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WHY DO YOU DANCE?

Why do you dance? It’s a simple enough question with an infinite amount of answers; unique to the individual being asked the question. Think about how many times you’ve been asked that question throughout your life. Go on. Give it a good think. Do you remember how you have answered? Has your answer remained the same? Has it changed over the course of your life? Has it been affected by an event or situation currently occurring in your life? Has it had more than one answer? Have you had no answer; where you couldn’t quite put it into words and encapsulate what it means to dance and to be a dancer? Has you answer been affected by where you were at a specific point in your career? Has it been affected by your age? Your experiences? Hindsight? Physical or emotional factors? Current events? Teachers? Mentors?

We all have different reasons for why we dance. We each got to the point we are at in our career because of those reasons. Yet, with every unique answer there is a common thread which embodies a passion, “a calling,” that in many ways highlights how we didn’t necessarily choose dance, dance chose us.

Now, think about your students......

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THE IMPORTANCE OF PERFORMING IN CLASS

Let's be honest. We all have students who, in class, execute movement with ability, are focused enough to demonstrate they are retaining information and seem to comprehend the lessons being taught. They move well, show promising physical agility, travel across the floor deftly, pick up choreography, take correction (and even sometimes apply it,) show progress from week to week and dance center combinations with ease..... So what's the issue, right? Well, what happens when that exact student is about as interesting to watch in class as watching paint dry? Imagine all of the above occurring week in and week out with no expression, no emotion and no sense of connecting to anything other than regurgitating the steps presented in front of them. Imagine your rehearsals running the same way. Numbers are clean enough, everyone knows their blocking, entrances and exits, partnering and transitions, but the emotional connection is void. How is a teacher supposed to trust that the performance element is being given the same consideration?

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MANAGING & RESPECTING YOUR FACULTY'S ARTISTIC CHOICES

The work your faculty puts out on the stage is a direct reflection to your name and reputation. The concept, music, choreography, costuming and overall appearance is to be considered with great weight and compromise. Deciding "what kind of studio you are," in terms of the material you present and how you'd like your business to be perceived, calls for a direct correlation to the faculty you hire and their understanding of your mission as well.........

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