EGO: The True Enemy

Dancers want "to be good". Dance parents want their child "to be good". Dance teachers want their students "to be good". That is human nature! How many times has a teacher heard from a dance parent "push her," or "push him" or "my child wants to be pushed"? Sometimes these words come from the dancers themselves. Oh, to me, those words are the kiss of death. These words come from ... wait for it....wait for it.... as we say in the south, being too big for your britches. No one can push a dancer but the dancer themselves. Instructors try their best to put a dancer on the path to success, but as I said in another blog post, dance is personal responsibility. It is up to each individual how good they can, and will, be. Dancers get out of class what they put into class. If a dancer is serious about training, there is absolutely nothing wrong with letting that be known to the teacher. However, a dancer must not only say they are serious, they must show it in their actions and attitude. If a dancer is wanting to make a career out of dance, let the teacher know! That is awesome! But for a dancer to half way take class, not applying the knowledge while claiming they are giving it their all and then ask for a "push".... that is when there is a problem. Now that we have that out of the way, let's talk. So much for beating around the bush! LOL!

A solid foundation:  is really understanding the "how" and the "why" technique is executed, and not only understanding mentally,  but being able to consistently apply the knowledge physically. This is what is missing 9 times out of 10 when teachers are asked to "push" a dancer. The teacher cannot go any quicker with the lesson progression if the dancer isn't mastering what is being asked of them. Dancers get "bored" because they are complacent with where they are, they just want to move, and experience a different lesson on their terms. They think because they know what comes next in the class or "know the combination" whether it be center floor or across the floor, it is time to move on. WRONG! You cannot give into the desire for instant gratification. If you have read my other blog posts, you know I believe nothing good comes from giving into instant gratification, and the unrealistic demands of parents and students.

As you probably know by now, I am dance educator who takes the job seriously. Even though I take the job seriously, I like to keep the spirits light and have fun in class! As anyone I have taught will tell you, I love to laugh and teach using "funny analogies". As I teach students, I try to impress upon them the importance of basic, fundamental, beginning-level technique. This is the foundation of absolutely EVERYTHING, from body lines to the basic battement to the most advanced turn and balance combination to making any movement in choreography look brilliant and interesting. The basics must be second nature to grow in the art form. This includes weight distribution, transitions, footwork clarity, knowing where to square the hips, etc., not just turns, leaps, and extensions. Often times, the basics are what is lost in translation, or skipped entirely due to unnecessary pressure placed on the studio owner or instructors by the dance parents, or even the dancers themselves. Sometimes, it is even due to time resistants.

Many students and/or their parents:

• Lack in the understanding that you cannot separate training from performance. It is one and the same.
• Don't understand that EVERYTHING stems from a quality ballet education.
• Cannot verbalize why they must execute elements a specific way,  because they haven't been taught the "how and why," or they lack the understanding of linking all the knowledge they possess together. Sometimes, they have just never thought about it, and just go through the motions of a class or choreography.

Dancers who wish to gain in technical ability, and/or movement ability, (and their parents who wish this for them) must understand that gaining in ability is rooted in being stronger with the fundamentals of dance. You can't have an ego too big for the room and except to learn, develop, advance, and earn respect from your peers as well as your instructors. No dancer is ever above a beginning level class. The more advanced the dancer, the harder the "basic, beginner class" will be. Sometimes it just hurts the heart a bit to realize that the reason for struggles in advanced technique and movement stems from a lack of truly mastering the basic fundamentals of dance. Sometimes it is exhilarating to learn something difficult requires a simple fix! ALWAYS RETURN HOME TO THE ROOTS. That is what makes a dancer able to do amazing things! It is not always about giving the dancer a harder class with more difficult elements and choreography. Yes, this type of class is great, but so is a beginning level class. An advanced class moves entirely to fast for a dancer to remember how to do things correctly without the constant reminder class. If there is a beginner level class available, all dancers should take it if possible! They will get to the goal line faster in their harder, more advanced class! If it is not available, taking part of the advanced class time to review basics will do great things too! Dancers that master skills and a specific class before moving on to the next thing are just better. THAT'S HOW TO IMPROVE! Dancers get nowhere really when they are given things are just aren't ready to do. Having an ego will prevent a dancer from being open minded to this type of situation.

