Growing up, I remember my teachers telling me that I was expected to be at dance when I was sick, unless I was throwing up. The expectation was that I could push through most illnesses for class, and if I couldn't, I should sit and take notes. While I didn't always love it at the time, I was able to keep up with the changes made in the routines, and prove to myself that I wasn't just being lazy and ditching class.


As a teacher, I've adopted this same practice with my students. It's difficult to manage everyone's various ailments while trying to clean numbers and refine technique in time for the next performance or competition. Lately, though, I've been wondering if that's best. Sure, my students are committed to class, but they're also bringing their germs around the other dancers and putting them at risk for becoming sick themselves. Every year it seems there is a sickness that literally hits everyone at once, and it feels like we all become zombies. We're present, but miserable and less effective. And sure, a minor cold isn't likely to do much harm, but what about the horrible flu that went around last year? Sometimes your kids might not be puking, but they're carrying an illness that can turn everything upside down.

This season, try taking preventative measures to stop infectious illnesses from spreading through your studio, ask your students to stay home when they are contagious (remind them that they are on their honor, and emphasize the importance of honesty), wipe down the barres after each class and have your students use hand sanitizer when they leave rehearsal each day.

Let us know over on our Facebook page what kinds of things you do to keep your students healthy each year, while still keeping classes full and productive.

We're all in this together, people! May the healthy odds be in our favor!

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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.

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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.

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Dance Teacher Tips
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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!

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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.

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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."

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"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.

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"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."

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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.

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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.

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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."

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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.

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Bill Johnson, Courtesy Just for Kix

Cindy Clough, executive director of Just For Kix, has been called the Queen of Fundraising by colleagues. A studio owner and high school dance coach with over four decades of experience, Clough is known for her smart and successful fundraising ideas.

Now, Just For Kix has created a new online tool to help everyone tackle their fundraising goals, whether you're raising money for uniforms, extra classes, or to cover the cost of travel for your dance team's next convention.

Clough shared a few of her best fundraising tips, including everything you need to know about the new tool:

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