Tips for Competition Season

Ballet Buff  Model: Elliana F. 2017 Photo Shoot

In addition to audition season, it is also competition season for many young dancers, as well as several auditions can include separate but affiliated competitions.  Whether you're preparing for something like Youth America Grand Prix on the ballet circuit or various other national/ metropolitan city competitions in all genres of dance, these tips will help make the process go smooth and your wins that much more gratifying.

Pre-Competition Tips:

1) Practice - While it should go without saying, whatever dances you're doing for a competition, you must practice it/ them EVERY DAY.  While those who may be competing in local competitions with group dances can get away with practicing just at their respective weekly class with their peers, (although most competition schools I've been to that win big and consistently still push for more) daily practice of dances while preparing for national, international and solo/ duet/ pas de duex, etc. pieces, is essential.  If you count on just a weekly class or private lesson to sustain a competitive level, don't be too surprised if you don't place as well as you may have hoped.  You may not always feel like it or be busy with a hundred other things, but whenever you make a justification not to practice, just remember that when you're back stage about to go before the judges: do you want to be wishing you had practiced more, or be confident that you have done everything you could possibly do to be prepared and be at your best?

2) Dress Rehearsals - Just like with recitals and performances, you want to run your own personal dress rehearsals for competitions.  This is important to make sure your costume moves well and comfortably with the choreography, ensure head pieces are secure, props don't go awry and if you are using special make-up, how long it takes to put on and ensure it doesn't sweat off.

3) Travel Arrangements - If you are traveling a long distance to competitions, always make travel arrangements well in advance, by a few months to even 6 months ahead.  Especially with larger competitions and hotel arrangements, those types of events can fill a city and it's accommodations quickly.  Another way to go that can sometimes be a more economical option, is if your competition is in a high tourist city, such as Orlando, many vacation homes are available all the time for rent.  They usually cost more a night than an economic hotel (around $200 per night) but have about 3-4 bedrooms so multiple dancers could feasibly stay in one home rental and save money.  Plus there is a kitchen (and sometimes other amenities, such as pools and hot tubs!) to help save on the cost of eating out for every meal.

At The Competition/ Day Of/ Packing for Competition:

1) Murphy's Law - Most seasoned dancers know that when it comes to performances, auditions and competitions, Murphy's Law: What can go wrong, will go wrong ~ is always in effect.  Therefore it is imperative to bring a back up of everything.  Most of us know to pack back up of things like shoes, tights, hair and make-up accessories but that's because we may be used to whatever our school/ studio has going on at it's performances.  Other things to make part of your back-up system for a competition should also include costume repair sew kits (extra ribbons, rhinestones, flesh colored elastic, etc.).  Another is to bring some rosin, just a small piece. Although most places will use marley/ matlay flooring, the bottom line is you just never know how slick the flooring/ stage might be (due to newness, cleaning, lack of cleaning properly, etc.).  You also want to always bring back ups of your music.  You never know if something won't play well or gets missed in the sound director's huge pile of music. And one that is commonly missed: always bring copies of your registration forms and receipts of your entry fees and other documents that prove you did everything to participate in the competition.  It only takes one person, dealing with hundreds to thousands of documents to misplace yours, or make a data entry error on the registration list and possibly keep you from participating.  It doesn't happen often but why take the chance?

2) Resume/ Marketing Collateral - You never know who might be scouting at a competition, especially ones like YAGP or Grand Prix de Lausanne, where many winners go on to receive professional contracts.  Always take up Resumes, Professional Photos and other collateral (Digital Portfolio and business cards to your Social Media resume info) in the event a choreographer, director or judge wants to keep in touch, see more of your repertoire or genres and possibly wants to work with you in the future and/ or invite you to audition for a summer intensive, internship or the company.

3) Food & Hydration - I was terrible when it came to competitions: I would eat nothing all day, sip a little water and then gorge myself on 1/2 lb double cheeseburger, milkshake and fries afterward.  Probably the most unhealthy way to go about competition day.  Nowadays, we know a lot more about how to properly fuel our bodies to keep energy high but not have full bellies to try and dance on.  I recommend things like oatmeal, yogurt, protein bars and shakes to keep your energy levels up and avoid insulin spikes (which will result in a blood sugar, and therefore energy nose dive). Stay well hydrated up until about 1-2 hours before you dance (continue to sip water as needed, especially if you are warming up and practicing) but that should reduce the chances of having a full bladder by the time you are waiting back stage. 

4) Warm Up Properly - Sometimes we get so pumped and excited at competition we don't feel the need to take ourselves through a proper warm up, such as barre.  And I agree that with the adrenaline going, it's hard to slow down and do things like plies and rond de jambes. But you should force yourself to do this to make sure you don't incur an injury while competing.  Also be careful about practicing beforehand. I can't count how many times I saw fellow competitors practicing on bad surfaces like carpet and hard tile and ending up injuring themselves right before they were supposed to go on.

Elliana F. rehearsing for 2016 YAGP

5) Don't Be Mean to Your Support Group - It's easy for everyone to have nerves, excessive energy due to adrenaline and excitement/ stress during competitions.  As a result, our support system (be that moms, dads, siblings, coaches, etc.) all tend to be extra helpful, which can sometimes be a little annoying.  But they usually are giving helpful advice, even if it's something you already know or a reminder to pack something you already packed. Don't snap at them or act like a diva who can do it all without any help.  

