Feeling a bit burnt out? Join Us this summer HERE!
“To accomplish great things, we must not only act, but also dream; not only plan, but also believe.” -Anatole France As a studio director, the most difficult part of the job is how to take all the components, all the …
Expectation. It’s a word in which we often tip toe around. Especially in regards to our younger generation. Are they expected to handle too much? Do too much? Manage too much? Cope with too much? Be responsible & accountable for …
"Top Hat"- Lesson Plan for Creative Movement Classes INTRODUCTION The teacher walks over to the group wearing the class’ special top hat and explains to the students that the person wearing this hat at any point in time is the …
Studio Directors, what is your view on re-auditioning your company members every year? It is definitely food for thought and in my experience an important essential to studio business. The most obvious reason is it gives new dancers an opportunity …
Technique is the most crucial aspect of any dance class, we all know that. It is the fundamental foundation of dance which propels a dancers growth, increases flexibility, enhances strength and teaches them essentially, “how to dance.” If our dancers …
We train our dancers to take everything with a grain of salt; to take the compliments and the criticisms, to not get too high or too low about accomplishments and failures. We prepare them for the harshness of the outside …
Kathleen Marshall has Directed and Choreographed 13 Broadway Shows and has won 3 Tony Awards and 2 Drama Desk Awards. Listen to her great insights on teaching, training and preparing your students. Don't forget to check out her terrific class …
It may seem like common knowledge and something that is a given; surrounding ourselves only with people who lift us up and want to be see us succeed and fly high. But, that is not always the case and we …
We all come across dance students that lack the strength and flexibility to sustain a proper port de bras position. Whether it be the non-engagement of the shoulders and back, not pulling up, the drooping elbows or the sole initiation …
If you were like me, you danced everything full-out - all the time, every time. There was never a glimmer of a thought about marking something unless the teacher instructed it was OK to do so. Even then, you rarely …
Last week we looked at how we can make a preteen musical theatre curriculum age appropriate, relevant and relatable. We discussed the many ways in which to provide the dancer (regardless of the level,) the entire experience towards complete comprehension. …
Dance Studios are a dime a dozen. Right? In some places you can see one every couple of miles. I’m sure you’ve thought to yourself in passing, what makes this one better than that one? What makes mine the standout …
There are many components to teaching musical theatre effectively; technically, stylistically, historically and conceptually. This is especially true when introducing it to the preteen demographic. This genre is a real love of mine and where my heart is at, so …
Sometimes if we’ve been teaching long enough it is inevitable that we go on autopilot from time to time. Like our students, we can sometimes coast, phase out, be distracted and ride out the already known. We’re human. But, our …
Remember when you were little and would twirl and spin just because it was fun? Remember those first pair of ballet slippers and the excitement of being in dance class following your teacher in the front of the room? Remember …
We’re at that time of year when we are setting numbers for competition and need to give thought about the ones that are just about finished. While coming up with clever concepts and original choreography is a given, sometimes once …
