A Purple Hue in the Arts

Have you ever taken a moment to think about how the arts are much like politics? You pour your heart out into a piece of art (be it a canvas painting or a dance work… as clarification, I’m usually referring to dance) in order to present it in front of an audience. At that point, your fate is no longer in your hands, but instead in the hearts of patrons; usually made up of a diverse group of people with varying tastes. As the artist, we like to think that we can change one’s mind or taste. That just because “ballet isn’t their thing” or they “like the abstract  as opposed to the classical,” doesn’t mean that we are not going to be able to offer them such a heartfelt and true expression of our classical art form and blow them away.

Do you ever feel like this? For many of us, we hate to admit that people are set in their ways. Hate to admit that someone’s mind is usually made up before entering the theater’s house. And this is what keeps us going. We keep trucking down our path, eternally hopeful and optimistic that audiences will fall in love with us and not our competition. Does this not start to reflect politics?

It seems that every election season I find myself examining my art and the path with which I have taken.  I see the candidates from both sides, filling our TV, radio, newspaper, and mailbox with their talking points and “election winning” policies. Then it makes me wonder… have I ever been swayed from one side to the other because of a superb performance by one candidate or another? Have I ever left my stance and taken up the path of a different perspective? Do I keep my creativity in a box because I don’t have respect for the other “side” or styles?

I guess this is where the similarities end. You see, I believe very strongly in the political views that I hold. It is hard for me to simply up and change those views because someone submitted an interesting take on the opposing policies. However, this is where I find the metaphor relevant: I will rarely (if ever) change my political position because of a good performance but I can (and have) gain respect for the opposition based on their delivery. I feel the same way about the arts. I have been to many performances that I was less than enthused about attending because of some presupposition built in my mind, yet I thoroughly enjoyed them. It didn’t change my preferences (I will always LOVE classical ballet) but it did open my eyes to something different and great.

We as artists and patrons need to keep that in mind as we live through our lives and share our art. We need to support one another, share our passions, and encourage healthy exploration of all forms and styles. Keep making your works because you love them; not because you want to change the minds of your patrons. Perhaps the arts should take a “purple state” mentality rather than a defined red or blue. I will always hold to my political preferences, but perhaps my exposure in the arts world can become more diverse. It seems we see the benefits of the arts at every turn, so why not support all kinds?

So as the political season shapes up for its “super bowl,” take a look at your range of art exposure. What is your taste? What have you declined to support? Maybe we can collaborate to create that esteemed purplish hue in all of our communities and personal experiences. Happy Election Season and Good Luck in diversifying your portfolio!

Theater Season!

Fall has got to be my favorite time of year. It marks the beginning of so many different things and acts as a catapult back into cultural events. Besides bringing back football, school days, cooler weather, fun fashion, Fall brings us the start of a new Season for Theatre. This means that we can start counting down to the entrance of Nutcracker music in department stores, advertisements for various local theaters and their upcoming productions. I love a date night out to see the ballet. And that’s just it; it doesn’t need a title, I do, and always will, call just about every performance of the local ballet company, “The Ballet.”

I try to make each performance an event. It becomes my indulgence; a night on the town. Finally, I can be all dressed up with SOME PLACE to go! Then, when I get there, I can relax in my seat and wait for the curtain to open. The performance is sure to impress. I could spend days talking about each pirouette and saut de chat. I sometimes even act as if I’m a critic for The New York Times. Watching with a careful eye and gathering notes in my head for how I would describe the performance to interested audiences. Seeing something so physical and then somehow doing it justice through words.

This weekend is the season opener for our local ballet company. I can’t wait to see what they have in store for their audience. Check your local calendar for theatrical presentations of any kind (doesn’t have to be dance, though that is my preference!). The artists need an audience, so go be good patrons! Especially those of you training and performing… it’s good to support your fellow dancers, singers, actors, and actresses!

Discipline in the Arts??

Many people think of dance (or any art for that matter) and immediately go to a place of creativity, free expression, and sometimes even that 1960’s flower power movement. Any artists would laugh at this thought, as they know how much hard work and self-discipline each of the various art forms require. But does the average patron of the arts really understand? Do we (the artists) do a good enough job of spreading the word about the rich history and traditions that have been passed on for centuries from teacher to student? And do we paint the WHOLE picture of what really goes on in each classroom?