Most corrections given, especially in a group setting, are actually the results the teacher desires to see, not the actual correction itself. When a dancer knows how to find the root of the problem, process and break down the "correction" given, they can actually fix the things needed to produce the desired result. For example, "lift your leg higher in the attitude turn." Well, there is a multitude of reasons the leg isn't as high as the instructor would like. What are those reasons? How do I get the result your teacher is demanding? One must know how to find "the root of the problem." Another example, a dancer is hopping all over the place and having trouble going into an extension balance after a multiple pirouette. A dancer cannot quickly diagnose the root of the problem to fix the issue without a deep found knowledge of the basics, and understanding how to apply the knowledge. Once the problem is broken down to the basics finding the root of the problem, and those things are addressed, the skill can be mastered. Again, you just have to go back to the roots to fix everything. Staying true to form and continuing to take a beginning class focused on things such as body placement, getting on top of your leg, understanding that proper placement may show a lack of real flexibility... knowing these things will help a dancer to correct  fundamental mistakes that inhibit their growth and performance quality. ALSO, knowing how to diagnose yourself and fix a problem can be fun and very rewarding! I have watched many a dancer find so much satisfaction, and all while getting a good laugh, when they go to the root of the problem to realize what a basic simple fix it can be to master a complicated and difficult element! Fundamental class can be loads of fun when the dancers have great attitudes! Laughs and good times can be had by all! Although class is serious, keeping the mood light, the attitude in check, and knowing it's ok at laugh at yourself, will keep the class moving, fun, and encouraging while inspiring each other to see that the sky really is the limit when you know what you are doing!

A dancer is NEVER "too good" to go back to the beginning level, and train with other dancers they believe "to be beneath them". (No dancer or dance class is beneath anyone in my opinion.) Teachers never have students that are "too good for the basics." Egos are bad news! When a dancer has an issue with going back to the basics, having their weakness exposed, then there is an ego problem that will prevent them from being all they can be. Only by having weakness exposed, corrected, along with a sincere effort by the dancer to fix the fundamentally inadequate technique flaw, will a dancer achieve their potential to the fullest. With these things addressed by the instructor, and these things corrected by the dancer, a dancer's ability will change dramatically! There will be no limit to their accomplishments and what their bodies will be capable of doing! A dancer, or a dance parent, with an ego will never survive this kind of class. Therefore, I believe an ego is the enemy! In my opinion, it should never be about a trophy but rather a quality education. It is about being a dancer not an uncontrollable mover dancing by imitation as my ballet teacher called it. Trophies are a dime a dozen and won't get you a job. It is the education, and application of the life lessons learned, that counts.

Bottom line: Trust the teacher and work hard. Trust that your teachers are doing everything they can to make good dancers all the while making good human beings. Just as you would never want someone, especially someone outside your field, to tell you how to do your job, a dance teacher doesn't want to be told how to do their job. Students should not tell their teacher how to teach and what to teach, as they are not qualified to do so. Everyone should respect each other, and most importantly show respect. It creates a much better environment conducive for learning. Egos truly drain the fun out of dance! It is important to remember that while dance should be fun, it is hard work and requires a humble spirit in order to soar to great success! A good attitude goes a long way towards enjoyment and success!

Dance hard. Dance smart.

Meredith

thecompetitiveedgebymeredith.blogspot.com

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For class, choreography, or booking information, please email: meredith@thecompetitiveedgebymeredith.com

You can also read The Competitive Edge by Meredith on Dance Apps Inc's app with NappyTabs, Dancer's Toolbox under Dancer's Dish.

Proverbs 16:18 Pride goes before destruction, And a haughty spirit before a fall.

FINDING THE PERFECT UNIVERSITY SERIES: PART 4 A Parent's Perspective and Questions to Ask

"Finding the Perfect University" series concludes with information from parents to better equip you on your journey to find the school that best suits your young adult for their future career. Whether you are a parent searching for a university for the first time, or you are a parent searching in this area of study for the first time, these three wonderful dance moms have provided invaluable insight and perspective on the subject, such as guidance on what to expect and what important questions to ask. Mandy and Stacy give advice regarding university dance majors and minors, while Cheryl shares her experience with a college dance team. I cannot thank these fabulous women enough for taking the time to help others by contributing to this series. I hope this post, along with the rest of the series, is helpful to you in making your decisions. 

Dance hard. Dance smart.

Meredith

thecompetitiveedgebymeredith.blogspot.com

Mandy Davids

As a dance parent for over 17 years, the journey with both my daughter and son has been one that I would have never imagined.  Both started competing at a young age at their home studio, and it was literally their home away from home. They created friendships and bonds with their teachers that will last a lifetime.  As high school graduation approached for each of them, 5 years apart, it was interesting to watch both of them seek out what they wanted to do with their dance now that they would be moving on to college.  The transition can be scary and daunting.  Dance had been such a huge part of both their lives that I couldn’t imagine them not dancing in college; however, my husband and I reeled in the reins of what we wanted to see them pursue (which was to keep dancing) and let them move on to studying for a career in something else…and let me say it was no easy task, but the rewards have been amazing watching them both in the next chapter of their lives.

