoto and members of Infinite Flow. Photo by Joe Toreno

Every year in our summer issue, we honor four dance educators for their outstanding contributions to the field. Recipients have included studio owners, professors, program directors, K–12 teachers and more, whose specialties run the gamut of dance genres.

We need your help to identify this year's best in the profession. Do you have a colleague or mentor who deserves to be recognized as a leader and role model?

Send your nomination by March 1, 2020. You can e-mail us at danceteachereditors@dancemedia.com with the following details:

Keep reading...
Sponsored by Akada Software
Photo by Jenny Studios, courtesy of Utah Dance Artists

Running a dance school used to involve a seemingly endless stream of paperwork. But thanks to the advent of software tailored specifically for dance studios' needs, those hours formerly spent pushing papers can now be put to better use.

"Nobody opens a dance studio because they want to do administrative work," says Brett Stuckey, who leads Akada Software's support team. "It's our job to get you out of the office and back into your classroom."

We talked to Stuckey about how a studio software program can streamline operations, so you can put your energy toward your students.

Keep reading...
Studio Owners
Getty Images

It's easy to characterize parents as the perpetual thorn in the side of studio owners—they can be demanding, and annoyingly free with their opinions on dance education. But they're also your customers. They deserve not just excellent customer service but an exceptional customer experience, says Annette Franz, head of a customer-experience strategy firm. "What's the difference?" you might ask. "I define customer experience as the sum of all the interactions that a customer has with a brand over the life of their relationship with that brand—plus the feelings, emotions and perceptions about these interactions. Customer service is just one of those interactions," says Franz, author of Cus-tomer Understanding: Three Ways to Put the "Customer" in Customer Expe-rience (and at the Heart of the Business).

Keep reading...
Site Network

Hi there, dance friends. I'm the editor in chief of Dance Spirit and content director of The Dance Edit newsletter. And I'm here with a bit of news sure to excite dancers, dance enthusiasts, and other assorted dance obsessives: The Dance Edit is launching a podcast!

Join me and other editors from Dance Magazine, Dance Spirit, and Pointe for The Dance Edit Podcast, a weekly roundtable discussion of the top stories moving and shaking (not sorry) the dance world. Beginning March 5th, we'll get you up to tempo (also not sorry) in about 15 minutes every Thursday morning.

Keep reading...
Dance Teachers Trending
Barbara Bashaw in Thompson Hall of Columbia Teachers College. Photo by Kyle Froman

Barbara Bashaw has always been a pioneer. Since kicking off her career in education by building a dance program from the ground up at an elementary school in Brooklyn, she's gone on to become an inspiring force in teacher training. Now, as director of the new doctoral program in dance education at Columbia University's renowned Teachers College and as executive director of the even newer Arnhold Institute for Dance Education Research, Policy & Leadership, she's in a position to effect change nationwide.

"The study of dance education is a young field," Bashaw says. "Music and visual arts are far ahead of us, in terms of the research that has been done, as well as the foothold they have in education. Anywhere education is being discussed, we want to put dance on the table—and that means developing researchers and championing research that will push public policy." In a climate where arts education feels both more endangered and more necessary than ever, Bashaw is ready to blaze a trail.

Keep reading...
Site Network
Photo courtesy of Harkness Center for Dance Injuries

When orthopedic surgeon Dr. Donald Rose founded the Harkness Center for Dance Injuries at NYU Langone Orthopedic Hospital 30 years ago, the average salary for a dancer was about $8,000, he says.

"It was very hard for a dancer to get quality medical care," he remembers. What's more, he adds, "at the time, dance medicine was based on primarily anecdotal information rather than being based on studies." Seeing the incredible gaps, Rose set out to create a medical facility that was designed specifically to treat dancers and would provide care on a sliding scale.

Keep reading...
Dancer Health
Getty Images

It's time to talk seriously about safety in dance education. As the physical and psychological demands put on student dancers escalates—thanks to competitions, social media and ever-evolving choreography—there is a pressing need to consider how we can successfully safeguard young dancers.

Keep reading...
Dance News
Photo by Melissa Sherwood, courtesy of MGDC

Martha Graham Dance Company created The EVE Project to mark the upcoming 100th anniversary of U.S. women's right to vote. The female-focused initiative includes new works, as well as the company's classic repertoire highlighting Martha Graham's heroines and antiheroines. In April, the company is showing the newly reconstructed Circe, Graham's 1963 interpretation of the Greek myth, at New York City Center. Dancing the role of Circe is company member So Young An. Here, she shares thoughts on The EVE Project and how she's approaching her role in Circe, the 57-year-old work that invites audiences to consider pressing conversations about womanhood.

Keep reading...
Dance News
Instead of letting 1920s stereotypes of black dancers define her, Josephine Baker used her image to propel herself to stardom and eventually challenged social perceptions of black women. Photos courtesy of Dance Magazine archives

In honor of Black History Month, here are some of the most influential and inspiring black dancers who paved the way for future generations.

Keep reading...
Dance Teacher Tips
Getty Images

Q: I'm having such a love-hate relationship with mirrors right now. They can be distracting, as well as cause emotional distress for my students. At the same time, they're a really useful tool. I know some teachers remove theirs altogether. Is this something you recommend?

Keep reading...
Dance Teacher Tips

Susan Pilarre has been closely tied to the School of American Ballet for nearly her entire life.

From her first class there at age 11 through her 16-year career with its affiliated company, New York City Ballet, Pilarre learned directly from the great choreographer George Balanchine, absorbing the details of his unique style. Sensing her innate understanding of his principles, Balanchine encouraged her to teach; she joined SAB's permanent faculty in 1986. Since then, she has become recognized as an authority on Balanchine's teachings, instilling SAB and NYCB's distinctive speed, clarity and energy into generations of dancers.

Here, Pilarre shares how the specifics that Balanchine insisted upon in class contribute to the strength, beauty and musicality that define his style—and dispels common misconceptions.

Keep reading...

mailbox

Get DanceTeacher in your inbox