I’ve talked a lot about all of the benefits of dance training but I haven’t discussed with you the details of what dance students should expect from a GOOD dance instructor. There are three attributes that when combined create the perfect learning environment: Passion, Encouragement, & Discipline (knowledge of the art form goes without saying, but if that isn’t a given, you should run for the hills!) A good teacher places equal value on each of the three attributes above but when one takes precedence over the others, it can be a recipe for disaster.

While passion and encouragement can be taken for granted (they should be a major part of every class!), it is important to understand the need for discipline in the studio. A ballet class without the structure and traditions would be like Woodstock without the… uh, tie dye. Discipline is that structure and tradition. It calls for specific expectations in behavior & dress and also calls for multiple levels of respect; for self, peers, art, instructor, studio, and so much more. By providing students with boundaries and giving them upfront expectations, they can more easily and freely explore their art.

Webster’s dictionary defines discipline as training to act in accordance with rules or an activity, exercise, or a regimen that develops or improves a skill. I think that pretty well describes any kind of art form. You have to train in that form in order to improve your skills and act according to the traditions set up through history. Discipline isn’t a punishment, but instead a reinforcement of expectations through the learning process. It should be done in an encouraging way that is edifying and uplifting.

To recap: The studio (or classroom) should always reach for a nurturing environment that is open for experimentation, exploration, education, and creativity. This comes by assuring that equal value is placed on not only the “fun stuff” of passion and encouragement but also discipline. Allow yourself to be set free by the boundaries and indulge in the passion, all while being encouraged!

 

The Arts in Education

Picture this: you walk into a classroom of middle schoolers. They are all sitting at their desks, briskly writing a 2 minute speech for their debate class surprise assignment. When it’s time for each student to come forward and give their speech, you get a group of miscreant, slouched, mumbling 11-14 year olds that may have written the most beautiful speech but have zero poise when it comes to the delivery.  (does this sound vaguely familiar??) Now, I don’t know about you, but I’m not of the mindset that our next generation should be prefaced with words like “miscreant,” “slouched,” or “lacking in poise.” It is in this situation that my love of the arts takes on a different meaning.

I remember taking public speaking in college but I don’t remember learning anything in that class that my dance training and English classes hadn’t prepared me for. What I do remember, however, is the lack of readiness, willingness, and ability of so many of my peers to stand in front of an audience and be the center of attention. I don’t like public speaking  AT ALL, but I am perfectly capable (and confidently so) of addressing an audience when necessary and I believe 100% that it is as a result of my training in the performing arts.

Early in my blogging endeavors, I wrote a post about the benefits of ballet. Those weren’t just words to appease readers; I honestly believe them. Now, I’m teaching middle school musical theater and dance and am so excited to share my passion with another kind of audience. The students are all great kids and I know that they are better for their exposure to the arts. I am building on the many layers of confidence, poise, grace, adaptability, and respect that their teachers before me had instilled. I hope each of them is as encouraged by the arts as I am!

Now back to my debate class example. What do you think would be different about those classroom presentations if each of those students had been exposed to acting, singing, dancing, etc?? (I’m not even referring to a career path in those fields, just some exposure. You don’t have to be in dance classes all your life to reap the benefits of proper posture and grace) Instead of “a group of miscreant, slouched, mumbling 11-14 year olds that may have written the most beautiful speech but have zero poise when it comes to the delivery” you would witness a group of confident, well spoken, poised, and charismatic students that can easily capture your attention.

The benefits of arts in schools seem endless and if given the opportunity, jump on it!  Think about it, if you spent 2 hours a week working on the ability to perform in front of others (wearing odd little costumes that do nothing for self-appearance issues… ballet), you might be more comfortable talking to your boss, or leading a group, or even running for president. So take advantage of school drama programs, arts in education curriculums, and community groups. Then benefits are so tangible!

A Dancer’s Story: Pointing in the Right Direction

Meet Madeline Foderaro of Nashville Ballet’s 2nd Company as she tells her story of how she became a professional dancer.

