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