Sudeikis (right) with dancer Alex Liszewski. Photo by Kyle Froman Photography

Contemporary teacher Kristin Sudeikis likes to give each step context within a phrase, so that there's always a beginning, middle and end. For instance, in this lesson, she bookends the rond de jambe sauté with a place of initiation—the parallel attitude and chaîné turn—and a finish: detailed, delicate placement of the hands. For a beginner version of the rond de jambe, don't take it into the air. Keep the left leg on the floor.

Keep reading... Show less

Seen & Heard At the Dance Teacher Summit

An active commercial dancer, Katy Spreadbury is renowned for teaching 4- to 7-year-old dancers on the JUMP Dance Convention circuit. She’s spent over a decade honing her craft, and the results are visible to anyone who pokes their head into one of her baby ballerina classes. Beyond her chipper enthusiasm, Spreadbury has a unique ability for engaging kids as young as 3. Here, she shares a few of her teaching tips with DT. See her in person this month at the Dance Teacher Summit.

Katy Spreadbury at JUMP Dance Convention (above) and Dance Teacher Summit

Dance Teacher: What is the most important thing to keep in mind when teaching young children?

Katy Spreadbury: One of my early mistakes was coming into a room of 3- to 5-year-olds using dance language as though they already knew it. It wasn’t fair, not only because it was a foreign language, but at that age they’re just coming into their own bodies.

Now I use imagery to put them in the proper position without talking to them in a way they don’t understand. For instance, we pretend we’re balancing a glass of milk on top of our heads. You ask them how they would do that, and they all sit up nice and tall to the point where they’re using their muscles to separate their vertebrae as much as they can. And then the girls pretend to put on earrings, and I ask them to show every inch of those earrings that dangle all the way down to their shoulders. That gets them to press their shoulders away from their ears.

So you can get their bodies generally in the right position, and the kids are having fun because they’re playing pretend. They don’t know that they’re working; they’re just stretching their brains and playing with their bodies. The idea is to eventually wean them off this imagery and wean them off these games, but at that age they aren’t prone to work. You can’t push them like a drill sergeant, because they’ll just leave or cry!

DT: What about the boys?

KS: I adjust the imagery so they don’t need to pretend they’re wearing earrings. The boys imagine balancing pencils under their ears instead. Sometimes I’ll ask them to move something for me, like a book bag, because they’re “strong boys,” so they’ll move it over to the side of the room and feel very proud. Or if the girls are working on splits at age 5 or 6, I’ll have boys do jumps or something that feels a little more gender-appropriate to them.

It’s funny to use this word at age 5, but you don’t want to emasculate a little boy. You don’t want them to feel that they’ve traded in soccer or football for dance, that they’ve given up something masculine for something less so. The more you can make the classroom appropriate for masculine behavior, the better. Ignoring them and treating them just like the girls is not a great idea, and it’s usually the reason they leave.

DT: How do you attend to a crying child without derailing the whole class?

KS: It depends on the level of emotion you’re seeing. Sometimes you can see the tears start to come or the lip quiver, and all it takes is a moment to help them to feel safe again. I’ll just go sit next to them and compliment them on something they’re doing well. And usually a hand on them is helpful, because it reminds them of their mom, of whatever comfort comes from home. So if it’s just a hand on their shoulder saying, “Wow! Your earrings look amazing!” and then asking them for a high five, that takes them out of their own emotions and brings them back into the room and into that feeling of fun. So if I catch it early enough, the tears won’t come at all.

If I miss that moment, and they’re at the next stage of feeling upset or vulnerable, I might tell them I need them to be my special helper. They’ll sort of start to nod, and then I say that I need that special helper to be smiling, and they’ll start to muster up a smile. Or I’ll ask them to come sit next to me in the front of the room, and I’ll figure out a way to create the next exercise around them, meaning they get to demonstrate. Then they’re excited, and hopefully they forget about the tears. —Andrea Marks

Photos from top: courtesy of Break the Floor Productions; by Mia Stringer, courtesy of Katy Spreadbury

Seen & Heard At the Dance Teacher Summit

Leeper led an invigorating class at the 2012 DT Summit

Dance Teacher Summit faculty member Ray Leeper gives all of his energy when he teaches, and he expects the same from students. The 25-year convention circuit veteran is known for drawing powerful, full-out performances from hundreds of dancers at once during his jazz classes at NUVO, JUMP and Tremaine Dance Conventions. Leeper gave us a preview of what to expect in class at next month’s Dance Teacher Summit.

Dance Teacher: How do you get dancers to really attack their movement?

Ray Leeper: To be a dynamic teacher, you have to be not only consistent but also very vocal. You have to be persistent about asking for what you want. And when you see dancers executing with more attack, offer positive feedback and then ask for more. It’s about using your voice when you teach, and getting underneath their heels and chasing them around the room! You watch coaches in gymnastics or football, and it’s the same thing in dance. You have to have a lot of energy. It’s required. And the payoff is worth it. Your students expect you to be consistent with them. It’s just like parenting.

DT: How do you change your approach to cater to dance educators?

RL: You teach a student how to execute, but I show teachers how to teach the choreography as well as to execute. We stop and examine things more closely, so we spend much more time on eight-counts than I normally would. It’s more about exact details than anything else. There’s more breaking down and explaining, so they can take what they learn back to the studio.

DT: How do you approach a student who’s having an off day?

RL: When you’re not getting what you want from a student, don’t take it personally. Not every student is going to feel like dancing every single day. And if that’s the case, we as teachers have to try to dig them out of that negative place, instead of blaming them or getting angry that they’re not as on as they usually are.

I’ll say, “Hey, are you having a bad day?” I just try to be honest with the student. And if he says it hasn’t been the best, I tell him, “Let’s just try to get through it. Tomorrow’s a new day.” And usually, once you acknowledge it, the student ends up doing well, anyway. The space just kind of opens up and it ends up being OK.

Being resistant to a dancer who walks into the room isn’t healthy. As an adult leader and educator, I have to figure out what I can do to motivate them, despite what is going on in their lives outside of class. —Andrea Marks

Photos courtesy of Break the Floor Productions

mailbox

Get DanceTeacher in your inbox