Chances are good you didn't pay for any of your lessons, privates, costumes, entry fees, shoes, etc. personally, so being rude to those who are simply supporting you the best way they know how to, is not only so disrespectful from a personal perspective, it is also incredibly unprofessional.  From a business perspective, your support system is essentially your sponsors/ donors, and you should treat them as such.  If someone paying me to dance asks me 10 times if I packed my tiara, I will always politely say yes, and thanks for the reminder because they're bank rolling me.  I personally will not work with someone who is disrespectful to their support group/ moms and dads, because I know they are divas and will eventually treat me or other people I try to network them with in an unprofessional manner.  Accept that it is a stressful and excitable time, and accept graciously those who are trying to help you.  You all have the same goal.

Back Stage:

1) Maintain Etiquette - Always exercise good etiquette and a professional decorum when it comes to competitions.  Not just with your support group, but also competition staff and fellow competitors.  If practicing, be mindful of who is around you.  There is nothing more annoying and amateurish than a dancer who acts like she/ he is the only one in the universe.  Don't run into fellow competitors or competition staff running around trying to get the stage ready.  Use stage time for checking out turns on a new surface or spacing but beyond that, running your dance full out with 50 other dancers on stage is unlikely to do you much good.

I personally don't subscribe to the over-niceties of wishing my fellow competitors good luck (honestly when dancers did that, no matter how well meaning they might have been, it always felt less than genuine).  Unless it's someone you know well or have run into at previous things like other competitions or auditions.  That being said though, I was always very respectful of other dancers (if someone did offer me a merde, I'd reciprocate).  And I was always helpful.  Meaning if someone ran their tights and didn't bring a back up, I'd offer up one of my back ups.  It never bothered me to help someone out because I knew I was prepared and ready to compete and didn't need to win based off the misfortune of another competitor, and in fact, I wanted them at their best as well.  That's how I knew my win was valid.  So always be polite, considerate and a fair competitor but don't be fake and know that it's okay to maintain some distance.  Despite what some people coach to their dancers, it's not necessary to act like everyone's new bestie to be considered a polite competitor. 

2) Watch Your Nerves - Going back to being really excited and the rushing of adrenaline, do what you can to keep your nerves calm.   You want to be careful about letting your nerves take over.  Shakiness and excessive force in your steps can cause mistakes or worse, injuries.  Avoid things like caffeine for starters and sugary foods for the day.  Meditate, pray, take deep breaths, listen to calming music and so on; whatever works for you but you'll want to keep calm in order to maintain performance control.

3) Have Fun and Let Go - Last but not least, when you're back stage and they call your name, that's the time to let it all go and just enjoy your performance.  Trust that you have done all you can do to practice, to prepare and to be a fair competitor, so that no matter what the outcome, you did your best and can be proud of your conduct.  As you compete more, at some point or perhaps a few times, you will mess up monumentally.  It's just statistical fact.  You'll slip, or fall out of turns or even blank out on choreography.  It happens and if it does, just keep going.  You may not win first place, but the experience of messing something up and finishing anyway will be more important than a *trophy.  

And since I no longer compete, I can genuinely say: 

Merde and Best Wishes to all competitors this competition season!

*Perspective: My first competition I won 4th place and I was 8 years old.  I remember being so upset and embarrassed when my mother proudly told people that I got 4th place.  I cried and thought I should have done so much better. 

I probably won a total of about 80-90 first place trophies total during my competition years, and even more ribbons, medals, etc. Guess where they all are now? The garbage.  In the long run, trophies don't mean anything.  And if you travel and move around a lot, they are a pain to keep. What really matters is what you learn from the experience of competing.  And beyond that, if you are a truly serious dancer looking to make a career at some point, the only thing that really matters, is getting a paid job; not the number of trophies you have on a shelf or in the garage.  Competing can be a great experience, but always keep perspective and don't get upset over it if you don't come home with a $10 piece of metal (if you're lucky) or plastic, painted gold.  

I know that's easier said than done, so if you do get upset or are disappointed at the results of your competition season, lick your wounds for a day or two and then get right back into the studio with what you learned from the experience, work hard and move forward.

Ballet Body Fusion - Group Gym Class Review

At my local gym, they recently introduced what they call a Ballet Body Fusion class.  I was understandably very excited to try this new ballet fitness method which the gym described as:

Blending Pilates, conditioning and classical ballet, this fun and invigorating class develops endurance, balance and core strength. You don't even have to be a dancer.

As the class progressed however, my excitement went away quickly to the point where I had to leave the class.  This is, of course, all based on only my experience of the one class for which I could only stand for 45 minutes before I was completely put off by it, but I felt the class was so egregious in its claims of "ballet body" and "conditioning and classical ballet" that I should put this review out there for others to know and understand what they could be potentially exposing themselves to when attending such a class.

1) There is no actual ballet technique ~

While for the general gym population whom have never had a ballet class may find this to be an appealing aspect, trust me, it's not. Ballet dancers do train hard and for a number of years, but that doesn't mean that learning the basics and the technique is beyond buck beginners.  Certainly it may feel awkward at first, but I doubt your first yoga or crossfit class felt like a dream either.  And that's why we do these things: to introduce our bodies to new ways of moving, cross training and forms of exercise to keep us fit and keep us from getting bored.  The Ballet Body Fusion class however, had zero ballet technique or even ballet based steps.  The majority of the class was focused around floor Pilates exercises.  The closest a ballet step came into the class was some plies, but even those were frightening...