As early as 2 years old there is footage from old home movies of me showing my mom and dad how to plié and what first position is; I knew I wanted to be a ballerina, like so many little girls, but I never thought of it as a job.  I always did very well in school but never had a favorite subject or excelled in one area over another and when asked what I liked to do, I would respond with “dance.” In school, dancing was always discussed as a hobby and never really considered a career. As I got closer to college, I didn’t fantasize about being a doctor, teacher, or lawyer and my mom always wanted my sister and I do to what made us happy. So when it came time to look into colleges and pick out a major, and discovering I could major in dance, it was then that my path became clear. I was going to turn my passion into my career and college was going to help make that happen.

I always knew I wanted to go to college and I never entertained the thought of going directly into a dance company out of high school. For one, my parents always told me that college is what you do after high school and secondly, I wanted that infamous college experience.  Not to mention the fact that I would not be the dancer I am today without the training and tough love I received from my college professors.  I always knew that the road to a professional dance career would be tough, and now with some experience, can say that although difficult, it is also extremely rewarding.

I attended University of South Florida graduating with a Bachelor’s in Fine Arts in 2010. I was a dance major with a ballet focus in performance and choreography. After being in the dance department for 4 years, I had a sense of confidence; the faculty knew me, I was cast in the dance concerts, and as a senior I was looked up to by the under classmen. I was ready. My plan was to audition everywhere I could and move to where ever I was offered a job dancing.  I assumed I would get a job as a trainee or in a second company then work my way up through that company. When audition season came rolling around I attended countless auditions figuring I just need one “yes”. Despite my efforts, the audition season ended and I didn’t have a job; I couldn’t help but feel like a failure for not getting into a company.

It was always exhausting going through the scrutiny of being judged and critiqued so closely. I would put everything I had into that one class only to receive a letter or call a few weeks later saying that, your best just wasn’t good enough for them. Even through all of that disappointment, I absolutely did not regret one of those auditions. I learned something about my dancing after each class and learned something about myself after each rejection letter.

When I didn’t make it into a company I had to re-evaluate and consider my options. I ended up dancing and interning for a semi-professional dance company in Tallahassee. Their Artistic Director, Rick McCullough, had set a piece on several of us at USF.  After being accepted into his company, I planned to train like crazy so that the following year I could attack my auditions with a new passion. My “fall back plan” of living in Tallahassee was the perfect transition year for me.

I am very much a believer in the saying that “everything happens for a reason” and “no one person’s path is the same.” While in Tallahassee, I was even more determined to make it after being knocked down when I felt like everyone else was rising up. I began teaching classes and interning for the company in addition to the company classes and rehearsals. During this year I was able to focus on improving my technique and understanding more of who I am as a dancer and performer. Come January, I had another full schedule of auditions and once again, I must emphasize how much I learned from auditioning. I was able to see what my competition looked like, what I needed to be aspiring towards, and I was meeting dancers and directors in the professional world and getting my face and name out there.

My second audition season was much more successful than the first and I choose to attend Nashville Ballet’s Summer Intensive as a candidate for their 2nd company. The intensive was basically a 5 week audition. I put everything I had into every class and rehearsal. A part of me felt silly being 23 years old and auditioning next to girls fresh out of high school. I had to put those discouraging thoughts aside. So many times I thought I was exactly what the director was looking for and assumed that, that audition was “the one.” So I waited around the most nervous I had ever been.  If I didn’t get in this time I didn’t have a back-up plan.  To my relief and joy I was one of the girls picked to stay for the year. After hearing the news I literally started crying of happiness, I felt like I finally was achieving my dream of becoming a professional dancer.

I had a mantra of sorts I always had to say to myself during all of my auditions and times of nervousness, that “I was going to make it as a dancer I just have to find my place in the dance world.” Getting your foot in the door is the hardest part and Nashville Ballet’s second company gave me that chance. I just finished my 1st season with them and am starting my 2nd year in a few weeks. I have learned so much just in the past year that I cannot wait to see what this next season with them will bring. But although I have a place to dance now, I know I will not stay in Nashville forever. A dancer’s life is always changing; constantly striving and competing for company spots, new auditions, and fighting to move up and onwards in the world of dance. The day I become complacent is the day I should quit.

- Madeline Foderaro

Dance Etiquette: The Theater

 

I have been so inspired by all of the Olympic athletes (Go Team USA!) these past few days as the games of the XXX Olympiad take place in London. They all have such poise and grace as they enter the arenas to compete. It makes me want to be there; feel their adrenaline and the rush that they must get when their score, or time, or performance was good enough to win a medal. Can you imagine the emotions they must feel as they hear The Star Spangled Banner play?

