For 10 years, Anthony Morigerato judged competitions using almost the same score sheets he got when he was a comp kid. "I thought to myself, 'Why haven't they changed at all? Why are they so general?'" As a tap dancer, Morigerato found that only one word ("feet") on the judge's sheet applied to him. "It's not useful to tell a person to go work on their arms, feet or legs. The competition should be as educational as possible," says Morigerato, executive producer and artistic director of AM Dance Productions.
In a contemporary dance class at the University of North Carolina School of the Arts, instructor Kira Blazek Ziaii gives a stationary exercise inspired by Countertechnique, the movement system developed by Anouk van Dijk. By directing parts of the body away from each other in space, dancers learn to work with an ever-changing dynamic balance. To begin, Ziaii asks her students to shift their attention to different areas of their bodies, like jaws and armpits. "It can be illuminating for people to take their mental awareness to those places," says Ziaii. "It may also be helpful bridging the gap to coordination."
Some dancers naturally have a good sense of how to move smoothly and efficiently, while others need help organizing their bodies and connecting movements. Improving coordination can be slow, methodical work that requires a great deal of patience and technique. But giving students both intellectual and physical tools will help them develop a well-rounded approach to movement and dance more cohesively.
Jared Nelson, artistic director of California Ballet, demonstrates a tight fifth position as he talks to his class about the importance of rotating from the hips. "Having a visual image helped me as a dancer, so I try to demonstrate as much as possible," he says. "But I am also very conscious of word choice. Every dancer is different, and you have to phrase things in a language they will understand."
Teachers should always be aware of how they communicate with their students, including how they choose language for different individuals, classes or situations. Using the right terminology in early stages of training will ensure that students learn the proper names of steps. This foundation is crucial, particularly when so much of the classical vocabulary has been substituted by nicknames and phrases. (Think "lame duck" or "step-up turn" in place of piqué en dehors.) But good use of language also means using imagery and positive reinforcement to ensure the right kind of messaging. What teachers say in the studio could make the difference between dancers who listen—and ones who really hear.
Lorin Mathis. Photo by Autumn Eckman, courtesy of Lorin Mathis
In an adult ballet class, Kimberly Chandler Vaccaro noticed a woman working so hard that her shoulders were near her ears. "I was going to say something about her tension, but I didn't want her awareness to go there," says Vaccaro, who teaches at Princeton Ballet School. Instead, she told the dancer to remember that breathing muscles are low, below her sternum. "Then we talked about moving from the shoulder blades first, and how they're halfway down your back. She started this lovely sequential movement, and it eventually solved the problem."
Drawing attention to symptoms, such as tense shoulders, might create more issues for a dancer if the cause of the problem remains unaddressed. Simply saying "shoulders down" might compromise alignment as the dancer tries to show a longer neck or forgets to breathe, jeopardizing movement quality. Teachers can be strategic and communicate information in a way that doesn't aggravate the situation. "Dance will never be easy," says master teacher Risa Steinberg, "but it can be easier if you're not folding new problems on top of old ones."
A tap dancer's upper body might be hunched or upright, quirky or smooth, depending on the individual's style. "People might think it looks silly when hands or arms are doing awkward things, when the dancer is reaching for infinite possibilities," says Jared Grimes, tapper and choreographer based in New York City. "But that's what the back and core muscles do for a dancer. They provide support for the thoughts below."
At the LINES Ballet Dance Center in San Francisco, faculty member Erik Wagner leads his class through an adagio combination in center. He encourages dancers to root their standing legs, using imagery of a seed germinating, so that they feel more grounded. "Our studios are on the fifth floor, so I'll often tell them to push down to Market Street," says Wagner. "They know that they should push their energy down to the street level." By using this oppositional force, he says, dancers can lengthen their bodies to create any desired shape.
James Payne, director of The School of Pennsylvania Ballet, starts class each day by asking students how they feel. "If they're collectively hurting, and I know that the day before they were working hard on something new, I might lessen the intensity of the class," he says. "I won't slow it down, though. Sometimes it's better to move through the aches and get to the other side."
A productive class depends, in part, on how well it is paced. If you move too slow, you risk losing students' interest and creating unwanted heaviness. Move too fast and dancers might not fully benefit from combinations or get sufficiently warm, increasing their risk of injury. But even these guidelines may differ depending on the students' age and level. Good pacing is a delicate balance that can facilitate mental and physical growth, but it requires good planning, close observation and the ability to adapt mid-class.
As a young student, Becky Erhart Moore did not go on pointe with the rest of her class. "My teacher felt I wasn't ready, so I wore flat shoes when everyone else wore pointe shoes," she says. "My mom had to deal with my tears for weeks!" Moore, who is now artistic coordinator and faculty member at Marin Ballet in California, says that the setback she experienced as a child motivated her to work even harder. "When I finally went up on pointe with my class, it was that much sweeter."
Graduating seniors at CC & Co. Dance Complex
Photo courtesy of CC & Co. Dance Complex<p><strong>Cohort Class Structure at CC & Co. Dance Complex</strong></p><p>Christy Curtis, founder and director of CC & Co. in North Carolina, keeps peer students together in classes during the week. If students want to pursue a career in dance and seek more intensive training, Curtis provides or recommends these additional opportunities:</p><ul><li>Extra classes on the weekends</li><li>Private lessons or small-group work with guest artists</li><li>Summer intensive programs</li><li>Additional studio hours for solo rehearsals</li></ul><p>"Most of the dancers here just enjoy their time together," says Curtis. "Once you have that, it's likely they'll stick with it."</p>