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WHAT YOUR DANCERS SHOULD BE DOING BEFORE CLASS

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We’ve all walked into our classes and seen a myriad of things going on with our dancers. Sometimes good, sometimes not optimal. Just as we set a standard of excellence and expectation during class, what we should be requiring before class should be no different. Sure, dance has a social element where dancers are close friends, there to catch up on their day (especially if they go to different schools) and talk about the latest things, but there’s a way to keep the pre-class protocol engaging as well as preparatory for class. So what should you be implementing? Well, each class and teacher are different, but the following are general guidelines to avoid seeing the coffee klatch day after day and keeping the energy focused and productive. With time, reminders and repetition, it will become habit and studio culture which is positive and infectious to others.

1. Warmup: Yes. Believe it or not, dancers seem to forget they should be engaging in light stretching before class. Particularly if a student has mentioned an injury they are dealing with, your dancers should know this is a given. No dance teacher wants to walk in and see dancers sitting or lying around doing nothing. You need to make it a point to remind dancers that this is the expectation. Nobody is expecting silence, but keeping voices to a respectful level and being proactive to care for one’s own body and needs is a great habit to instill from a young age. It also doesn’t hurt to point out that it is disrespectful to a teacher to walk in and see dancers laying on the floor or causing a raucous.

2. Practicing something specific: This one is especially important before rehearsal. For example, this year I’m using hats and canes for a number with some pretty intricate tricks. What I was quickly noticing was dancers were not visiting their props during the week at all except for rehearsal on Saturdays. Therefore the skill set and agility with their props was not improving. In turn, the piece was not clean or getting cleaner. Reminding dancers that they need to be proactive and carve out time before class, rehearsal, etc. to get the group together during the week to practice and get comfortable with their props is essential. Even if your dancers are using different props, they should be grabbing them whenever they have down time for even 10-15 minutes and manipulate them, rehearse with them and understand the mechanics.

3. Reviewing: Every dancer, regardless of age or level has something they can be reviewing. This may be a combination you gave earlier in the week, a correction or specific note you gave them, vocabulary words or anatomy lessons you assigned, a new exercise they didn’t quite grasp in a previous class, teaching a fellow dancer what they missed the week before or a stretch  demonstrated that felt really good on their body, etc. Bottom line-there is ALWAYS something a dancer can be reviewing whether it’s on their own or with a partner.

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Author

Jessica Rizzo Stafford

Jessica Rizzo Stafford

Jessica Rizzo Stafford is a native New Yorker and graduate of NYU Steinhardt's Dance Education Master’s Program; with a PK-12 New York State Teaching Certification. Her double-concentration Master’s Degree includes PK-12 pedagogy and dance education within the higher-education discipline. She also holds a BFA in dance performance from the UMASS Amherst 5 College Dance Program where she was a Chancellor's Talent Award recipient. Jess now works extensively with children, adolescents and professionals as choreographer and teacher and conducts national and international master-classes specializing in the genres of modern, contemporary, musical theatre and choreography-composition. Jess’ national and international performance career includes works such as: The National Tour of Guys & Dolls, The European Tour of Grease, West Side Story, Cabaret, Sweet Charity, Salute to Dudley Moore at Carnegie Hall, guest-dancer with the World Famous Pontani Sisters and IMPULSE Modern Dance Company. Jess has been a faculty member for the Perichild Program & Peridance Youth Ensemble & taught contemporary and jazz at the historic New Dance Group and 92nd Street Y in NYC. She was Company Director at the historic Steffi Nossen School of Dance/Dance in Education Fund and in 2008 traveled to Uganda where she taught creative-movement to misplaced children. The experience culminated with Jess being selected as a featured instructor at the Queen's Kampala Ballet & Modern Dance School. She has conducted workshops for the cast of LA REVE at the Wynn, Las Vegas and recently taught at the 2011 IDS International Dance Teacher Conference at The Royal Ballet in London, UK. She is also on faculty for the annual Dance Teacher Web Conferences in Las Vegas, NV. Currently, Jess is a faculty member at the D'Valda & Sirico Dance & Music Centre and master teacher & adjudicator for various national and international dance competitions. Recently, she has finished her NYU Master’s thesis research on the choreographic process of technically advanced adolescent dancers and is the creator of “PROJECT C;” a choreography-composition curriculum for the private studio sector. Jess is also faculty member, contributing writer and presenter in the choreography and “how to” teaching segments on the celebrated danceteacherweb.com. For more info, visit her website at www.jrizzo.net.

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