It reminds me of the final curtain call of a performance. The audience is cheering, maybe even standing on their feet, and you take a deep breath as the curtain slowly drags closed. You are finished. You can take a shower, gather your things, and leave the theater and enter back into reality… usually still slightly on cloud nine.

Have you ever stopped to guess how the rest of the show actually happens? Does it all just magically come together as you bourrée across the stage? No. There are many, many people behind the scenes that work endlessly to make sure that your beautiful dancing is showcased perfectly by the scenery, music, lights, sets, etc. This brings me to the final post in our Dance Etiquette series: The Theater.

As I mentioned above, I have been truly inspired by the poise that each of the athletes possesses. They respect the tradition of the games, the judges and officials, their coaches, and their team mates. It reminds me what the dancer’s role in the theater is supposed to look like. A dance production {whether professional ballet, Broadway, or community theater} should be thought of as a team event. It takes all kinds of players to make things happen and as the dancer, your role is important but not more so than anyone else that is participating in the production.

So how does one behave backstage? Well, you must adopt some very basic rules:
-the stage manager is the boss – don’t mistake the authority of your director, as they are in charge of what happens on stage, but the stage manager is running ALL the parts of the production and sees the big picture. Their word goes.
-the costumes, props, sets, etc. are expensive, important, and play a major part in the production. Respect them as such. – I know that you’ve probably heard the saying “a costume can be fixed but a dancer cannot be replaced” Don’t let that allow to become arrogant… have you ever been to an audition? There are literally thousands of others out there that can do what you do. Respect the work that your team mates have put into these things.
-the theater is NOT a track, a playground, or a lounge. It is a performance space! Don’t go running through the halls, climbing on set pieces, or lying in the wings. There are so many pieces that go into making a dance production happen, that each player needs to be aware of his or her surroundings and not get in the way of what someone else needs to do. How would you feel if the tech crew just came out and stood center stage while you were trying to do your variation?

 

Next time you’re in the theater, think about the Olympics (or really any other kind of big event). The athletes could not compete without the countless volunteers and staff that work so hard. You are an athlete. Remember that and give due respect to those that are behind the scenes making your performance possible.

 

Here are some “Do’s” and “Don’ts” for the theater:

Do	Don’t
Be excited	Be arrogant
Be respectful and courteous to your fellow dancers AND the technical crew members	Be a DIVA! You are NOT more important than anyone else
Be prepared: a theater survival kit is a great idea! See below for some thoughts*	Show up and expect everyone else to have brought all the things you need or may need
Pay attention to the Stage Manager’s Calls, they are your road map to a successful performance	Think that everyone and everything will wait for you
Realize that the passion you feel for your dancing is the same passion the Wardrobe staff, the Production Staff, and Artistic Staff feel for their respective roles in the production	Forget that you could not put on a dance production all by yourself, you really do need your “team mates”

 

*Each dancer should come to the theater with their “Theater Survival Kit.” Below is a list of some helpful things to include (in addition to your dance bag):

Hair Things: EXTRA Hair Nets, Bobby Pins, Hair Pins, Hair Elastics, Hair Spray, Gel, comb, brush

Sewing Kit
Towel & washcloth
Robe
Bandaids or first aid kit
Nail polish remover
Cotton balls
Make-up remover
Clear nail polish
Tooth brush
Hand mirror
EXTRA pair of tights
EXTRA pair of ballet or pointe shoes

 

Dance Etiquette: Your 1st Pair of Pointe Shoes

Whether or not the 3-year old girl who is starting ballet classes turns out to be a professional ballerina, she still looks up to and admires the older dancers that twirl around on the tips of their toes. Those little girls eventually get older and with each passing year, they are almost assuredly longing for the day that they will be “big enough” to wear pointe shoes. But how exactly does one go about getting on pointe?

