Dance Teacher Tips

How Tammi Shamblin Teaches Ballet

Shamblin with her fifth-grade boys' class at Ballet Tech. Photo by Kyle Froman

“Let's build our houses together, gentlemen. Shall we?" Tammi Shamblin asks 20 fifth-grade boys at the top of ballet class, during the final week of Ballet Tech's summer program in New York City. “Is your body square, dragon tails down? Are your eyes looking out your vacation windows? Where do you want to go today?" Every boy stands at attention, ready to begin a series of pliés facing the barre. As they lift their heels and stretch their knees, Shamblin offers corrections like a modern-day Mary Poppins, brightly singing out images like “Sip your slurpee legs up!" and “Squish marshmallows under your heels!" to the rhythm of the accompanist.


For the next 90 minutes, her goal is twofold: She will train dancers as she develops young men. For its year-round program, Ballet Tech auditions NYC school children, selecting the most naturally talented youngsters—many of whom would not otherwise be exposed to ballet. The school currently enrolls 180 students in grades 4 through 10, and nearly half are boys. Elementary- and middle-schoolers take their academic courses in classrooms located at the Ballet Tech School, downtown on Broadway. (Another 400-plus youngsters are bussed in from their schools for a free, six-week introductory program each semester.) To allow for their different learning styles and energies, boys don't take dance classes with girls until sixth grade.

Shamblin's role is not just to teach steps but to instill a love for an artform that most of her students didn't know existed. “They aren't here out of an intrinsic desire to dance. They're all picked for their bodies and potential," she says. “I'm hoping to develop a love of dancing." She also understands what ballet can teach them about life: self-esteem, discipline, learning from mistakes, working in a group and pursuing goals. To that end, she uses terms such as “dancers" or “gentlemen"—never “boys"—to establish mutual respect and a formal tone. And she knows the value of specificity and surprise. “I use a coda with a fast beat when I want them to hold a tendu, so they aren't bored," she says.


Photo by Kyle Froman

She sticks by her few rules religiously: no leaving (which means no water or bathroom breaks during class); no talking (unless called upon); and always do your best. That last rule, she says, is the number-one reason most kids are dismissed from class. “When I have to send a kid out, I always ask, 'Do you know why?'" says Shamblin. “It's important for them to understand the cause-and-effect relationship of their conduct."

Photo by Kyle Froman

Eliot Feld—Ballet Tech's founder and artistic director—was immediately impressed with Shamblin, who started out as a substitute teacher in fall 2004. At his request, a permanent position was created for her. “Beyond the task of introducing young boys to the vocabulary and grammar of classic dance, there's the issue of concentrating their intellect, imagination and physical appetites," says Feld. “Tammi accomplishes this with a magic of her own invention."

Those magical inventions include a series of interactive “learning stations," aimed at understanding ballet technique on an anatomical level. This gives her a chance to break up the flow of class and the strictures of ballet barre to go over the details of a given movement or body position. Today, Shamblin calls out, “Study Group! Gather around Marquis," and the boys flock around the named boy to deconstruct rond de jambe.

Photo by Kyle Froman

“What do you love about rond de jambe? What are we practicing here?" Shamblin asks. The students' observations are astute: “Straight legs." “Turnout." “Straight back." Still, she demands closer scrutiny: “Some of you seem to have ordered a small pizza," she says, regarding the semicircular outline of the boys' ronds de jambe. “How can we fix the size of that circle?"

Often it is in Study Group that Shamblin first introduces students to palpating their own bodies to locate and understand muscles, tendons and joints—taking advantage of their interest in anatomy and biomechanics. After she has worked with a class for at least nine months, and students have become used to manipulating their own bodies, she will offer another interactive break and an early introduction to partnering: Operation Station. “You're the ballet doctor now," she jokes, as she lies down on the floor, asking them to point out what she's doing right and wrong in a particular posture. After a couple of students tap her lower ribs to get her to drop them and another points at her belly button (to get what they've learned to call a “TNT stomach"—a bundle of dynamite sticks), they all find their place in the room and resume adagio with a deeper respect for the core strength involved. It is a testament to Shamblin's well-honed teaching style that the boys focus on Study Group and Operation Station with a maturity beyond their years.

