How to Choose a Dance School
Many years ago, I was given the task by a Michigan Newspaper of writing a column on dance. I thought the article I wrote was worth revisiting, so have updated it below:
As the former Artistic Director of a professional dance company, Eisenhower Dance, and Professor Emerita of Dance at Oakland University, I am often asked for advice regarding dance training. How do I pick a dance school? How do I know I’m receiving good training? How do I differentiate a good dance teacher from a bad one? Currently, there are no requirements for someone to open up a dance studio. Anyone, with minimal or no training, can put up a sign and start registering students. And sadly, many do. So, asking questions and investigating is important. The following are standards that I recommend.
Does the teacher have a college degree in dance? Most college programs require knowledge of numerous styles of dance, choreography, pedagogy, dance history, current issues & trends in dance, dance philosophy, and most importantly, anatomy and kinesiology. Historically, dance has been passed down from one teacher to another, but science now offers new, positive advances in dance training and teaching methods. Instructors without this knowledge will be relying on traditional rather than contemporary information. Anatomy training is especially critical because, if a dancer trains with misalignment, it can cause irreparable damage to his/her body. For the long-term health of a dancer, it is important to find a teacher that has the benefit of this kind of training.
Is the teacher a good dancer? It is important not to be wowed by technical virtuosity in a teacher. Teaching and performing are two distinct talents--a good dancer is not necessarily a good teacher. With that said, it is important that teachers be skilled and proficient dancers or, if older, accomplished at some point in their career. Teachers need to have applied training to their own bodies in order to relate that experience to others.
Who’s teaching the class? Often, the director of a school has great credentials but has advanced students (often high schoolers) teaching many of the lower-level classes. Beginning-level classes require experienced teachers as much, if not more, than the advanced levels. Make sure you ask the qualifications of the person who will be teaching your child’s class.
Has the teacher had performing experience? Performing experience is definitely a plus. Although there are some fine teachers that have chosen not to pursue a performing career, I think a teacher with professional experience will have a better ability to train dancers for performance. For those students considering a dance career, retired or current performers are more able to prepare students for auditions and often have more professional contacts.
Does the school do competitions? This is a debated issue among dance professionals. A high percentage of studios currently participate in competitions, but many dance schools, particularly ones that emphasize ballet or conservatory-type training, do not. I have to admit I’m saddened by a practice that pits one school against another. Dance should be about creativity and expression, and the joy of sharing with others in class, rehearsal and, ultimately, on the stage. I believe the nature of competition has pulled us away from this nurturing environment.
Competition often rewards dancers for tricks and synchronicity rather than performance nuance (think of the value of the quad jump over an expressive performance in figure skating and you know what I mean). As a college dance professor, I have seen freshman students enter with a resume listing trophies from various competitions. Often they can do terrific pirouettes and leaps but have serious alignment problems and can’t walk across the floor gracefully. Since they have been rewarded for accomplishing these “tricks” of dance, they have a skewed vision of their abilities.
There are arguments in favor of competitions—performing experience, travel, the excitement of the event, the trophies. Many dancers and (let’s be honest) parents just love it. But don’t sign on without being prepared for the costs! Everyone makes money on competitions—the producers, the convention centers, the studios, the costume suppliers and the teachers. And it all comes out of the student’s pocket. So in the end, you need to determine what the goal is for your child. If it is a professional career in dance, make sure training is a priority over competition. When your child is ready to start auditioning, a trophy is worthless without a strong foundation in dance technique.
What performance opportunities does the school offer? Since dance is a performing art, performance is clearly important. Most schools offer something, including recitals at the end of the year, participation in festivals or competitions, or annual performances of The Nutcracker, etc. A school with a professional company affiliation can offer professional-level performing opportunities for its students, and often has the positive advantage of having the company’s dancers serve as instructors. Minimally, a school should have one annual performance. The yearly recital is a fun, educational experience for the students and an important assessment tool for the teachers and parents.
What is the class environment? Finally, ask questions about or take a tour of the dance studio. The floors should be sprung to avoid impact injuries. Larger rooms will allow more freedom of movement and longer phrases of choreography. Find out how many students will be in your child’s class – your child will receive more individual feedback in a small class.
Today, dance studios are thriving across the country. More and more children are currently studying dance. Yet, most parents select schools according to location rather than quality. Ask lots of questions and you will be able make an informed choice.