2) "Modified" ballet exercises can cause serious injuries ~

There were two exercises for which the instructor (who even said during the class she had no ballet training and got her exercises from YouTube videos) one was a demi plie, supposedly in first position (which was never explained how to properly set a participant's feet to have a good first position) in releve with tons of mini demi plies.  I realize a lot of ballet fitness methods like to do this, but if it's not properly executed it is extremely hard on the participant's knees and lower back.  If the turn out in first position is "forced" which we all know novices to inadvertently do very easily, then it can cause ankle issues as well.  Some methods at least have you holding a barre for some stability while executing this unstable exercise, but in this class because the instructor just had no clue, this was done out in center.  

The other so-called ballet step incorporated was sort of grande plies in second position. Again, the instructor did not either know or just did not explain that a participant's knees should remain in alignment over the toes while executing a grande plie.  No one had a proper width to their feet either and the class participants ranged from a wide second position (wider than their shoulder span) to being so narrow, even Vaganova wouldn't consider it a second position.

In both these exercises, as I looked around the class, I saw sway backs, collapsing  knees, hunched shoulders and upper backs (because arms were not placed properly either) and the instructor (who mostly spoke rather than doing exercises, or demonstrating them to give an idea of proper form) walked around, obviously seeing these same things that could cause a major injury (some class participant's were in their 60's, I really felt bad for them) and either didn't bother to give corrections to ensure proper alignment or, more likely, didn't know any better. 

3) Shaking muscles doesn't necessarily equal a good workout, depending on your goals ~

In that first "ballet exercise" (demi plies in releve) these were done so much that it forced muscle shredding (also known as muscle fatigue, mechanical trauma, etc) . So all of us, myself included (emphasized because poor state of fitness or lack of leg muscles was not the issue), were shaking as we did this exercise over and over. And what is so unfortunate is that  the instructor and the participants of the class took this to mean they were getting a really good workout.  But shaking muscles is not an indicator of an effective workout, unless your goal is to build up and gain muscle.  When your muscle shakes it can mean a number of factors ranging from dehydration to over-doing your muscle.  Many body builders intentionally do exercises to force hypertrophy in order to gain muscle mass.  So yes, if your goal in a Ballet Body Fusion class is to walk out with massive thigh muscles (because it's forced each class) that will qualify you for an NPC competition, this exercise (alignment follies aside of course) is great.  But most people, especially ladies taking the class, are looking for the long, lean muscles of a ballerina, not the bulk of a body builder or even an IFBB competitor. 

The other point to make here is that ballet, which has been developed over centuries, is designed to warm the body up slowly and methodically (both micro and macro muscles) in a certain order to prepare the dancer for the harder work in the center.  Demi plie, without exception, is to be executed with the heels down, it's main purpose to stretch the calf muscles and Achilles/ heel tendons.  Grande plie in second position is designed to begin warming up the macro thigh muscles, the glutes and opening the hips for proper turn out and extension.  When either of these is done incorrectly, not only are the risks for injury increased, but the benefits of the movement are completely missed.

4) Bad counting/ uneven side exercises ~

Here's an issue I have with most gym class instructors overall, not just this particular one, but it did stand out in a major way in this class.  Ballet, and all dance classes, are very particular about keeping exercises even on right and left sides.  Exercises are reversed and predominantly executed on the right and then left side (the working leg) evenly.  When gym instructors just kind of bounce along to an ill-planned workout, to remix music that they may or may not pay much attention to, you will receive an unbalanced workout.  This can lead to alignment problems, injuries, etc.  We already fight an imbalance usually in our bodies because of dominant motor skills (i.e. right-handed vs. left-handed) so working out unevenly at the mercy of the instructor not paying attention aggravates this. 

What was really serendipitous of my leaving the class, was that the gym decided (after I had been a member for the last four months) decided that I needed to sign a waiver of liability.  While under most circumstances I agree completely that some form a waiver needs to be in place, this one in particular was one-sided and written with a negligence clause that had gym members waive their right to any litigation around negligence of the facilities and equipment being in disrepair and to the competency of their personal trainers and group fitness instructors.  Ironic, no? Needless to say I terminated my membership and as a final friendly recommendation as this clause was one paragraph in a 3 1/2 page liability waiver, make sure you read what you sign and that your gym membership paperwork not only protects the gym, but you as well.  

7 Rules of Engagement For Your First Audition

For any student that is serious about improving their technique and pursuing a career as a professional dancer with a ballet company, at one point will experience an audition at some point in time.  Whether you are seeking placement in a Summer Intensive Program outside your home studio/ school to expand your knowledge and technique base, or preparing for a position in a company’s corps de ballet for your first dance contract, the audition is an experience that can either make or break your objectives.  It is critical to ensure proper etiquette is followed.  Even if you personally feel that this is a new millennia and more progressive era for dancers, almost all of your auditioners will have been “raised” in old school decorum and you may put them off by doing anything less or against strict tradition. Also check out my previous post Preparing for Audition Season for more tips on organizing your objectives this audition season.

1.     Treat the Audition Like an Interview

It’s important to treat your audition, even if it’s just for a Summer Intensive Program, as you would an interview.  Special care needs to be taken with your appearance, your knowledge of the company and your resume.  Even if the only document the auditioner is seeking is their own application, always bring in your Ballet Resume with photos and even your digital portfolio.  At worse, they will tell you they don’t need it or want it, but most likely they will take it, and at best they will review it, and thus, will have that much more information on you as a dancer as well as it may set you apart from your fellow auditionees.

