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Dance Education in the K-12 Setting:

Making The Connection Between Classroom And Studio

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Helping Your Students Get To The Next Level

As the dance season starts to wind down, we believe this is the best time to reflect on your students growth and evaluate where they currently are, where they want to go and what their potential is. One of the keys in the evaluation process is to look at how they apply their corrections and how eager they are to get to the next level. As teachers it is our responsibility to connect with each student to see what can be done to help them advance. Even if they are not moving to the next level, it is important to show that they are advancing in their overall progress and that staying in a certain level for another year doesn't mean that they will be repeating all that they have already learned. Learning something is very different from being able to apply it. Here are some key points to focus on while you are evaluating each student.

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Beauty Tips

Recital make-up is a look to set off the costume and set the mood of the dance piece. Those little extras capture the era and style of the number. Whether the dance is 1950s Grease, a ballet classic, or futuristic pop, its the make-up and hair that finishes the look and creates the fantasy. Preparation will ease the stress of worrying if your performers will all show up looking polished and stage ready. A stage makeup rehearsal will get everyone on the same page, work out any challenges beginners might have and help create that uniform look of a truly pulled together production.

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Port De Bras Part I: Strength Training

It is very common for dancers to concentrate on their legs and feet and forget the importance of their port de bras. Many times, when I have judged competitions or seen dancers in performance I have been impressed by their footwork and leg extensions, but disappointed in the lack of upper body movement and strong use of their arms. The main problems that occur are lack of release and rotation of the upper body, especially in the chest area, and weak use of the arms with a lack of shape to the movement. It is important for young dancers to understand that dance encompasses the entire body and is not complete unless every part is working together. There are a number of mental and physical exercises that I have found helpful in teaching dancers to become more aware of this area of their training.

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