Dance Studio Etiquette - Part 2

“Good manners will open doors that the best education cannot.” – Clarence Thomas

            Last week’s post focused upon the etiquette that should be followed before class begins.  This week’s post will focus upon expected behavior during the actual dance class.

            The learning that occurs in dance class is largely based upon observation.  It is important to pay attention to and carefully observe each detail as a teacher demonstrates combinations and ask as few questions as possible.  Dance is mainly visual, and students need to train themselves to carefully watch and internalize combinations.

            It is for this reason that dancers must remain focused in class.  Talking during class disturbs the necessary focus, and since someone is always dancing in class, talking is considered to be rude.  Those who are not dancing are expected to act as audience members and watch their peers.  A large part of learning in class can, and should, occur while watching others dance and observing their successes and any difficulties they may be having with the combinations. 

            Respect for others is paramount in class, and it is illustrated by where the dancer stands in class and how he or she moves through the space.  When standing at a barre that accommodates dancers on both sides, dancers should place their hands pinky to pinky with those on the opposite side of the barre.  This formation allows dancers on either side of the barre to freely move their arms forward during exercises that require weight transfers without hitting each other.

            When standing in the center, dancers who are in front during a combination should rotate to the back of the room when the combination is repeated, offering those who were in the back a chance to move to the front of the studio.

            When performing combinations that travel across the floor, dancers need to be ready to begin when it is their turn.  It is not acceptable to stand at the front of the line but not begin.  This behavior is unfair to the other dancers who are waiting and forces them to either continue to wait or jump in at the last minute.  If a dancer is unsure of a combination, it is best to move to the end of the line and watch other dancers go first.  It is also often helpful to dance in a group with someone else who knows the combination well.  If a dancer makes a mistake or gets confused when going across the floor, he or she must never stop in the middle of the floor.  Other groups will have started moving across the floor and a collision will likely occur.  The confused dancer should simply keep moving across the space, trying to jump back into the phrase.  The same should occur if a dancer falls.  As long as he or she is not injured, the dancer should stand back up and rejoin the dancers.

            When entering the floor before a combination or exiting after a combination is completed, dancers should move quickly so no time is wasted.  Dancers should never turn and walk backwards through other dancers who are moving but should instead exit the floor by moving forwards and to either side of the space.  Dancers should also make every effort not to cross in front of the teacher while he or she is watching another dancer.

            It is never permissible for a dancer to sit during class.  Sitting implies that a dancer is too tired to be in class and also relaxes the muscles and body in a way that signals the brain that movement is coming to an end.

            Dance class often involves some waiting while the teacher demonstrates a combination, discusses a correction or other groups are dancing.  Those who are not dancing should never treat these times as an opportunity to relax.  Just as a dancer who is posed on stage must keep performing, a dancer in class must keep working.  When a teacher is demonstrating, the students should be “marking” the combination along with her or him.  Although while marking the phrase legs do not have to be held at full height and jumps and turns do not have to be fully executed, arm and head movements should be performed completely.  When dancers are waiting for another group to do a combination, they should be watching and learning from the other dancers and working on parts of the combination that they are finding difficult.

            When it is the dancer’s turn to perform a combination, he or she must always put forth his or her best effort and dance full out.  The worst thing that a dancer could do is to hold back while dancing in class.  Class for a dancer is equivalent to a practice for an athlete.  It is in class that new skills are learned, practiced and mastered, but that cannot happen if a dancer approaches combinations hesitantly or tentatively.  Dancers make mistakes and fall all of the time and that is the purpose of class.  Working in the studio allows the dancers to perfect their skills for the stage.

            When a mistake is made, it gives the teacher the opportunity to give a correction and help the dancer grow.  Corrections are compliments as was discussed in my post, Correction: Compliment or Insult?  When a dancer is corrected, he or she should thank the teacher and try the exercise again immediately while implementing the correction.  This action helps the teacher be certain the student understands the correction and gives the student the opportunity to internalize it.

            At the end of every class, the students should applaud and either curtsey or bow to the teacher and the accompanist if there is one.  Dance etiquette also requires that each student walk up to the teacher individually to verbally thank him or her when the class is finished.

            Etiquette is a large and necessary part of any dance class.  It shows respect for the art form, the teacher and the other dancers and is part of the discipline required to keep dancers safe when they are all moving together in the same space.

Dance Studio Etiquette - Part 1

“Good manners will open doors that the best education cannot.” – Clarence Thomas

            As the dance year begins, teachers will welcome students while poised and ready to teach technique.  Dance technique can only be learned in a disciplined classroom, and in order to maintain that discipline, dancers everywhere need to follow proper dance etiquette.

            Etiquets, or signs, were used in France in the 1700’s to remind aristocrats not to walk through King Louis XIV’s gardens by forcing them to stay within the boundaries of the étiquets.  In the years following, etiquettes, or tickets, were used to invite people to social functions in the court and remind them where to stand and how to behave.