2.     Do Your Research

It’s become a common rule in business for people to research a company before their interview; after all there is nothing worse than to feel like you are performing well during an interview and then they ask you a basic question like what the company does and how you will fit in the company, and you have no answer because your focus was strictly on the job (the single audition) rather than the company as a whole.  Similar to a business interview, know something about the company or studio you are auditioning with; more importantly know something about the Artistic Director or the Choreographer and the auditioner.  have some knowledge of their recent productions, recent interviews in dance magazines, their choreography style or repertoire, non-profit or community performances they are involved with, upcoming productions, etc.

3.     Your Appearance

It was once noted by one of my long time teachers in a class right after the new year when all the students were coming into class with new leotards of various intricate designs and patterns and lace and mesh overlays and he commented, “It’s amazing the leotards that are available today.  It makes class seem more like a fashion show…” and it’s true, the industry has designed amazing leotards and dance apparel.  While the impulse may be to wear some of these cool designs to make you stand out from the crowd, test the waters first.  This is much easier if you attend several auditions in your area for Summer Intensives or are familiar with the decorum at the company/ studio you are auditioning at, but a unique leotard may be so popular it’s no longer unique.  You may stand out (and be more desirable to hire/ place) if you exercise tradition over complicated designs that distract from your natural line and body.  

Before the charge of the fashion industry making its mark on dance wear beyond costumes, dancers could only be subtle with their uniqueness and I feel that art has been lost.  Many of us would do intricate braids in our buns to make our mark, or one girl I frequently auditioned with would pin fresh rosebuds with baby’s breath in her bun, which was always eye-catching, yet subtle.  Many would have decorated pins or barrettes.  But we kept our individual styles to our heads, without breaking traditional bun hairstyle and it was unique but not distracting, and that’s a look to go for during an audition.  Anyone can see my postings and videos and know I am not conservative all the time, but when it comes to the occasion, I respect the traditional pink tights, pink slippers, pink toe shoes, black spaghetti strapped leotard and hair securely fastened in a bun look.  No jewelry, except for perhaps small stud earrings and definitely no watch!

4.     Bathroom Use; Dance Downtime

Please, please, please, take care of your bathroom needs prior to entering an audition (or any class, for that matter).  Last season, I participated as a guest observer in an audition for a Summer Intensive program being held in New York with the last of the original Vaganova trained practitioners, and the auditioner/ instructor asked a technical question about the correct head placement for an arabesque, and the young lady who raised her hand (the instructor thinking she had the answer) asked to go to the bathroom.  I was embarrassed for the young dancer and it made a poor overall impression of that area and studio the audtioners visited.  The only scenario that you can’t make it through an hour or hour and half class without having to run to the restroom is if you have some sort of food poisoning.  Anything else appears as immaturity, irresponsibility and unprofessional.  Some dancers carry the same apathy during class with downtime for center work or across the floor into an audition.  This is a huge mistake, and why I personally do not tolerate bad etiquette in any one of my classes.  Do not hang on the barres or have a seat (even if you are pretending to be stretching) or even stand in a loitering or a lazy position.  It’s disrespectful, and you are sending a clear message that you are not taking the audition seriously and therefore you should not be taken seriously as a potential candidate.

5.     Pay Attention

This is the most important rule to follow at an audition for two reasons: First) there is nothing more glaring in an audition than when someone doesn’t pay attention and doesn’t know the exercise.  Even if you think you are following the person in front of you or in your group, it’s incredibly obvious when someone doesn’t really know the exercise asked for and Second) this is a very unique opportunity to get placed or hired, that most dancers fail to utilize.  Paying careful attention to the auditoner/ instructor’s head placement, arm placement, musicality and overall style will expedite your position to first choice exponentially.  Auditioners want to know two things: if you have strong basic technique/ line and if you will adapt to their style and choreography or naturally have it.  If you can prove yourself to be the latter, you will often times be a first choice, even if your technique still needs work.

6.     Perform

Always perform during your audition.  This demonstrates that you are able to perform, even if you are nervous or under pressure.  Even if you don’t feel well or don’t feel like you are on your game, you know enough to know that wearing a smile or at least having a pleasant expression that evokes you enjoying dance makes all the difference in the world.  Most people are nervous at an audition, and an effective way to catch an auditioner’s attention is by performing, even if it means throwing in some flair and personality where it might be appropriate.  Smiling triumphantly during an adagio, showing glee during grande allegro across the floor, these are opportune times to let your love of dance shine through.  It’s basic human nature to watch this person over a dancer who is dead pan and serious faced and is generally boring in the sea of technically competent dancers.

7.     Respect & Reverence

It is important to always show respect and reverence for your instructors and fellow auditioners.  Be sure to exercise appropriate class etiquette when it comes to your position and conduct throughout the class with your fellow auditionees.  At the end of the audition, always be sure to curtsy and applaud the instructor and thank them personally if there is a chance to do so.  If you have the opportunity, thank the auditioners as well for the opportunity to dance for them, shake their hand and let them know it is important to you to dance for them and for their company again.  Offer them your dance resume or a dance business card with links to your Social Media Resume.

Even if you do not get the placement you are hoping for, if you conduct yourself professionally, the dance world is small enough that auditioners will remember you the following year for another chance at your goal.

7 Tips to Teaching Adults...& Keeping Them Enrolled

For some instructors, teaching an Adult class is considered to be easy and a no-brainer as compared to the other classes.  Usually, the Adult class is comprised of beginners, so there is not a lot of preparation needed to give the class.  Adult students aren't usually concerned with being professionals so driving technique hard isn't a factor.  The majority of Adult students are viewed as coming for some ballet fitness, or taking for the sake of their child who is dancing, etc. However, what I see becoming the trend is that Adults can be a major source of income for a studio, if the classes are being taught correctly and managed appropriately. 

