With the physical demands required of dancers today, conditioning and injury-prevention are more important than ever. So it's no secret that dance teachers are constantly in search of new ways to challenge, strengthen and build upon their dancers' training—safely.

Cue The Hall Method.


Marlene Hall, who's now on faculty at the Orange County High School of the Arts (OCSA), first noticed the benefits of Pilates and TheraBand conditioning—and how it strengthened her ballet and pointe work—while attending UC, Irvine. Eventually, she created her first Therabarre class in 1998, followed by the Foam Roller Barre, Ball Barre (on the wall) and the Disc Class, all to compliment her students' normal dance-training schedule. "The method is great for all dancers," says Hall. "We specialize in preparing dancers for college, working in collaboration with college dance programs and helping professional dancers extend their injury-free careers by working with companies and independent dancers."

Her current and former students, including Alonzo King LINES Ballet dancer Michael Montgomery and Asia Bonilla, a dancer at the Ailey School/Fordham University BFA program, incorporated the technique into their training. "The Hall Method gave me my dance career back after chronic pain and injury had sidelined me," says Kai Hazelwood, who is Hall's partner and the first teacher trained to teach the method.

Over the years, the technique has also sparked interest from the sports medicine community. Spine rehab specialist Dr. Jim Augustine endorsed the Therabarre class as very safe and effective. In 2011, the strengthening of Hall's pre-pointe students was noticed by the USA Gymnastics athlete care coordinator Dr. David Kruse, and by Dr. Jeff Russell, who specializes in keeping athletes and dancers healthy.

A Therabarre class follows the format of a classical ballet barre, but exercises are executed with both legs attached to either end of a TheraBand, the center of which is anchored on a barre behind the student to add resistance and allow for proprioceptive neuromuscular facilitation (PNF).

Exercise #1: Therabarre Tendu Exercise

Two tendu Therabarre exercises youtube

"Proprioceptive neuromuscular facilitation, an advanced stretching technique, based on the notion that muscles can achieve a greater range of motion after they have been fatigued, has been used for years by athletes, gymnasts, rehabilitation and conditioning professionals," says Russell, PhD, AT, FIADMS Ohio University. "Physical therapists and trainers use PNF by fatiguing a muscle or muscle group with an isometric contraction, then stretching that muscle with the resistance of a partner. In Therabarre, the TheraBand replaces the need for a partner, which allows for complete control by the dancer, eliminating any danger."

Exercise #2: Piqué and Balance With Rotator Disc

Piqué and balance exercise with rotator disc youtube

In 2014, while working closely with Kruse and Russell, Hall presented her work at the International Association for Dance Medicine & Science (IADMS) in Basel, Switzerland, to a group of artistic directors, doctors and physical therapists from all over the world. Currently The Hall Method has three medical patent–pending classes in the U.S. and the European Union. A teacher-certification program is also in the works.

"My most proud accomplishment," says Hall, "has been helping two of my students straighten out their spines from scoliosis in four months and eliminating having to go into back braces. Helping people is my passion."

Exercise #3: Grand Battement on the Wall With Ball

Grand battement devant from sous-sus on the wall exercise with ball youtube

For more information about The Hall Method and the upcoming 2019 workshop, click here.

The Conversation
Dancer Health
"We think as dancers, 'Oh my gosh, if this thing isn't working hard enough, I have to work it harder.' In order for these muscles to work, they have to have a chance to relax, too." –Kathryn Maykish

As deeply familiar as dancers are with their bodies, there's one muscle group that can remain mysterious. You can't see it, and it can be tough to access, but the pelvic floor serves a major role in your posture and body function. Dancers and other athletes are more prone than the general population to dysfunction of the pelvic floor, and this can have major ramifications in dance and life.

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The holidays are here, and as everyone knows, the real best way to spread Christmas cheer is serving your community and helping those in need. Luckily for dance teachers, dance studios are the perfect backdrop for the start of some seriously awesome service projects. Your dancers will learn the value of helping others, and you will all feel warm and fuzzy inside!

Check out these three service-project ideas, and try implementing them at your studio this season. Let us know over on our Facebook page, or in the comments below, what other projects you do at your studio that make a difference in your community!

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The holidays can make this time of year fly by. But successful studio directors know that December is not the time to rest on their laurels. Here are four projects to consider this month to give your business a year-end boost.