As you would probably expect, there is etiquette for your first pair of shoes. This may be slightly different from studio to studio, but the key ideas will remain the same: The student must be physically ready and the studio must have the proper environment (ie: a beginning pointe class and an instructor qualified to teach it) for which the student can train and grow. Most professional teachers would agree with me in saying that the majority of their students are not even considered for pointe shoes until they are at least 12 years old. The hard truth behind that statement is this: just because you are almost 12 or 12 already, does not mean you are necessarily ready for pointe shoes. There are so many physical elements to take into account:
                – The student’s muscle development
                – The student’s strength through their core and legs
                – The student’s foot shape, strength, and size (are your bones really ready to support your weight?)
                – Does the studio have the infrastructure (class time, students, qualified teacher) to support and properly train a beginning pointe student?

My personal practice as an instructor is to observe each student’s progress and development from the day they first step into my classroom. By paying attention from the start of the student’s training, I can not only know their strengths and weaknesses but can gear their constructive criticism to their specific needs. This means that I can ready them for pointe work, starting at an early age, so that there is no guessing about their readiness, regardless of how old they are. I would approach my student in the spring and talk with them and their parents about a plan for starting pointe work in the fall; everything from their first fitting (which, as a side note, should be an incredibly special and documented moment!), sewing their shoes, finding the right padding, and building their strength.

Pointe work isn’t just something that can be taken up on a whim and then maintained in one class a week… it’s a commitment. You work harder, longer, and differently when you’re in pointe shoes and there are so many extra exercises needed in the beginning to get your feet, ankles, and legs (not to forget the core, but that’s supposed to be a given) ready to support your body.

So, we’ve gone into a bit of detail about being ready for pointe work, but how do you broach the subject with your instructor or studio owner? First, don’t hound them. Examine, truthfully, your physical readiness and then schedule an appointment. It is best not to catch them quickly between classes or on the run; pointe work is a big step in your training and should be treated as such. Tell them that you are interested in starting on pointe soon and ask them what you can/need to do to be the most prepared. If they say you are not ready, trust them but work even harder. Your body can change A LOT even in a summer and it is very important for your body to be ready. I know it’s hard to understand when you want something so badly, but the more prepared your body is for going up on pointe, the easier it will be for you once you do. It is painful, difficult, and can be very dangerous if you’re not ready. Don’t rush yourself and respect your body and your teacher.

Once you’ve spoken with your teacher, work with them on a plan of action. Either they said you were ready and so you need to schedule a fitting (your teacher should be present if possible!), or they said you’re not quite ready and you need to get a training plan. There are so many theraband exercises and various other pointe-work strengthening things you can and should be doing. Most importantly, if you’re not ready, try your hardest not to be discouraged. You will get there, and even if you’re 13 instead of 12 when you start, you will be thankful you trusted your teacher.

 

Here are some “Do’s” and “Don’ts” for beginning pointe shoe dancers

Do	Don’t
Be excited for pointe work	Let your excitement get in the way of proper training and development
Talk with your teacher regularly about a plan and How-to information	Hound them until you get the answer you’re looking for
Make a big deal out of your first pair!	Don’t rush through the steps and inadvertently mess something up
Listen carefully, pay attention in class, and apply corrections	Practice at home – you could seriously hurt yourself or create a bad habit
Continue your cross training and strengthening exercises	Drop your strength training once you get on pointe

 

Most importantly: HAVE FUN! 

Dance Etiquette: 5 Simple Rules for Being a Good Student

If you’ve been reading the Dance Etiquette series of posts, you’ve probably caught on to a recurring theme: respect. For an art form to survive (prior to the video days…) it had to be passed on from teacher to student in the studio and then on the stage. This meant that there had to be an immense respect dictating the relationship between teacher and prodigy as the teacher entrusted their knowledge with the next generation. Now, I know that there are currently a million ways to film your classroom sessions, rehearsals, and performances, and I also know that the advancement of film makes passing on such a physical and visual art form much easier. However, with that said, you cannot discount the face to face physical instruction of the teacher. So how do you enter a classroom and portray the passion you have for learning your art form with respect and appreciation?

5 Simple Rules for Being a Good Student

In the post about auditions, I touched briefly on classroom etiquette and ways to respect your instructor. Let’s go further into detail for your everyday routine.