In my generation and all that followed, there were hundreds and thousands of girls who took ballet and danced growing up, more so than any previous generation.  As we got older, even if we never went pro, we still consider dance to be our go-to fitness option.  These are the same people who prefer group classes at gyms because that's the type of environment we're used to working out in. And despite this large pool of potential enrollees, studios and instructors fail to see the opportunity and really seek to engage this demographic; that's why Adult programs have little to no success.   

Check out these seven tips to see if your Adult program is lacking and what to do about it:

1) Just Because Your Adults are Beginners, Doesn't Mean They're Children

One of the biggest mistakes I see instructors make when teaching Adults, is treating them like they would a beginning children's class.  Even though adult students may be brand spanking new to ballet, they still have greater motor skills than children.  There is no reason to go super slow with positioning, only the break down of steps in sequences is usually needed.  This is also where knowing correct terminology helps, because vocabulary is something adults can pick up and remember more easily.  But the biggest thing is don't treat adults like children and in patronizing ways.  Most Adults seeking ballet fitness have done things like yoga and can handle the physicality of ballet, even if they are struggling with the coordination at the beginning.  That's not a reason to "dumb" down the instruction.  I've even seen one studio give an Adult class and play Disney music during the class.  Maybe this is okay if the class is all mothers just doing it for fun, but in almost every circumstance this is a massive fail.   

2) Allow for Differing Levels

It's not uncommon, especially if there are relatively few Adult classes offered at your studio, that there will be differing levels.  Most classes I participate in have a range as extreme as buck beginners to ex-pros (like myself) and even some active pros.  So the instructor has to be savvy enough to give exercises that can be adjusted per the varied levels of the dancers.  Most advanced-to-pro dancers are equipped with adjusting exercises as needed to meet their needs.  As long as the basic exercise meets beginner needs and can be built on (i.e. add a releve, raise the legs higher, add battu, do it en pointe, etc.) this should be the aim of the instructor when preparing class.  If you have enough varying levels to meet studio minimum enrollment requirements, work to add more classes that are tailored to each level's needs.

3) Know All of the Students' Goals

With understanding the different levels in your Adult class(es), is also understanding the different goals of your adult students.  As mentioned above, some are there purely out of support for their children.  Those that are there for fitness, may have all sorts of various fitness goals (non-machine cardio, weight loss, stress management, better balance, increased flexibility, maintaining fitness, they hate gyms, they love ballet, ex dancers, etc.) Knowing what brings an Adult through the doors is important in designing how the instructor teaches the class overall.  And like catering to different levels, to keep adults enrolled and engaged, you have to accommodate their different goals.  For example, I'll stop going to a class real often if the instructor fails to notice that I am an ex-pro and still treat class the same as I did back in my prime.  Meaning if I never receive any corrections, I consider it a waste of my money.  It's absolutely okay to get detailed on technical corrections for the ex-dancer, but not necessarily the one that's there for stress relief.  If there is a mix of cardio wants and better balance wants, make sure your class includes allegro and adagio.  The point is make sure you know what your adults want to get from the class and that will help ensure their enrollment and regular attendance.  Acting like this isn't a factor because you're "giving a class" is why adult programs often fail due to low enrollment.

4) Don't Recycle Exercises

When you teach a few classes and end your day with the Adult class, it's easy to use exercises from your previous class(es), but I caution against doing this.  As an instructor and ex-pro, I can always tell when an instructor is recycling exercises, because they give it really fast with little explanation.  While sometimes I see this as a challenge (because I have been dancing my whole life and I know technique without it being explained, where heads and arms should be, etc.) and it's a matter of how quick can I pick up the exercise, on the other hand, it's a cop-out for the instructor.  I know I'm not getting the same care, even though I'm most likely paying a higher price for my classes.  For the beginner Adult students, this slack off from the instructor ultimately hurts enrollment.  If an Adult student feels like they are given things without much explanation and they feel like they never really "get it," they'll stop coming.  Put care into designing your class for your adult students.  They pay for classes and they should expect the same prep you do for your other classes.

5) Stretching

Another mistake I see with Adult classes is in the area of stretching.  Wherever you allow for stretching in the sequence of your other classes, Adult classes should be treated a little differently.  Most adults feel like they need to work out some kinks before beginning exercise.  However, an adult stretching when not warmed up can more easily pull a muscle. Some buck beginner students may not necessarily have the experience to know how to stretch themselves to prepare for center work or to feel more comfortable during grande battements, while more experienced dancers prefer the time to stretch themselves rather than follow a led stretch.  All this has to be accommodated, so I recommend incorporating the following:

• Lead a light stretch at the beginning of class. This can be things like neck rolls, ankle rolls, stretching out the back, quads, calves, etc.
• Incorporate dynamic stretching into exercises for adults so they are receiving the benefits of stretching while warming up through choreography at the barre.  This happens by having cambres, lunge stretches around the ronde jambe section of class, including leg stretching in fondues at the end, etc.
• Between barre and center work allow adult students to stretch on their own or to follow a led stretch, but give the option of either depending on the ranges of students' experience.
• Encourage adult students to conduct static stretching at the end of class, or save the last 5-10 minutes to include this as part of a cool down for your portion of teaching the class. This is the time to do more focused stretching and holding positions for 20 seconds while the body is warmed up completely to accomplish increased flexibility.

