Ballet Class Etiquette

I have been dancing all my life, since the age of three.  These days, I still attend ballet classes at various schools in various cities in order to maintain personal fitness but also to keep in touch with a life-long passion.  In attending these various classes, it has come to my attention that there seems to be a slippage in one of the critical foundations for which ballet and the study of ballet is so valuable.  That foundation is etiquette.

Etiquette for the ballet world is so important for many reasons. It provides an atmosphere of respect for the instructor, other classmates and for one’s self.  If a ballet student or class participant exercises proper etiquette, they stand apart.  The effort is appreciated by classmates and the instructor, and if anyone thinks that good or bad etiquette goes unnoticed, think again.  Etiquette is also important for one’s self because exercising that type of decorum maintains focus and discipline.  These are the pillars to improving in your study of ballet and becoming a professional, as well as being considered “professional worthy.”  This post discusses proper etiquette that should be employed universally as well as quickly identifying etiquette preferences and nuances of the studio, instructor, auditioner, etc. in order to make the best impression possible.

Entering the Class

It should be a given that the student is on time, prepared and already familiarized with the dress code of the studio and is appropriately attired and hair is securely fashioned out of the face and off the neck.  As an instructor, I personally always encouraged students to bring water into the studio because my expectation is that it sets the tone for 1) the student should be working hard enough in class that constant rehydration is necessary and 2) class should not be disrupted with students coming and going in order to get a drink of water.  However, water bottles accepted into the classroom should be spill proof and capped, and always placed innocuously in corners, against walls and out of the way of any across the floor traffic.  Many dancers want to keep their dance bag and other personal belongings in the class with them to change shoes easily, keep ace bandages and toe shoe wrappings handy, etc.  This should follow similar placement to be out of the way as well as despite the size of the bag, keep it and all its contents contained as much as possible.  If you carry a suitcase sized dance bag, proper etiquette dictates that you should have a smaller bag for the necessities needed during class or rehearsal and leave the rest in the dressing room.

At the Barre

If you are a visitor or new to the studio, beware your choice at the barre:   For some, their spot at the barre is considered their spot.  It may be silly or downright immature, but without being cognizant of this territory preference, the student may inadvertently affront a fellow dancer before class even begins.  Maintain a neutral place by the mirror until class is about to begin and others have chosen their spot, or if space is scarce, always politely ask the fellow student if you will not be in the way by choosing the spot you want.  If you are in an audition and you have been numbered, it should be automatic to place yourself in numerical, or other sequential, order.

Between exercises at the barre is NOT an opportunity to chat and catch up on the latest gossip or television series.  I realize that some instructors who don’t plan exercises beforehand sometimes allow talking in class between exercises while they choreograph the next exercise, but this is a bad habit if your regular instructor allows this.  Between exercises is a time to stretch or practice, not gab. 

Pay attention to the instructor when they are giving the exercise.  I know that from time to time, no matter how disciplined the student is, for whatever reason, sometimes we just sort of “zone out” during the instruction.  It happens.  But I notice that some students do this constantly and rely on a very bad habit of watching the student in front of them trying to execute while they learn the exercise.  It is impossible to improve as a dancer if you do this.  Any serious student understands that at any given moment, a dancer is thinking about hundreds of aspects with regards to the placement and alignment of their entire body.  There is no way to do this correctly if you haven’t picked up the exercise.  Therefore, that barre time becomes a complete waste.  If you also believe that the instructor or auditioner doesn’t notice who does this, think again.  These “watchers” are always off in their musicality and slightly behind, at best.  At worst, the student is massively butchering the exercise because the person they are watching didn’t get it right either.  Pay attention.  Actively and deliberately, pay attention.

If the instructor goes through the trouble of demonstrating an exercise, this is an opportunity to pick up on their style preferences.  Notice their head placement, notice if they prefer the arm to move in position with the working leg, or maintain it in à la seconde.  Notice the dynamics of when they move and count to pick up music accents.  It is a golden opportunity when an instructor demonstrates the exercises and a privilege.  If you, as a student, aren’t able to pick up an exercise based solely off a verbal instruction, you will need to spend time learning your dance vocabulary.