1. You should always arrive early and prepared — more specifically, you need to be absolutely ready to dance before your class time.This means that you need to have your hair up, your pre-class cross training exercises completed, all warm-up layers off, and outside the door waiting to dance. And don’t mistake a leotard and tights for bike shorts and a t-shirt. Follow your studio’s dress code (whether or not you think it’s flattering) and give your teacher clean lines to watch and critique. If there is no dress code, remain respectful and remember that if your body is covered up, your teacher cannot help.
2. You must watch your body language. Be careful of how your posture and facial expressions are being read by your teacher. You may be a student that concentrates best with your arms crossed and your eyes squinted, but think about what that looks like… When someone looks disinterested, chances are good they will be thought to be disinterested.
3. You should ask your questions to the teacher, NOT YOUR CLASSMATES. When you have a question, your teacher is there to answer them. Your classmates will most likely benefit from hearing the question and answer, so speak up. And, in an attempt to limit the temptation to talk to one another, direct your questions to the teacher and not your classmates. The classroom is a safe space for learning; A place where you can make mistakes and learn from them. Don’t treat it as a time to gossip or chat.
4. 4.       You should leave your “baggage” at the door. You shouldn’t let your day affect your class time. I know that it is impossible to completely remove yourself from whatever is plaguing your mind at any particular moment, but the more you try to enter the studio with a clear mind, the more you will get out of your class time. You also risk the chance of injury if you are too distracted. Evaluate your mind frame before you enter the studio and be candid with yourself.  If it is not possible for you to enter the classroom with a clear head (and you’ve decided that you ARE NOT going to injure yourself), BE HONEST WITH YOUR TEACHER so that you being distracted doesn’t come off as bored or disrespectful.
5. You should never try to dance on an injury – if your doctor (or your parent) has told you to rest or stay off of something, LISTEN to them. If you have received a minor injury, you don’t want to compound the problem by trying to be “ok” and then inadvertently making something small, worse. It’s ok to rest your ankle, knee, back, neck, etc., for a day or two… don’t bring your dance career to an end because you don’t want to sit out of a class or two and let it rest.

 

If you make a conscious effort to think about these guidelines, you will not only be presenting yourself in a respectful way, but will actually gain more from each classroom experience. Many of you will one day find yourself in the teaching position, and once you’re there, it will be good that you paid close attention when you were the student. You will appreciate good attitudes and excited students. You will be energized by your classroom and it will be easy to pass along your passion to future generations. Think about that and show your current teacher the same respect you will want some day.

 

Dance Etiquette: The Ballet Bun

Our last blog was about how to prepare for and behave in an audition.  In continuing our dance etiquette series, I’d like to talk about the ballet bun. I don’t, per say, want to give a how-to on bun making (though I’m sure it would be of use to many of you, it’s VERY difficult to write about making a proper bun… if you don’t know HOW to make a bun, talk to your teacher, they should be VERY WILLING to help), but instead talk about the importance of the bun in dance etiquette and classroom behavior.

Someone bring the hair nets and hair spray!

For those of you that don’t know me, I’ve got short, thick, curly hair and have had such since I was about 15 years old (the short part… not the thick and curly part). That means that my version of making a bun has been very different than most; and for a very significant part of my life, I twisted, gelled, sprayed, and pinned my hair into enough of a knub that I could put a hair piece on top of it. But did I do that for EVERY CLASS? Nope. That would have been a lot of work and my hair probably would’ve fallen out. I kept the bun in reserve for performances and found ways to pull my hair up and out of the way so that I could be respectful of the classroom (and my hair!) while keeping a haircut that I enjoyed. In short, (pun intended) you don’t have to have flowing long hair to be a ballerina or even get your hair in a bun. However, you do need to understand that attending a ballet class, or rehearsal, without pulling your hair back is incredibly disrespectful.

Many dancers may wonder why it matters so much if your hair is full of whispies and/or falling out of the make-shift door knob you have sitting on your head? Let’s put it into terms that we can relate to a little more easily… would you go on a date and not look your best? No. Now, I know that it seems like a stretch to compare your ballet bun with dressing up for a date, but it really boils down to two things: respect and presentation. You respect yourself and your date enough to look presentable: take a shower, put on the perfect dress, add a set of to-die-for shoes, and you look your best; you’ve put your best foot forward.

Your bun is like the perfect earrings to top off you’re already awesome outfit. Think of the bun as the best way to present yourself to your teacher and peers and as one of the easiest ways to be respectful of the instructor’s classroom and the art form’s history and traditions. Now, if you can accomplish all of that by simply pinning your hair up into a knot, wouldn’t you say it would be silly NOT to?