            Dance classes have similar rules regarding how to behave and where to stand in the studio and are passed down, sometimes silently.  Dance educators need to remember that teaching dance etiquette to students is as important as teaching technique, since it helps maintain order in the studio and helps ensure dancers’ safety when many bodies are moving at once in the same space.

            Dancers are expected to arrive early for class and begin to warm up on their own through cardiovascular movements.  Students that arrive after class has begun should stand in the doorway until the combination is completed and wait for a signal from the teacher acknowledging the right to enter the studio.  The student should then inconspicuously move to a spot in the room or at the barre to blend in with the class.  A student arriving late to class should never walk to the front of the room or barre and force others who were on time for class to move.  Students arriving more than ten minutes late to class will have missed a portion of the warm-up and will be at risk for injury if allowed to take class.  These students should not expect to dance but should understand they must watch class.  When watching, they should do so silently and remain focused throughout the class.  Much can be learned from observing a dance class, and it can be a valuable experience if treated as one.

            Students should arrive prepared to dance.  They should be in the required attire with hair pulled back and without jewelry.  The importance of following a dress code was discussed in last week’s post, Is A Dress Code ReallyNecessary?.  Dance clothes should be clean and washed after every class, and dancers should be certain to use deodorant.  Dancers stand very close to each other and sweat a great deal when dancing.  Proper hygiene makes class a pleasant experience for everyone.  Jewelry should not be worn to class because it can be a hazard to both the dancer and his or her classmates.  As an arm accidentally collides with someone’s face, a watch can cause a great deal of pain, and a leotard strap or a finger that catches in an earring can tear an earlobe.

            Dancers should leave cellphones in their bags in the dressing area and be sure to silence them while in class so no one will be disturbed.

            Dancers should be certain to use the bathroom before class and make an effort not to leave class to use the restroom.  If absolutely necessary, the student should wait until the break between the warm-up and center floor work to ask permission to use the bathroom.

            Dancers need to be mindful about how they enter the dance studio and do so in a proud and respectful manner.  Running into the space, wrestling with another student, or schlepping into the studio implies a lack of respect for the space, the other dancers, and the teacher and suggests that the dancer does not want to be in class.  Many schools that conduct auditions say that they know immediately whom they will consider or choose based upon how the dancers enter the space.

            It is important that the dancers stand as the teacher enters the room and move to the place in the room where they will begin class.  If class normally begins at the barre, dancers should be sure to stand near the barre but never hang on it, since that implies that one is too tired to be in class.

            If a dancer has, or is recovering from, an injury, he or she should speak with the teacher before class begins.  The teacher must be aware of any injuries to ensure that more harm is not done and to understand why a student may be modifying certain exercises.  Additionally, if a student must leave class early, he or she must request the teacher’s permission to do so before class begins.  It is never acceptable for a student to interrupt class to tell a teacher that he or she is leaving or to make a big deal of it.  When the time comes for the student to leave, he or she should simply catch the teacher’s eye and quickly curtsey or bow before quietly exiting the space.

            All of these rules of etiquette can be observed in a dance studio even before class begins.  Next week’s post will focus on the rules of dance etiquette that should be followed during the actual class.

Is a Dress Code Really Necessary?

 “The Dress Code is intended to allow dancers to work free of distracting or inhibiting clothing...to help teachers see and correct the students' bodies, and to train students in how to present themselves in dance in a professional-level manner.” – Peabody Institute

            As the dance school year begins in the United States, dancers and their parents descend upon dance supply stores to purchase shoes and appropriate dance attire.  Many schools have specific dress code requirements, and often parents and dancers question if this is a necessary part of dance training.

            Healthy dancing relies on the correct alignment and placement of the body and the ability to engage specific muscle groups for specific exercises. Fitted leotards, tights and dance pants allow teachers the see students’ bodies and properly evaluate their technique.

            Wearing proper dance attire also encourages dancers to work harder and stand taller.  Without baggy clothing to hide behind, dancers begin to take more pride in how they present themselves and work at optimal levels.  Bad alignment habits cannot be hidden, and it is obvious if certain muscles are not engaged.

            Dance is a field steeped in discipline, and a dress code adds to this discipline that each dancer must develop if he or she is going to improve and grow in the dance world.  Leotards and tights are expected attire in classes, rehearsals and auditions around the world, and dancers are recognized by their attire.

            Some schools also require specific colors of tights or leotards that should be worn to class.  This requirement creates a uniform look in class that reinforces the idea of unity that dancers will need when performing together, and it is helpful to the dance educator.  Without the distraction of differently colored or styled leotards, it is easier to determine which dancer in a group may be performing the exercise incorrectly.

            Dress codes discourage students concerns or pressure about what to wear to class.  They allow those from higher socio-economic groups and those from lower socioeconomic groups to dance together equally.  A dress code eliminates the need to purchase a new trendy leotard and reminds everyone that the important element is the art of dance and not how the dancer is dressed.

