So often, I find that dancers become totally confused if they are asked to change their front. They become disorientated without the mirror in front of them and consequently are not able to give their energies fully to the choreography. I recommend starting with very young children as early as four years old by training them to execute exercises facing away from the mirror. Of course, many exercises will be facing the mirror, but even working in circles and on diagonal will be extremely helpful in making the dancers understand that in order for dancing to be interesting to the viewer it has to be multi dimensional.

How many times have you been in final rehearsals for a showcase or recital and found that the dancers are having all kinds of problems finding their audience? I know that in the past this has happened to some of our dancers and so we always stress to all of our teachers the importance of working on this with the dancers during the year and in class time.

With the younger dancers it is a good idea to make it a game. Have half the class face one way and then the other half the opposite way. After performing the exercise or combination together but facing opposite ways have them switch around to find another front. Not only does this help them work away from the mirror, it is also a great way to see if each dancer really knows what they are doing. Children tend to follow the stronger dancers by looking at them in the mirror and then when faced with having to use their own brains are at a loss. So it will certainly develop each dancers confidence when they realize they do not need the mirror or to look at another dancer to be successful.

In my ballet classes with dancers of ten and up, I will ask them to face front or en face in 3rd or 5th position with their right foot in front, then I will ask them to put their left foot in front and face ouverte. There are always some who are confused. I do this same test having them face different directions and moving fairly quickly to help them really activate the thinking process. Working in circles is also an excellent way to help dancers develop a better sense of spatial awareness. In my experience, anything that you are going to teach the dancers to do in a circle needs to be initially taught facing the mirror. Once the dancers are relatively secure going straight ahead then you can have them try the steps in a circle. Dont be surprised if half of it is momentarily forgotten while the dancers adjust to going in a different direction. Up to about the age of twelve, most boys have more trouble than the girls not only with their balance but also with changes of direction. After that things seem to even out.

Another exercise that is great not only for spotting but also for making the dancers focus change very quickly can be done in a Ballet or Jazz class. If you use it in a Ballet class the dancers should stand in classical 1st and in Jazz class parallel 1st. 4 sautes facing front 4 sautes jumping to the right facing the right side, the back, the left side and then front. A turn with each saut. 4 sautes jumping to the right facing the back, front, back and front again. A turn on each saut. 4 sautes jumping to the right facing the left side, the back, the right side and then front. A turn with each saut. 4 sautes jumping to the right, making a full circle (tour en lair) Then repeat to the other side. Almost always everyone has a difficult time with the turn. So, have them map it out before they do it with the music. This exercise will certainly help them develop a better awareness of changing where their front is.

Try doing a whole combination or variation with each group of dancers facing a different way but dancing together. It will certainly be very interesting and both you and the dancers will probably end up laughing at the end result. Humor in class can be a very good thing but it can also prove a point to the dancers that this is something that they need to work on.

With my more advanced dancers I will from time to time in my Lyrical Jazz classes do an across the floor with them that will start facing the front or mirror and then midstream will face the back. . In these types of combinations I typically use turning pas de bourees and a variety of en dehors and en dedans pirouettes combined with other transitional steps, to get them moving across the floor using many changes of directions. These combinations are also excellent for really making the dancers think not only in the present step but further ahead. It is not only extremely helpful to any dancer, but also important that they are able to constantly think ahead. This is what keeps the flow of the movement going.

Again, once the dancers have mastered the across the floor combination then have them do it one by one going in a circle. What they need to understand is that whatever step they do facing the front is actually the outside of the circle and whenever they do the step facing the back, that is the inside of the circle. Once they understand this concept they will be able to do any combination facing any direction. Use steps that your students are familiar with to start until they get a feel for all the changes of directions. Later on, you can become more complicated with your choreography.

Using some of these ideas can not only help your students to become more complete dancers but will also go a long way to building their self esteem. It will teach them to be able to pick up any choreographers style and execute it well. They will become more aware of the other dancers around them and consequently this will help them to learn to work better as a team. Have fun experimenting with some of these ideas.