6) Be Flexible

One of the first things that will make me run away from a studio as an Adult vs. a child student is if the attendance and pay structure is set up the same way.  Adults have other commitments in their life that will take priority over dance class.  Whether it's their job, their family or other things they have committed to, they can't be expected to maintain 100% attendance. So it's up to the studio to structure something that provides both equal flexibility and encourages attendance.  Most studios employ punch cards for Adult classes, and this makes the most sense.  But if you offer punch cards with a very small window of expiration, that is a turn off.  The other turn off is offering different blocks of bulk class purchases that offer little or no discounts, it's another turn off.

7) Provide Opportunities

While for some Adult students, the idea of performing is terrifying and the last thing they want to do, for many this is a selling point.  The same is true for an Adult pointe class, or the occasional partnering class opportunity.  This is again understanding what appeals to your body of Adult students and what doesn't, and doing what accommodates them.  I also recommend that even if the consensus is that no one is comfortable or excited about performing, still work on a piece of choreography for your Adults.  Continuously doing class work can get boring and working on a specific piece can bring a much needed dynamic, even if it never sees the stage.  But the other option is doing a simple showcase at the last class of the season for their children or significant others to view.  Having that goal and dare I say pressure, helps encourage consistent work and achieve all the other original goals that may be part of your Adult students' needs. Providing a good mix of opportunities is how you keep up interest and keep students engaged in your program.

Preparing For Audition Season

It's December and for many dancers, with the Nutcracker season behind them (or soon to be behind them) it's now time for Audition Season to commence.  For dancers entering audition season for the first time, it may be a daunting experience.  And even for seasoned auditioners, there may be some preparation you can do to make this season more successful.  

1) Preliminary Audition Preparation

The very first steps in getting prepared for audition season should occur months in advance, if not a full year for some things.  Ensuring that you have developed a written resume, taken both basic requested audition photographs to accompany your resume as well as additional portrait and candid shots to accompany things like your social media resume are all things to be done on an on-going basis throughout your career as a student and even well into when you have reached professional levels.  If this is not something you have done, visit my previous blogs here to get tips on how to get these things accomplished quickly.  

Next, depending on your age and level and what you're looking at auditioning for by way of Summer Intensive Programs (SIPs) and/ or if ready, professional contract positions, you will want to have variations prepared. If you are an older student (between 12-17) you should have started (if younger) and/ or have a wide, varied (if older) repertoire of different variations.  Each year (and I recommend at least 6 months to a year in advance of audition season) you'll want to have chosen a few various variations and contemporary pieces to showcase your skills and perform at auditions or to make part of your digital portfolio (in the case where you might submit videos for audition application long distance vs. coming to a physical location to audition.)  

In most cases, with repertoire work, you will want to seek out private coaching but for those that can do so financially, it is also always a good idea to get some pre-audition coaching for your classwork. One-on-one coaching for basic technique and classwork will, under most circumstances, increase your chances for a successful audition season.

2) Funds

Audition season, as with most things related to dance on a more serious level, can run into some money.  Whether it's the basic expense of audition fees (which can range anywhere from *$10-$65 per audition class) to getting resume coaches, repertoire coaching, costumes and even in some cases, travel expenses (gas, hotel, airfare, depending on how far you plan to travel for a given audition).  Whether you decide to do just a few auditions or many (and depending on what all they require), in addition to coaching, photography, repertoire prep, costumes, etc., you'll want to map all of that out with your primary goals (as discussed further below) and figure a projected cost and in some cases you may need to work with your parents on a budget plan for audition season. 

3) Make a Schedule/ Plan

I always advise students and pre-professionals to do as many auditions as possible throughout the season for three reasons: 1) you never know what company or SIP will give you acceptance and/ or in some cases, things like scholarships, or other financial aid if they want your attendance.  So cast the net as far as possible to see what you catch, don't limit yourself to just a few (if you can afford it) and go to as many as possible. 2) Auditions, especially while you are a student, are a great way to gain exposure.  We now have social media that gives more exposure than ever before to aspiring dancers but prior to that, auditions were all there was, and in some cases, still the best because it's face-to-face contact.  Don't limit yourself to two auditions if you in fact have an opportunity to attend 20+. 3) The more auditions you do, the better at them you become.  A first audition can be a very nerve-racking and even scary situation, you may be so nervous that you make more mistakes than you normally do, or the instructor's style is extremely different from what you're used to dancing and you struggle with the exercises.  But as you become more experienced at participating in auditions, the process becomes more familiar, and you're able to pick up on nuances, and even if your nerves never completely go away, you learn how to dance well through them.  

So, with the aim of attending as many auditions as possible, it becomes necessary to make a schedule for your upcoming audition season.  Most auditioners coming to an area will all go to the same 1-4 top studios, places for auditions, and therefore it's easier to schedule auditions that don't overlap. However, especially in bigger cities with many visiting auditioners in the case of SIPs, there can be overlap.  And you'll want to spot these ahead of time and decide which one(s) fall within your targets (discussed below).  There are several ways to find out who is coming where within your area (or close to your area) for auditions:

For SIPs:

1) Dance magazines - in these periodicals, companies and schools will start advertising now (or sometimes even as early as November) when they will be visiting different cities for auditions.

2) Check with the top five studios/ companies in your area, and/ or in the largest city close to you, and have them send you information about visiting auditioners to their location for the season.

3) Most auditioners (and locations) will post on their websites where they will be holding auditions and which auditioners are coming to their location.  

