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Choosing a Dance School – Is There Really a Difference?
On the surface, the offerings may seem the same, but the nature and quality of each dance school can be completely different. How do you know which school is right for your child?
Some schools try to create a conservatory atmosphere and, for example, require a certain number of lessons per week. This may be fine for more serious students, but for a student who enjoys dancing as one of several other activities, it can be problematic. Sometimes exceptions can happen. don’t be afraid to ask! If the school cannot accommodate you, try another school where your child is more comfortable.
It’s not uncommon for studios to test students for placement or divert them if they get into a class that doesn’t suit their abilities. Sometimes age ranges are standard, but if they’re not flexible, they can hold back a talented dancer or advance someone who isn’t ready.
Most schools hold readings at the end of the year. This is a great way to see the school’s progress. You’ll find out how much older students have progressed! Dancing on stage can be a fun and growth-promoting experience for children.
if the school you choose doesn’t put too much pressure on their reading. Some schools start working on fall spring readings! However, this greatly reduces the time students have to learn the art and technique of dance.
If you’re going to school, it’s wise to check the cost of play clothes. Although the studio favors the glamor of sequined clothing, which will set you back $100 a piece, their shows and instructors may not be the style you’re looking for! There is a tendency in some schools to cut costs by putting together clothes that can be worn again in the classroom or on the street. Our studio now has a wide selection of clothing to support these new ideas. Parents appreciated the low price and greater usability.
What is the school’s policy regarding parent attendance? Some schools have observation windows; some have visitation days with their parents; Some will allow you to view whenever you want as long as you have the teacher’s permission, while others will lock you out completely. There are good reasons behind all of these policies, but as a parent, you need to be comfortable with both the policy and the necessary explanations. When there is an observer in the classroom, it can be distracting for the children and the teacher, so be aware of this when you have the opportunity to observe.
Does the studio run contests? How competitive are students with each other? Merit in the school has nothing to do with being his rival. Often times, the schools participating in the tournament have very high schedules and hidden costs for uniforms and tournament fees. You have to decide if this is right for you, the dancer and your family.
If the school was part of it, what happened to the former students? Has anyone studied dance in college and performed professionally? Or do you only teach at the school you come to? If the students have received good training (unless you went to a professional company school) you probably won’t be teaching in a studio instead of going to college!
I’ve talked to college-level dance teachers who have been at local dance schools for ten years and often complain about the so-called “star students.” Unfortunately, by the time young ladies enter college, they know that their technique is terrible and they don’t even know basic dance terms. These kids often have huge egos from being their former teacher’s pride and joy, and it can be very difficult to train them properly. All this time and money wasted! So sad for the parents and the dancers. Sometimes these girls decide to go back after two years of college to teach at that school or open their own studios! And the cycle continues !!
What about the teachers in the schools you are considering? Where did they study? What are their credentials? Many dance teachers belong to organizations such as the American Dance Masters or the Boston Dance Teachers Club. These are good organizations, but belonging to them does not make one a good teacher. Of course, anyone (even YOU!) can pass their “teacher test” with a little coaching. Anyone (EVERYONE) can open a dance school, it’s absurd but true!
Has the teacher studied dance at a college, conservatory, art school or professional company? If a teacher has a list of amazing people they’ve studied with, was it just one or two classes or at least a year straight? Does the teacher continue to study dance at professional quality schools every week? Does she carry herself like a dancer? How is he doing? What is his performance experience? If he is young, will he still be performing? Many women performed with the Rockettes at Radio City Music Hall in New York City. This means they are tall, able to lift their feet high, and can do precise work as a team all day long with very short breaks. At least according to one former Rockette, that says nothing about their ability to teach or dance ballet, tap or jazz.
What are you looking for in a lesson? For preschoolers, the best lessons are group stretching, rhythm, and exploring the wide range of movement possibilities with a variety of music, sometimes using props such as scarves, tambourines, and shakers. Sometimes a teacher can use educational games or tapes with dances, but feeding them regularly shows that the inexperienced teacher lacks creative direction.
Starting in kindergarten, many schools offer classes that combine ballet and tap. Some schools include jazz, but it’s too early to teach jazz in the second grade. Most young children are not physically mature enough to play jazz and should not be enrolled in a full jazz class before 3rd or 4th grade. (Why spend the extra money on shoes?) By third or fourth grade, most kids can only play ballet, tap, and jazz for an hour and a quarter.
Another big question is, “What about Puente?” Most little girls dream of dancing on their toes one day, but most don’t! Before practicing with poon, the legs and feet should be strong, the bones and muscles should be developed, and the technical skills should be good. At AT THE BARRE, you can start with points from age 10 or 11, but age 12 is preferred. Reaching a certain age is not an automatic basis for scoring, and I would be very careful not to use age alone as a criterion. Some teachers think that if a child wants to go on a score and is not allowed, they will change schools. Any good teacher will keep saying no if he doesn’t have the necessary strength and technique. This is VERY IMPORTANT because the child’s legs and feet can be injured and unable to dance again.
If you’re not sure about the score, you can do a few simple tests with your child: Is your child in the first position (standing on the ball of the foot) with his legs and feet stable? Can he stand on one leg? Can he lift halfway up on one leg without tipping over or falling over? If it is firm and stable, the strength and balance may be there. There is a lot to look for on a technical level, but this will give you some basic information.
Tap is a popular dance form at the local dance school level. Most parents don’t know that there are two main types of tap: Broadway Tap and Jazz Tap (also called Rhythm Tap).
The “Broadway Tap” is usually performed in heels and uses more arm movements. It tends to under-emphasize the complexity of sounds and more visually.
In the style of Gregory Hines, Savion Glover and the old tap masters, Rhythm Tap emphasizes vocal clarity and rhythmic complexity. It is usually worn with flat, oxford-type shoes and is a style often taught in college dance programs.
Above all, you want your child’s dance experience to be a joyful, learning experience with quality instruction in an atmosphere that respects both the child and the parent. Remember that dance teachers are human and work very hard, some teaching 250-300 students a week! Even teachers who don’t meet your standards deserve a lot of respect. (You don’t have to send your kids to them, but they deserve your respect!)
This should clear up the world of dance school a bit. Here’s to year-round dancing fun!
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