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Dance Teacher Tips
Eva Stone directs The Stone Dance Collective, shown here in Eve, reconsidered. Photo by Rex Tranter, courtesy of The Stone Dance Collective

Unlike the majority of my students and colleagues, my journey in dance has been unorthodox. At age 14, I enrolled in modern dance at my high school, and something about the large open studio with room to move thrilled me (and still does). I immediately set out to impress my dance teacher with my complete repertoire, a solo interpretation of "Bohemian Rhapsody" created in my living room, infused with several badly self-taught ice-skating moves. In that moment, an awareness of the power of movement, music, space and performance aligned, and I instinctively knew I was someplace special.

My high school dance teacher was smart. Knowing that she did not have the time to mold us into technically proficient dancers, she introduced us to the craft and skill of making dances. I spent four years opening the door to my creative voice, becoming a confident choreographer. As a dance major in college, however, I quickly realized I was lacking something very important: actual dance training. So I began an intense regimen of studying, analyzing, copying, stealing and emulating every movement language, quality and nuance with which I could connect. Later, I completed a master's degree in choreography and choreological studies, formed a small dance company and set out to fund my artist's life with teaching.

As a modern dancer, and having come to dance late, communication and imagery were significant in managing the demands of my training. I had to ask a lot of questions, because I had not yet developed a physical vocabulary of answers. I needed a sense of humor, to prevent me from quitting. I had to negotiate, rationalize, moderate and articulate, both verbally and physically, a pathway through much of what I was performing in or choreographing. This allowed me to solve problems more creatively, from a place separate from a perspective of pure technical ability. I now use these same methods for teaching students.

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Dancer Health
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According to the American Foundation for Suicide Prevention, suicide is the 10th leading cause of death in the U.S. In 2017, 47,173 Americans died by suicide, and there were an estimated 1.3 million suicide attempts. While it's a myth that suicide rates are higher in December than any other time of year, the holidays give us an opportunity to consider the health and happiness of those we love. As dance teachers, we spend more time with our students than even their parents do, which means we are in a particular position to notice the pain and distress they're experiencing.

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Dance Teacher Tips
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Q: What do you do with parents who constantly complain about where their daughter is placed in choreography?

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Studio Owners
Photos courtesy of Google

Valentina Bagala and Rafael Savino held their studio's very first registration at a Subway. "We didn't even have an office," says Bagala, who heads the artistic side of Ascendance Studio in Doral, Florida. "This lady called us over the phone, and we said, 'OK, we can take your registration. Would you mind meeting us at the Subway that's downstairs from our studio?'"

Now, five years later, Ascendance is thriving, with a growing competitive team, a 5,000-square-foot space and 300 students—one of whom is the same dancer who was registered in that Subway. Today, registration mostly happens online, as do many of Ascendance's processes—attendance, billing, e-mail marketing campaigns—thanks to Savino, who heads the studio's marketing, finances and administration. To what do Bagala and Savino credit their impressive growth? Digital advertising. Despite working in an industry where many still rely on old-school methods of operation—manual registration, tuition paid in person by cash or check, fliers handed out in parking lots—they took the plunge to modernize their advertising strategy and found it a game changer for their studio.

Slow, but consistent

Bagala and Savino admit Ascendance got off to a rocky start. They rented space from a fitness studio for three months. "We didn't get the best schedule," says Bagala, who could only rent the space by the hour when it wasn't being used. Still, she managed to amass 25 students. Eventually, she found a small, 550-square-foot space of her own in a shopping center. "I remember for our first classes, we would have people who were supposed to show up but didn't," says Savino. "If we had one student in class, we had to teach to that student. That happened multiple times."

When two more spaces became available in the same shopping center, the couple grabbed them, despite the inconvenience of the units not being connected. "You had to step outside," says Bagala. "It wasn't very comfortable."

"The fliers weren't working."

With more space came more responsibility—to increase enrollment. They had been passing out fliers at nearby schools, but that approach, Savino says, "became unscalable. That's when I started looking at digital advertising." He didn't have much money to spend on it—his budget was $5/day—but he began looking into advertising on Google. He also enrolled in a local digital marketing course at nearby Miami-Dade College. "That gave me strategy," he says.