Shamblin breaks up the barre portion of class with Study Groups, where students gather to deconstruct a particular step. Photo by Kyle Froman

Shamblin herself exhibited an unusually focused demeanor as a child. After begging her mother for ballet lessons to no avail, she eventually found a phone book, chose a nearby studio and insisted on being taken there. (She was 8.) She trained with Kathy Milo and Kirk Derby at the Roseville School of Dance in California before graduating from the University of Utah, where she majored in ballet with an emphasis on both pedagogy and performing. Though she danced professionally for Sacramento Ballet and Capitol Ballet Company prior to moving to New York City (where she performed with Frank Ohman and Deborah Lohse's ad hoc Ballet), her first love was teaching. Capitol Ballet Company's Stuart Carroll remains the master teacher she still thinks of when she is leading a class. “I loved the expectations of excellence at CBC," she says.

It's apparent she is instilling that same excellence—with a good dose of fun—in these young gentlemen as class nears its end. She somehow finds time before révérence to fit in a traveling skipping competition, a round of freeze dance and a question about how best to count a polonaise. Like Poppins, there's no end to the tricks in her imaginary carpet bag.

Dance Teachers Trending
Roshe (center) teaching at Steps on Broadway in New York City. Photo by Jacob Hiss, courtesy of Roshe

Although Debbie Roshe's class doesn't demand perfect technique or mastering complicated tricks, her intricate musicality is what really challenges students. "Holding weird counts to obscure music is harder," she says of her Fosse-influenced jazz style, "but it's more interesting."

Keep reading... Show less
Sponsored by Dean College
Amanda Donahue, ATC, working with a student in her clinic in the Palladino School of Dance at Dean College. Courtesy Dean College

The Joan Phelps Palladino School of Dance at Dean College is one of just 10 college programs in the U.S. with a full-time athletic trainer devoted solely to its dancers. But what makes the school even more unique is that certified athletic trainer Amanda Donahue isn't just available to the students for appointments and backstage coverage—she's in the studio with them and collaborating with dance faculty to prevent injuries and build stronger dancers.

"Gone are the days when people would say, 'Don't go to the gym, you'll bulk up,'" says Kristina Berger, who teaches Horton and Hawkins technique as an assistant professor of dance. "We understand now that cross-training is actually vital, and how we've embraced that at Dean is extremely rare. For one thing, we're not sharing an athletic trainer with the football players, who require a totally different skillset." For another, she says, the faculty and Donahue are focused on giving students tools to prolong their careers.

After six years of this approach, here are the benefits they've seen:

Keep reading... Show less
To Share With Students
Via @madisongoodman_ on Instagram

Nationals season is behind us, but we just aren't quite over it yet. We've been thinking a lot about the freakishly talented winners of these competitions, and want to know a bit more about the people who got them to where they are. So, we asked three current national title holders to tell us the most powerful piece of advice their dance teacher ever gave them. What they have to say will melt your heart.

Way to go, dance teachers! Your'e doing amazing things for the rising generation!

Keep reading... Show less
Sponsored by Alternative Balance
Courtesy Alternative Balance

As a dance teacher, you know more than anyone that things can go wrong—students blank on choreography onstage, costumes don't fit and dancers quit the competition team unexpectedly. Why not apply that same mindset to your status as an independent contractor at a studio or as a studio owner?

Insurance is there to give you peace of mind, even when the unexpected happens. (Especially since attorney fees can be expensive, even when you've done nothing wrong as a teacher.) Taking a preemptive approach to your career—insuring yourself—can save you money, time and stress in the long run.

We talked to expert Miriam Ball of Alternative Balance Professional Group about five scenarios in which having insurance would be key.

Keep reading... Show less
Studio Owners
Getty Images

Enrollment is an issue that plagues brand-new and veteran studio owners alike. Without a steady stream of revenue from new students coming through your doors, your studio won't survive—no matter how crisp your dancers' technique is or how well-produced your recitals are.