We encouraged both kids to search the colleges that fit what they were looking for, and not fall into the trap of doing what everyone else was doing and applying to colleges that they didn’t see themselves attending just to say they applied, yes, that’s a real thing.  College applications/visits are stressful enough, and then comes the waiting for the acceptance letters or denials, scholarships, students loans, all while trying to hold on to senior year and enjoy every ounce of it.  A bit exhausting to say the least.

Both kids still wanted to attend a college that offered some type of dance, not really sure that they wanted to pursue a dance degree, but they still wanted to have an opportunity to dance while attending college.  So our journey for both kids was not the typical asking lots of questions about dance major programs because that was not going to be their main focus.  For my daughter, Tiffany, she attended Cal Poly SLO where they have a dance company that is affiliated with the college, Orchesis, which she could earn a dance minor along with her business marketing administration degree.  At the Open House we asked questions like:

How does the audition process work?  What are the opportunities for performing?  What else is required to earn a dance minor?  Do the dancers have to audition each year for a spot in the company?  When are the auditions?  What other opportunities within the dance company are there for the dancers, i.e., intern positions, dance assistants, etc.?  What is the yearly cost for being a member of the company?  Are there scholarships/grants available for a dance minor?

Tiffany was a member of the Cal Poly SLO Orchesis dance company for all four years, and became an intern for her last two years where she honed leadership skills and co-directed one of the dance shows in her senior year.  All in all, such a great experience for her, which has led her to now being a dance teacher/choreographer in the evenings at a studio, “and now the student becomes the teacher.”  She works a full-time job in Business Marketing and a dance teacher in the evenings, best of both worlds for her.

For my son, Chandler, who has just started his college years at Cal State University Fullerton, his journey to college was similar to his sister’s.  He knew he still wanted to dance so attending a college with a dance program was important to him, as well as a strong business program.  We asked similar questions during Open House, but we found out that Fullerton does not offer a minor program in dance, only a major degree.  Chandler thought that would be okay and he could still take some dance classes while pursuing his business degree.  However, the path changed for him once he started taking classes and realized how much he wanted to dance since it’s such a huge part of his life.  He started asking questions about how to audition for the dance program, if that was something that he could do, and what the program entailed.  He found out the dance program is small, approximately 80 students, and there are opportunities to perform twice a year at the school, as well as possibly other dance opportunities.  Once he auditioned and was accepted into the dance major program, he told us of his decision to become a dance major and minor in business, which we fully supported.  So even though his direction began one way, college brought to light other opportunities for him so he could pursue both areas of study.

I am not a professional college parent by any means, but having watched both my kids be able to soar and create their path, not mine. It has been a beautiful experience.  Letting them feel the freedom to explore different paths than what they planned and seeing them thrive not only in their art, but also as good human beings, is more than I could have imagined and prayed for them to achieve.  What worked for us (and it was not always easy) may not work for others, but when I learned to let go and focus more on what they wanted to pursue instead of forcing my wants on them, I have been blessed beyond my hopes for them.

Stacy Hagen

As a parent, student owner, and dance teacher, these are some important questions I suggest asking when considering a college dance program.

How many times a semester/quarter do the students get to perform?  Is it open to all grades?  What is the audition process for being chosen? Ask the same questions concerning choreography.

What other opportunities are there to dance/choreograph, such as campus clubs, choreography/dance festivals in the community, etc?

What classes are required in the dance curriculum?  What other classes besides the required are available in the dance curriculum? Jazz, hiphop, tap, ballroom – besides modern and ballet?

What classes are available that expand their education in the field of dance ? For example, are there classes in injury prevention, dance in film, choreography,  dance and technology available.

Are their opportunities to study abroad within the dance program, or within the university?

What types of jobs are graduates of the program getting?

How does the school support students in booking jobs?

How does the school support/network with their alumni?

What are the opportunities for double majoring?  Minoring?

Graduation rates from the program?  Graduation rates from the University? Why high or low?

What are the opportunities for leadership within the program and on campus?

What master classes/outside choreographers are brought in to work with the dancers?  Is that available to all dancers or by audition?  Grade?

Does the University have a competitive dance team?  How do they do?

Cheryl McCarron

Here are the things I discovered right away, and a few that took a little longer to find out when my daughter tried out and made the dance team at the University of Tennessee.

1. This is not high school! As a parent, as soon as the tryout process and making the team event happens, you quickly learn that your role will be minimal. As with all things in college, your child is now a student or member of that University and of that Team. All obligations to the parents are off. It doesn't matter if you pay the bills, the University does not communicate with parents due to privacy laws, and coaches/spirit coordinators for dance teams may be the same way. And you shouldn't be offended, but it is a big learning curve! If you were used to being communicated with about practice schedules, performances etc., there is a very good chance that this will not be the case.

