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Respect Is a Grown-Up Job

Type:

Blog

Category:

Dance Studio Owners

Dancers don't learn respect from a poster on the wall. They learn it from watching us.

I've seen a lot of talk lately about respect. Posts about it. Comments about it. Everybody agrees it matters.

What I haven't seen is a plan. So here's one.

Here's what stood out to me. Two conversations that look completely different.

In one, a studio owner asks fellow owners what to do about dancers who roll their eyes when corrected and keep "forgetting" their dance bags, even after reminders. Honest question. Good question.

In the other, a post is making the rounds about how studios talk about each other, and how the kids are the ones who lose out when it gets ugly.

Different posts. Same thread. Dancers pick up what they see the adults around them do.

THE DANCERS ARE WATCHING US

Dancers learn what respect looks like from how the adults in the building talk. About each other. About parents. About the studio down the road.

We all want respectful dancers. They get it from the room we build together, and none of us gets that right every single day.

WHAT HELPS WITH THE EYE ROLL

1. Write the standard down once. Dress code, attitude, attendance. One page that dancers and parents both sign. If it isn't written, it isn't a rule. It's a mood.

2. Use the same three steps every time. Step one is a private reminder with no audience. Step two is a same-day call or note to the parent, just the facts. Step three is a consequence announced in advance and tied to the behavior. For dress code, that can be sitting out to observe that class.

3. Take the excuse away with a loaner bin. Keep spare leotards, tights and shoes. The dancer takes class in the loaner and the parent gets a note. It's boring. That's the point.

4. Correct once, privately, then move on. An eye roll in front of the room can turn into a power struggle. Handle it after class and the room keeps moving.

5. Make company membership a written commitment. Company dancers represent the studio in and out of the building. Put the higher standard in a contract they and their parents sign, including how they behave online.

Consistency beats severity every time. The ladder applies to the star dancer exactly the way it applies to the newest one. The day it bends, everybody learns it bends.

THREE WAYS TO TEACH RESPECT, NOT JUST ENFORCE IT

Rules tell dancers what not to do. These three tips show them what to do instead.

1. Say what respect looks like, out loud. To a 10-year-old, "be respectful" is vague. Make it visible: eyes up when a correction is given, a "thank you" at the end of class, shoes and bags put away. Three short lines on the wall beat a long speech.

2. Catch them doing it right. When a dancer takes a correction well, say so, by name, in front of the group. What gets noticed gets repeated, and the rest of the room notices what earns the praise.

3. Give them a respectful way to push back. Dancers will have questions and disagreements, and that's healthy. Teach the words: "Can I ask a question after class?" or "I don't understand, can you show me again?" A dancer with a way to speak up has less reason to roll their eyes.

AND THE OTHER HALF: HOW WE TALK ABOUT EACH OTHER

The same standard works for us, too. A few guidelines worth keeping:

1. Keep it kind in front of dancers and parents. The lobby, the car and the joke all count.

2. When a family leaves, send them off well. The door stays open, and the dancer remembers how they were treated.

3. Celebrate other studios' wins out loud. Another studio's success doesn't make yours any smaller.

A simple test: would I say this in front of my dancers? If the answer is no, it probably doesn't need saying.

Studios are small communities, and the dance community is smaller than it looks. Reputations are built by what we stand for, not by who we criticize.

Respect isn't a poster on the wall. It's a grown-up job, and it's one we share.

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Author

Steve Sirico

Steve Sirico

Steve is co-founder of Dance Teacher Web the number one online resource for dance teachers and studio owners worldwide.He is Co-Director of the very successful D'Valda and Sirico Dance and Music Center in Fairfield, CT for the past thirty plus years. His students have gone on to very successful careers in dance, music and theater. Originally from Norwalk, Ct, Steve excelled in track and football. He attended the University of Tennessee at Martin on a sports scholarship. Deciding to switch and make his career in the world of dance, he studied initially with Mikki Williams and then in New York with Charles Kelley and Frank Hatchett. He has appeared in a number of theatre productions such as Damn Yankees, Guys and Dolls and Mame in New York and around the country and in industrials and television shows. He was contracted to appear as the lead dancer in the Valerie Peters Special a television show filmed in Tampa, Florida. After meeting Angela DValda during the filming they formed the Adagio act of DValda & Sirico appearing in theatres, clubs and on television shows such as David Letterman, Star Search and the Jerry Lewis Telethon. In 1982 they were contracted to Europe and appeared in a variety of shows in Spain, Portugal, Sweden, Finland, Switzerland and Italy before going to London, England where they appeared as Guest Artists for Wayne Sleep (formerly of the Royal Ballet) in his show Dash at the Dominium Theatre. Author of his Jazz Dance syllabus and co-author of a Partner syllabus both of which are used for teacher training by Dance Educators of America, He has also co-authored two books one for dance teachers and one for studio owners in the "It's Your Turn" Book series. He is available for master classes, private business consulting and teacher training development

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