As teachers and choreographers, we often have a vision in our heads — the music, the shapes, the dynamic accents, the sweeping lift that catches the perfect lighting. But then we step into the studio, look around, and realize that our dancers are not the ones from our imagination. They’re our dancers — the students we see every week, each with their own unique strengths, quirks, and limitations. And that’s where real artistry begins.
Creating choreography that looks good on the dancers you have isn’t about lowering your standards or compromising creativity. It’s about honoring the performers in front of you — shaping the movement so that it brings out their individuality and confidence. When choreography fits the dancer, not only does it look stronger, it also feels more authentic.
A beautiful routine isn’t defined by technical difficulty; it’s defined by connection. A perfectly executed triple pirouette means little if it doesn’t suit the tone of the piece or the dancer performing it. On the other hand, a simple, well-placed turn — grounded, expressive, and in tune with the music — can stop an audience in their tracks.
As teachers, it’s our job to observe what our dancers do naturally. Some move with lyrical flow; others have sharp precision or rhythmic instinct. Instead of forcing everyone into a uniform mold, we can choreograph in ways that highlight what makes each dancer shine. This doesn’t mean abandoning structure or challenge — it means crafting movement that allows every dancer to succeed within their own artistic range.
When we start from who the dancers are rather than who we want them to be, the process becomes more collaborative. Dancers feel seen and valued, and they invest more deeply in the choreography. They perform with ownership — and that authenticity radiates onstage far more powerfully than perfection ever could.
It can be tempting to recreate a piece we saw online or revive an old competition number that once brought the house down. But great choreography lives in the present moment, not the past. It’s an evolving conversation between the teacher, the music, and the dancers in the room. What worked five years ago for one group may fall flat today — because these dancers have different energy, experiences, and chemistry.
Choreographing for your dancers means paying attention. Notice how they respond when you play a new song — who lights up, who softens, who moves instinctively. Let those reactions guide your choices. Build around the qualities that emerge naturally, and then layer in challenges that push them just a little beyond comfort. Growth happens when dancers feel both capable and inspired.
At the end of the day, choreography isn’t about showing what you can create — it’s about revealing what they can express. When your choreography celebrates your dancers’ individuality, the result is always more captivating, more honest, and more human.
Because dance, at its heart, isn’t about the steps — it’s about the people taking them.
See you in the dance studio,
Jess
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