● Ask about what, if any, communication you will receive as a parent. I think I heard from the Spirit Director once after Parker made the team, and it was a note about nationals stating that no one should expect their athlete to be on the floor for the routine (final decisions at UT could be made all the way up until the week or even days before the performance) – and that parents should travel at your own risk, understanding that your dancer may not make the floor AND, depending on how large the team is, may not even travel to the event.

My #1 advice would be to make sure your dancer is you communication conduit. The coaches/directors have many athletes under them, and they expect them to tell their parents what they need to know.

2. Ask if parents get tickets (free or a block held for purchase) to games. At UT, we parents weren’t given tickets, nor was there a block of tickets that we could buy from – so it was all on our own.

3. Make sure you ask WHAT SECTION to buy tickets in! If they have a huge stadium like Neyland at UT, you don’t want be on the opposite side of the stadium trying to watch your dancer! Chances are, they move around (sometimes they swap end zones in different quarters, or swap with the cheerleaders) so make sure you learn if they spend more time in one section so you can buy tickets in that area.

4. Ask about practices:

●  Are they all held on campus? If not, how do they get there?

●  How many times a week?

●  What about work outs?

5. Ask about their policy on game day (football) – Can you see your dancer before or during the pre-game activities? Are they allowed to stop and take a picture with you? UT has a routine before games where they do short routines where the fans are “tailgating” as well as visit alumni tailgates. We used to follow it around taking pictures, but the dancers were pretty much expected to stick with the team and “do their job” versus socializing with friends and family.

6. Ask about appearances! We didn’t understand the commitment the dancers (cheerleaders and mascots) have each week, especially during football home game weeks. There were appearances (pep rallies) at grocery stores, alumni activities, nursing homes, on campus events, not to mention TV appearances (local broadcast, ESPN SportsCenter, etc). The entire team doesn’t typically go to every event, but there are several a week, so your dancer will need to go to at least one or two. This is in addition to practices and work outs... it adds up to be a lot. It’s important to understand all of the expectations so you go in informed.

● Ask about how they get to appearances that aren’t on campus! Is transportation provided? (It wasn’t provided at UT, so all Spirit Team members had to coordinate and drive together to off-campus events.)

7. Do they require any fundraisers to pay for expenses? Do the dancers have to pay for anything? At UT, they hosted clinics and worked the UDA camps to earn money for the program, but there were no requirements to “sell” anything or for us to buy anything. UT has consistently placed at UDA, so their expenses have been covered (top 3-5 teams each year win all or part of their expenses for the following year), so I’m not sure how teams who finish outside of the top teams fund their trips. UT provided everything – shoes, sweats, uniforms, poms, tights, hair pieces... etc.

8. If you make the team in the spring, ask about all of the summer commitments. Graduating high school seniors who compete at studios usually have recital, nationals and nationals practice in the summer. This sometimes happens at the same time when the college team is having practices and going to UDA or NDA camp. What is the policy for incoming freshmen who have conflicts due to commitments with their studio?

9. What happens if you have a conflict with a game or appearance due to a family event (like a wedding)?

10. Ask about practice for UDA/NDA nationals. UDA is in early January, so that meant that when they finished finals in mid-December, the girls had to stay on campus for an additional 8-10 days for nationals rehearsal, and to perform at basketball games. If you live far – that means you don’t go home. Parker came home on December 23, and had to be back on December 30 for a basketball game and more nationals rehearsal before classes resumed. So while the holiday break for regular students was almost a month, she came home for almost 7 days.

● Also ask about where freshmen stay during practices when dorms are closed (summer, holidays, breaks). If you live far and can’t travel back and forth to your home, freshmen need a place to stay! At UT, the older dancers who lived off-campus were responsible for “hosting” the dancers who still lived in the dorms.

11. Understand the rules around game appearances during holidays (Thanksgiving, Christmas, Easter) and breaks (Spring Break). If there are games, does the whole team have to stay, or do they split it up so some dancers only have to stay for one holiday (say Thanksgiving weekend) but get to miss another game during a different holiday or break?

12. Do they have study/grade requirements? UT required all Spirit Team members to attend study hall times. Freshmen had to go to the athlete study hall 5 hours a week first semester. After first semester, I think the number of hours you attended was tied to your grade point average.

Facebook: The Competitive Edge by Meredith

Instagram: competitiveedgebymeredith

Twitter: @the_comp_edge

For class, choreography, or booking information, please email: meredith@thecompetitiveedgebymeredith.com

You can also read The Competitive Edge by Meredith on Dance Apps Inc's app with NappyTabs, Dancer's Toolbox under Dancer's Dish.