His most successful venture has been with Google's AdWords. With this advertising strategy, business owners create a search ad. (Search ads appear above Google search results when people look for local services the business offers.) The Ascendance search ad, for example, includes the studio website and phone number, plus: "Dance classes for kids. All ages and styles. Try a free class today." Then, you choose keywords—the words or phrases potential customers might type into their browser—and set a daily budget for how much you'd like to "bid" on each keyword. You're charged only if users click your link. During his first AdWords campaign, Savino often bid less than $1 on keywords like "ballet classes," "hip-hop classes," "jazz" and "dance studio."

How much you bid affects in what order your search ad appears among other businesses. But a business with more money to spend on keywords won't automatically see their ad pop up first. Multiple factors—keyword bidding price, how long a user stays on your website, your click-through rate—determine what's called your quality score. And it's your quality score, ultimately, that decides in what order your ad appears on Google.

"For example, let's say there's a huge competitor who's bidding $10 a keyword, while I'm only bidding $1," says Savino. "Google is tracking everything. If users stay on my website for a while and don't click the back button to get back to the search page, Google knows my website is relevant and a good experience." That increases his quality score and gives his search ad odds a boost.

Experimenting, wisely

Savino ran his initial AdWords campaign for about a month in 2013, starting in mid-September—prime back-to-school time. Each week, he wound up getting 10-plus interested customers. He offered each a free trial class. Of that weekly number, more than 80 percent enrolled in classes. By the time the campaign was over, Ascendance had 45 new students. And it all cost him less than $150. Though he risked spending more than his daily allotted $5, he knew it would pay off in increased enrollment.

As they became more comfortable with AdWords, the couple experimented. Bagala asked her mom what words she would use to search if, for example, she were looking for ballet classes for a 5-year-old. Her responses became part of their strategy: "ballet classes in Doral," "dance classes in Doral," "dance studio in Doral." They also interviewed parents of new students, asking 'How did you hear about us?' "If they said, 'Google,'" says Savino, "we'd ask if they remembered what they typed."

Now his daily budget is $20, though he's careful to time campaigns with high-enrollment periods. "During back-to-school season, August and September, I know a lot of people are going to be looking for classes," he says. "But I also know that January is another high-enrollment period—that's when we see an uptick in our baby program. Those moms are operating on a calendar year, not a studio year."

When Google came to town

Last spring, Google itself took an interest in Ascendance, and it featured Savino and Bagala in a national video campaign as a small-business case study. Of particular interest was the studio's dual advertising campaigns: one in English and one in Spanish. Savino and Bagala are bilingual, and their community is largely Spanish-speaking—so they capitalized on that. "Since we were advertising in Spanish," says Savino, "those people were sure that they were going to come through our door and someone would be here who would speak their language."

Of course, digital advertising can only take a studio so far. You have to follow through with a great product—and that, Savino says, is Valentina's greatest contribution to the business. "At the end of the day, if the product isn't good, people are simply going to leave," he says. "She's the heartbeat of the studio."

Dance Teacher Tips
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It's a dance teacher's job to prepare students for professional careers. As everyone knows, this means more than just giving them precise technique and exceptional performance capabilities. Perhaps more than ever, it's important that teachers prepare their students to know how to make smart and safe decisions when entering the workplace. It's important that we give them the skills to say "no" when a project doesn't fit with their personal values, puts them in a dangerous or toxic work environment, or is discriminatory to their race, gender, sexual orientation or religion. Teachers need to help their students advocate for themselves in order to create a career they can be proud of.

Here are four tips for helping your dancers make safe and smart professional decisions when they leave the warmth of your caring and supportive studio.

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Dancer Health
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Q: I've noticed a clicking or popping sound coming from my right hip joint when I raise it to the side, and I tend to be far more flexible on my left leg. Are these two things connected? Should I be worried?

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Q: I want to do a holiday performance and need some advice. How do you get parents on board? How do you keep it economical? What other money makers do you do at your holiday show other than ticket sales?

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Dance News
Genshaft in Ratmansky's From Foreign Lands. Photo by Erik Tomasson, courtesy of San Francisco Ballet

Dana Genshaft was a beloved dancer in the San Francisco Ballet for 15 years, rising to the rank of soloist. Some of her SFB career highlights include performing lead roles in Frederick Ashton's Monotones I and Wayne McGregor's Eden/Eden and originating roles in Val Caniparoli's Ibsen's House and Mark Morris' Joyride, as well as working with Christopher Wheeldon and William Forsythe.

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