Enrollment—in biz speak, customer acquisition and retention—depends on your business' investment in marketing. How effectively you get the word out about your studio will directly influence the number of people who register. Successful businesses typically use certain tried-and-true marketing strategies to recruit and retain clients or customers. These four studio owners' tricks for kicking enrollment into high gear are modeled after classic marketing techniques.

Keep reading... Show less
Dance Teacher Tips
Thinkstock

Dance teachers are just as apt to fall into the trap of perfectionism and self-criticism as the students they teach. The high-pressure environment that is the dance world today makes it difficult to endure while keeping a healthy perspective on who we truly are.

To help you quiet your inner critic, and by extension set an example of self-love for your students, we caught up with sports psychologist Caroline Silby. Here she shares strategies for managing what she calls "neurotic perfectionism." "Self-attacking puts teachers and athletes in a constant state of stress, often making them rigid, inflexible and ultimately fueling high anxiety rather than high levels of performance," Silby says. "Perfectionistic teachers, dancers and athletes can learn to set emotional boundaries. They can use doubt, frustration and worry about missing expectations as cues to take actions that align with what they do when teaching/performing well and feeling in-control. Being relentless about applying a solution-oriented approach can help the perfectionist move through intense emotional states more efficiently."

Check out those strategies below!

Keep reading... Show less
Sponsored by Turn It Up Dance Challenge
Courtesy Turn It Up

With back-to-back classes, early-morning stage calls and remembering to pack countless costume accessories, competition and convention weekends can feel like a whirlwind for even the most seasoned of studios. Take the advice of Turn It Up Dance Challenge master teachers Alex Wong and Maud Arnold and president Melissa Burns on how to make the experience feel meaningful and successful for your dancers:

Keep reading... Show less
Dance Teacher Tips
Thinkstock

Since the dawn of time, performers have had to deal with annoying, constant blisters. As every dance teacher knows (and every student is sure to find out), blisters are a fact of life, and we all need to figure out a plan of action for how to deal with them.

Instead of bleeding through pointe shoes and begging you to let them sit out, your students should know these tricks for how to prevent/deal with their skin when it starts to sting.

You're welcome!

Keep reading... Show less
Sponsored by The Studio Director

As a studio owner, you're probably pretty used to juggling. Running a business is demanding, with new questions and challenges pulling your attention in a million different directions each day.

But there's a solution that could be saving you time and money (and sanity!). Studio management systems are easy-to-use software programs designed for the particular needs of studio owners, offering tools like billing, enrollment, inventory and emails, all in one place. The right studio management system can help you handle the day-to-day tasks that bog you down as a business owner, leaving you more time for the most important work—like connecting with students and planning creative curriculums for them. Plus, these systems can keep you from spending extra money on hiring multiple specialists or using multiple platforms to meet your administrative needs.

So how do you make sure you're choosing a studio management system that offers the same quality that your studio does? We talked to The Studio Director—whose studio management system provides a whole host of streamlined features—about the must-haves for any system, and the bonuses that make an excellent product stand out:

Keep reading... Show less
Dance Teachers Trending
Photo by Brian Guilliaux, courtesy of Coudron

Eric Coudron understands firsthand the hurdles competition dancers face when falling in love with ballet. Now the director of ballet at Prodigy Dance and Performing Arts Centre in Frisco, Texas, Coudron trained as a competition dancer when he was growing up. "It's such a structured form of dance that when they come back to it after all of the other styles they are training in, they don't feel at home at the barre," he says.

Keep reading... Show less
Dance Teachers Trending
Kendra Portier. Photo by Scott Shaw, courtesy of Gibney Dance

As an artist in residence at the University of Maryland in College Park, Kendra Portier is in a unique position. After almost a decade of performing with David Dorfman Dance and three years earning her MFA from the University of Illinois at Urbana-Champaign, she's using her two-year gig at UMD (through spring 2020) to "see how teaching in academia really feels," she says. It's also given her the rare opportunity to feel grounded. "I'm going to be here for two years," she says, which offers her the chance to figure out the answers to some hard questions. "What does it mean to not dance for somebody else?" she asks. "What does it mean to take my work more seriously? To realize I really like making work, and figuring out how that can happen in an academic place."

Keep reading... Show less

mailbox

Get DanceTeacher in your inbox