For contract positions: 

Most often, companies select auditionees from SIPs and/ their own schools, but they also post when they are looking for contract dancers.  Again this can sometimes be found in dance magazines, but these days it's usually more available on-line, at the company's website.  Many have an audition period in which they either hold specific auditions, or accept digital portfolio submissions for application.  This again, is simply a matter of doing the research for where you want to work, and seeing what the options are to submit for application.  In some cases it may require a phone call or visit to the office manager (don't let them rattle you if they're not very friendly about it) to find out what the protocol is for auditioning.

Map out your plan with the projected expenses involved and what you need to be prepared at the audition (i.e. resume, filled out application, photos, videos, repertoire, etc) and make a calendar and (in some cases) a to do list, and this will help you to be organized and prepared for audition season.

4) Have A, B & C Targets

Although we want to cast that wide net and hit as many auditions as possible, you do want

to make a Plan A, B and C for your goals, whether that be a preferred SIP you want to attend or the desired company to dance with for contract.  Most every dancer knows their ideal (Plan A) but you'll want to always have back up plans should that not work out for whatever reason.  Maybe you're not accepted, maybe the timing is bad, maybe the money is an issue (either to attend an SIP or the contract offered is not enough to live on, etc.)  Whatever the case, make specific targets and back ups to those targets.  And even if your most desired SIP or company is a long shot for whatever reason, never let that detour you from auditioning.  Again if nothing else but for exposure, and let them see you and find out who you are and let them know you want nothing more than to dance with them, even if it's down the road sometime.

5) Prep Audition & Focus Audition

Back when I did auditions, and I had my various targets laid out, I would also sometimes (if the cost was within my budget) use an audition for an SIP I didn't necessarily care about to prepare for the one I did care about and wanted to attend. This is also a common practice with interviewing for jobs in business.  You use an interview you don't necessarily care if you get or not, as a practice, or rather dress rehearsal, to work out the kinks of your nerves, presentation and performance.  And whether it's in business or in dance, I think this is a valid practice and a good thing; again if it is within your budget to do so.

6) Long Distance/ Not Present Auditioning

For some us, we may live in smaller cities or more rural areas, in which case long distance auditioning is our best friend.  Sometimes, it may be a timing or scheduling issue that lends itself to the option of long distance auditioning.  In either case, you'll want to always be sure to follow whatever specific guidelines the auditioner has given in order to submit a digital portfolio as an audition.  I have also seen it happen many times, that dancers I've given resume and social media coaching to, get offered positions at companies and/ or SIPs because someone came across their social media and on-line postings of their dancing, technique and digital portfolio without it being necessarily through normal audition or submission protocols.  Therefore, always be sure that you are working and keeping your social media up to date with your projects, repertoire ambitions, recent photography, etc. as well as be sure to carefully follow long distance submission guidelines.

*Many top level companies and Summer Intensive Programs consider their audition to be a Master Class, so be sure to treat it as such and include prestigious instructors as part of your resume to make that investment worth the entire fee

"I'm So Tired..!" 5 Tips to Stay on Track & On Your Game

We are now at the time of year when a ballet student/ pre-professional dancer can really be testing their physical limits.  Between possibly taking on a higher demand and count of classes in a given week from the previous year (because you have come up a level) to integrating pointe work and/ or variations work into your repertoire or practice schedule, including prepping for audition season (whether that be working on your resume, your variations, your technique in private coaching, etc.) and also many are packing in Nutcracker rehearsals and performances, all while still managing regular school work...! It's a tough time of year and it's what I consider to be the busiest and most physically demanding time of year for dancers, even over summer intensives.

It becomes easy for dancers to get physically exhausted, not due to lack of motivation but from a real concern of running on empty.  But there really is nothing you can back off from, so it then it becomes a risk of injury, which will really put a dancer in a bad situation.  Use these five tips to help make it through this busy time of year:

1) Diet, Sleep and Overall Well-Being

This is probably a given but at the same time, it's very easy to slip into unhealthy habits when schedules get crazy and/ or stress builds up.  But the more you disrupt your normal habits, the more your body will strain under all your commitments, plus the changes.  So maintaining a proper diet, even in the midst of 12-14 hour days, is crucial to overall performance level.  This means skip the convenience of picking up fast food and pizza, and you may need to make sure you and your parents are on the same page with this.  Because your schedule weighs heavily on their abilities to get everything done as well. (Discussed in more detail below). 

It's also important to get plenty of sleep.  Most teens require between 8-10 hours of sleep a night to manage stress well and sleep debt can hinder an athlete's ability to perform at peak levels.  However, it is as equally important to go to bed at the same time each night.  So if it's Saturday night and you have no rehearsals or other obligations on Sunday morning, you shouldn't stay up until the wee hours of night and sleep all day.  This will just be harder on you and your body come Monday.

It's also important to take moments to manage stress, not only on your body but for your psychological well-being as well.  This can be as time consuming as soaking in a bath for 30 minutes or simply taking 5 minutes to lay still on your back with your eyes closed, listening to relaxing music and breathing deep.  Whatever you can fit in, make sure you do something each day.