Center Work

As previously mentioned, if you are new or visiting the studio beware of your choice in placement for center work as well.  Everyone has their own preferences to placement, which mostly has to either do with a comfort zone or catching the instructor’s attention for critiquing.  Until you have established yourself as one of the top dancers at the studio, front and center doesn’t belong to you.  Sorry, but that’s reality.  Conversely, even as an adult dancer past her prime, I’ve experienced dancers monopolizing choice spots that don’t necessarily belong there 100% of the time, and I have had to subtlety (which is never all that subtle, by the way, so make sure you are secure in your place to do this) claim that spot for exercises I knew I would do well.  But I have always been aware to rotate myself from back to front from side to center.  It is hopeful that the body of students can, on their own, switch lines and placement to give everyone a chance to be easily seen, but unfortunately this usually has to come at the direction of the instructor.  However, if it is not an audition and there is open policy to do so, don’t be afraid to suggest this yourself.  Smile and politely ask the instructor, “Should we go ahead and switch lines for this next exercise?”

If center work is divided into groups, also be conscientious of the group that is performing.  It is bad form to practice behind other dancers while it’s their turn.  It’s distracting for both the dancers and the instructor, and you may be inadvertently encroaching on the space of the dancers whose turn it is.  If you must practice the work prior to your turn, go off to the side of the studio and try to stay out of line of sight of the instructor so that their focus is only on the group currently performing.  If you want the opportunity to do the exercise more than what the group you are assigned to will allow for extra practice, then make sure you are definitively in the group performing and not marking the steps in the back space where it is uncertain if you are dancing or not.

While waiting for your group’s turn, this is not an opportunity to talk or sit.  Every instructor is different but nothing indicates disrespect to me personally, than someone who sits down during my class.  As an instructor, this is my biggest peeve and as a fellow student, I find it tacky that I have to step over you and you can’t demonstrate enough stamina to not make it through an hour and half class.  This is the time to be learning and improving, rest comes after the work is put into the class.  If you are fixing a shoe, then I am more understanding but if you are lounging and hanging off the barre, you are perceived as lazy and not belonging in a serious class or studio.

Across the Floor

Lisa: In ballet class, age 15

Two major universal rules when it comes to across the floor etiquette: 

1. Be ready to go when it’s your turn and... 
2. Stay out of the way.  

All the studios I’ve been in, all the classes I’ve taken, all of the auditions and every instructor I have met or taken class from, it is universally annoying to not be paying attention and go on cue when it’s your turn to go.  

Across the floor exercises are the fastest moving part of the class, and instructors are keened into observing students in time.  If you throw off that timing, you throw off their tempo and draw negative attention to yourself and whoever is going across the floor with you.  It’s especially bad if the instructor has to stop and start the music over again.  Pay attention, I cannot say it enough, and be ready.

I will never understand fellow students who practice the choreography or reverse sides in the pathway of other dancers coming across the floor.  This is just plain rude to your fellow dancers.  Make sure you are always out of the way and pathway of across the floor performers.  While most dancers will make the mistake of cutting their own practice and performance of the choreography in order to accommodate you, you may one day have me in your class, or someone like me, who has zero compunction of running you down in order to complete my steps at full capacity.  So if you want to avoid being branded as rude and completely unaware of others around you (or receiving a toe shoe in your rear end), stay out of the way and be considerate of the dancers who are performing.

End of the Class

Proper etiquette extends to the very end of the class until you exit the studio.  Always curtsy and applaud the instructor when they end the class; whether others do it or not, or even if you hated their teaching style.  Even if the instructor includes Reverence, it is proper etiquette to curtsy and applaud the instructor.  If you want to courier favor with the instructor and perhaps garner a last critique or compliment, I have always recommended that my students walk up and personally thank the instructor for the class and to say how much they learned.  Some students will also ask a question regarding technique of a particular exercise; this demonstrates an interest that all instructors appreciate, but be courteous to notice if the instructor has the time to impart additional information or if they are themselves in a hurry to start the next class on time, or simply have to get on with their day/ evening.

Even if you are very familiar with your studio and instructor(s) do not yell out a good bye or a thank you for the class as you exit. Your instructor, no matter how much they may favor you, will frown upon this as it sets a bad example for other students or younger students observing your conduct. 

These are just some basic etiquette techniques and every instructor and studio will have various nuances and preferences with which a student will need to keenly observe and quickly adopt. But even adopting these basics will serve any student well as they make their way in the world of dance.