Now, just because you’re respecting the traditions of ballet’s rich history, doesn’t mean that you need to have the same boring bun every day! There are tons of fun and interesting new twists (again, pun intended) on the original bun. You’ve got the no-fuss French twist, the easy sock bun, the tucked-under French braid, and the list goes on. If you’ve got long hair, your possibilities are only limited by the amount of time you want to spend tying up those beautiful locks. For those of us with short hair, we are best friends with the bobby pin & hair spray!  So next time you get ready for dance class, think twice about how you plan to wear your hair. It matters! Have some fun and happy pinning!

Dance Etiquette: How to Audition

I thought I would end the summer with a series of Dancer Etiquette posts. We’ll talk about everything from how to behave at an audition to how to respect the theater (and yes, AS ALWAYS, your questions are important! So, if you read something and have a question, ask. If you don’t read something and have a question, ask!)

The Audition:

Dancers arrived early & anxiously await their turn

There are probably only a few things more nerve wracking in a dancer’s life than walking into an audition (particularly if it’s for something you REALLY WANT). Usually, the audition class (or classes) happens in an unfamiliar place, with few of your peers, and a new teacher. This can be really frustrating as a dancer if you don’t know how to prepare yourself both mentally and physically.

First, let’s talk about the mental side of things. It is very important for you to remain as calm as possible, as jitters can affect your performance in the audition or your ability to stay focused on what your teacher is asking of you. If you’re all worked up, take a deep breath; remind yourself that it’s JUST ANOTHER CLASS and that you can do this. Encourage yourself, don’t discourage yourself!  I’m sure you’ve learned that dancers tend to be their own worst enemy.  It’s good to have a little bit of anxiety, it will make you work your hardest, but don’t let your nerves get the best of you. Take advantage of the adrenaline rush and use it to your benefit. Maybe you can put yourself {mentally, that is} on stage, dancing your favorite role; anywhere but in that dadgum audition!

Once you’ve tackled the idea of being in control of your nerves and using the adrenaline for good, you can think about the physical side of an audition. Chances are good that the teacher will pull you out of your comfort zone. Let me say that again, chances are good that the teacher will pull you out of your comfort zone. They want to see how you react and deal with situations, not just the way you dance. Think about this for a minute:  If there are 35 people in your class, 33 of them can execute the same vocabulary as you, 25 of them can “perform” for the teacher as well as you, and probably 20 of them are as respectful as you. So how can the audition panel decide who gets the 3 open positions if there are 20 equally as talented dancers? They look beyond your technique and see how well, overall, you handle yourself. 

So, make sure that you are healthy, warm, and ready to take on whatever is thrown at you. Don’t go into an audition with a hurt foot or strained hamstring and expect the teacher to be ok with you marking through things. It is your job to protect your body (it is, after all, your ONLY instrument) by respecting its needs. Keep yourself strong by making time for your cross training (read our post on cross training here) and ensuring proper time for warming up your body before your classes, in particular, your audition.

The last piece of an audition is to be respectful! I cannot stress enough how important it is to your teachers that you respect the art, the studio, and what they have to offer you. How can you do this? Be early. Don’t rush into the classroom at the last minute. You need to be in the studio before the teacher arrives. Then, once they arrive, you need to stand up and be ready to dance. This means that, not only do you need to be early, but you need to be early enough that you can do all your warm ups AND take any warmers off and put your stuff away. Beyond that, common sense and a good attitude will go a long way. A good rule of thumb: if it would make your mom mad, don’t do it. 

Here are some helpful tricks for audition time:

-HAVE FUN! Smile & relax!
-do your homework! Find out who will be teaching and what kind of style to expect.
-wear a leotard that you feel comfortable in (sometimes there is a dress code – even in dress code situations, you can find a leotard that makes you feel beautiful)
-wear make-up. If you feel like you’re performing, you will perform for the teacher. (Ok, that doesn’t mean to wear full stage make-up… but don’t go barefaced)
-arrive EARLY with plenty of time to check-in, warm-up, and calm down
-remember your manners – a little respect goes a long way!
-be aware of your body language, you want the teacher to see how interested you are. Not that you are bored!