2) Get Organized & Time Management Skills

Being a pre-teen or teenager, you may not necessarily be an organized type, and really have no issue with your room being a disaster area and your dance bag being a black hole of so many things you couldn't find what you're looking for at any given moment.  But here's the problem with that: dancers are organized.  You have to be when you're managing everything (especially while touring) and there's nothing more pathetic than someone who is running around because they can't find their hair piece or a glove or other easily misplaced item when 1 or more disorganized individuals share a dressing room or hotel room.  These are skills you want to start developing now if it's not already your natural tendencies.  So here's a quick checklist of things to do to get yourself organized:

• Clean and organize your room, your dance bag and your car (if you're driving your own car)
• Make sure your dance bag (or other bags, like make-up bags) have the essentials you need for rehearsals, performances, auditions; extra ribbon and elastic, toe wrappings, hair supplies, meals & snacks, etc.
• If you are managing your own costumes, label your costume bags, hangars, etc. Label each of your shoes and any accessories (if you can't label accessories, put them in gallon zip lock bags and label the bag).
  
• Prepare your meals and snacks for the week ahead of time.  Many athletes utilize the practice of meal prepping as a means to handle heavy training schedules and maintain healthy diets.  Dancers are no exception. Work with your parent(s) to prepare food ahead of time, as this helps to alleviate the stress of cooking for the week for them as well (at least as far as the dancer(s) in the family is concerned).
  
  
• Manage your downtime in a smart way.  This means that if you have a break or down time during a rehearsal, it's not always the best time management to watch your colleagues.  While under normal circumstances this can be a great learning tool, if you're in a time crunch for a few months, it may make better sense to place a higher priority on doing your homework, or studying for a test, or working on your own variation(s) for audition season, sewing or breaking in a new pair of pointe shoes, or resting.  And most certainly, this is not a time to be gossiping or surfing the internet on your phone, etc.
• Deliberately schedule everything that needs to get done.  This means that it's easy to follow the schedule of your classes, rehearsals and private lessons because those are set by your instructors and directors.  But you also need to set aside deliberate time to work on resume photos or self-rehearsal of variations or studying for regular school work.  Working under the mind-set of "I'll fit it in wherever I can" works somewhat but it shouldn't be your main plan, because 9 times out of 10, something won't get done.  Whether that results in a missed opportunity or a failing grade on a test, either way make a planned schedule that includes everything that needs to be done.  Be sure to enlist your parents, instructors, photographers and resume coaches to help you achieve your complete schedule.

3) Negotiate

Although this is not always going to work nor necessarily be appropriate to do (use your best judgement and discuss with your parents beforehand) there are times that it makes the most sense.  If your rehearsal schedule has large gaps of downtime between your dance time, talk to the director or choreographer running the rehearsal and see if there is any way to re-organize.  This not only keeps you (and probably others at your level) from having tons of down time but it's also about managing injury risk, because if you're sitting around for an hour or more, you'll have to spend time all over again to warm up.  Granted, making a rehearsal schedule that pleases everyone is impossible (so don't expect that from your director) but if you see an opportunity that makes sense, humbly bring it up to the director in private.  Never ask them to change it in front of others and never request a change without proposing a solution that makes sense.

Another non-conventional way to manage your time is with your physical education class if you're attending a regular school.  Request a meeting with the P.E. teacher (and possibly a vice principal or principal) with you and your parent and provide a detailed list of all your dance classes and rehearsals and see if (at least during the busy time if not for the whole school year) if you can be exempted out from P.E. requirements.  If this is granted, it can provide an additional study hour if your P.E. is in the middle of your school day or if you can make your schedule where it's at the end of the day, then perhaps you can get in a private lesson or additional rehearsal hour.

4) Cross-training

While I personally find very little value in regular school systems' Physical Education programs, before opting out if you can as described above, I do very much believe in cross-training for dancers, and your P.E. class may be the place to do this.  Many professional dancers do cross-training, whether it be Pilates, yoga, weight and resistance training and swimming.  These are all low-impact forms of exercise that can help train muscles that either you are not getting from your ballet classes and rehearsals and/ or it provides muscle training that can enhance and work muscles you are working in new ways so that there is not repetitive training and muscle fatigue (leading to injuries) occurring.  This counter-balance to all your ballet training helps to keep the body in check as well as provides your body a "break" from ballet without being static.

5) Let it Go (from time to time)

When you are feeling chronic fatigue, or you seem to be doing a lot of mis-steps that almost caused an injury, it's time to back off.  I was very fortunate in the fact that I never sustained a serious injury throughout my entire dance career, and while yes, I did all of the above and always gave 200%, I attribute my zero injury factor to one thing only: I took time off when I really needed it.  The simple fact of the matter is, your body is your tool.  And you should be in tune with your body enough to understand the difference between normal tiredness due to missing a few hours sleep or a few hours extra rehearsal versus compensating safe dancing and technique because you're trying so hard to carry yourself through various physical demands and the reality is, you just have nothing left.  Which is dangerous.  Even though you may feel like every single day (maybe even hour) is a critical time for which to not let up on your practice and discipline, if you cause yourself a severe injury, that will be far worse than just taking a day or two off, in the short and long run.

If you are constantly feeling new smaller injuries, mis-stepping in pointe work (where you roll your ankles easily or land jumps badly) or noticing that you are treating and trying to prevent injuries (ice & heat packs, PT and other medical type visits) on a regular basis, chances are good you are headed for a severe injury.  When these practices are becoming common place, let it go and take a day (or in some cases more) off.  Don't even do class, just allow your body time to rest and recuperate.  You will come back dancing without the high risk of injury and in most cases that I've seen, dancing improves.  Character portrayal improves and management of stress overall is improved.  I am one of the hardest pushing coaches I've ever met, and even I subscribe to this practice.  

Good luck to everyone pushing through another winter season and take care of your bodies!