            Additionally, when differently colored leotards correspond to different class levels, a teacher or choreographer can easily determine the skill level of a dancer with a quick glance, and the colors begin to create a hierarchy within a school.  As dancers strive to reach the next level, they will eventually be rewarded with the opportunity to wear the coveted leotard color of the next level and have their achievements easily recognized by others.

            The goal of a dress code is not to discourage self-expression or imply strict training.  Dress codes promote hard work, healthy training, required discipline, a sense of unity, classroom focus, psychological health and a sense of pride.  A dance educator that requires specific classroom attire is not trying to be overly strict or elitist, but is simply doing his or her job.

What Dancers Should Expect When Beginning Pointe Work

            “The ballet toe shoe is one of the few instruments of torture to survive intact into our time.”  - Source Unknown

         There is nothing quite like the sight of a new pair of pointe shoes.  The shiny, unsullied satin gives them an angelic quality, and these shoes are in every young ballerina’s dreams.

            Pointe shoes were created to give dancers an ethereal quality.  Before the invention of pointe shoes, dancers literally flew through the air thanks to Charles Didelot’s Flying Machine.  Wires were attached to the dancers and were used to support them as they rose onto the tips of their toes, to fly them across the stage and to lower them, for a brief moment, onto the tips of their toes.

            Gradually, the use of wires decreased, and in the early 1800’s, dancers began rising up onto their toes for brief moments on their own to delight their audiences.  The shoes that were used were merely soft satin slippers with heavily darned tips. (1)

            Early pointe shoes did not begin to resemble today’s pointe shoes until the mid 1900’s.  Today’s shoes support the dancers much more than the shoes of the 1800’s, but they do not feel as beautiful to the dancer as they look to the audience.   Before beginning pointe work each dancer must be made aware of the commitment dancing on pointe requires and the reality of wearing pointe shoes.

            As was discussed in my last post, When Is A Dancer Really Ready for Pointe Work?, dancing en pointe places a force equal to 12 times her body weight upon a dancer’s toes.  When considering that, it is easy to understand that dancing en pointe can often be less than comfortable.

            Correct body alignment and placement coupled with properly trained and strengthened muscles certainly make dancing en pointe an attainable goal and easier, but the dancer and her parents need to be prepared for what will occur along the way.

            It is important that pointe work be seen as an extension of ballet technique and not as a new form in and of itself.  Missed classes result in lapses in technique and weakened muscles that become major stumbling blocks once pointe work begins.  Dancers who begin pointe work need to be able to commit to an increased amount of time in class and be willing to dance year-round, otherwise pointe work becomes difficult, and the risk of injury increases.

            Once pointe work begins, small things like toenail length become major concerns, and dancers are ushered into a world of bruised toenails, blisters and callused toe knuckles.  Those dancing en pointe must pay careful attention when trimming their toenails.  Toenails should be trimmed regularly since long toenails will bend under the weight as a dancer stands on her toes.  Contrastingly, toenails that are cut too short can also be extremely painful for a pointe dancer because of the pressure placed upon the nail bed.  Moreover, when cutting the nails, dancers need to be extra vigilant about cutting the toenails straight across the top to decrease the chance of developing an ingrown toenail, which can be both painful and lead to infection.  Often dancers will develop bruised toenails after a long day of class and rehearsals if the shoes fit improperly or simply due to the nature of pointe work.

            Many options are available for dancers to use inside pointe shoes to lessen the stress upon the skin of the foot.  Foam pads, gel pads, lambs’ wool and first aid tape can all help, but even the best prepared dancer will eventually develop a blister.  Blisters occur when the foot sweats and layers of skin begin to rub against each other due to the pressure of the shoe.  Fluid, and sometimes blood, will accumulate between the layers.  Occasionally, a blister will burst while a dancer is dancing and result in bloodstains on both the tights and the inside of the shoe.  If the blister does not burst, it is best for the dancer to drain the blister, using a sterilized needle, but keep the top layer intact to help prevent infection.  All blisters should be treated with an antibiotic ointment and then covered with either a liquid bandage, moleskin or first aid tape.  Band-Aids should not be used since the cushioned portion does not stay in one place and will create more friction the next time the dancer puts on her shoes.

            Dancers en pointe will also develop calluses on the knuckles of the toes.  Calluses are the body’s way of protecting itself, and they are usually not a problem unless they become extremely thick.  In that case, it is best for the dancer to consult a podiatrist.

            The dancer with a blister, a toenail that is too short or a bruised nail will still be expected to don the pointe shoes for class and rehearsal for a very simple reason.  Dance students are in training for performances.  A performance cannot be canceled because of any of these minor problems so the dancer must learn how to care for her feet in a way that makes the dancing as painless as possible.

            Because of its nature, pointe work places stress upon the feet and toes, and after classes and rehearsals, a dancer’s feet will hurt.  Soaking feet in Epsom salts can help and although feet may ache, the discomfort is manageable.  With proper training pointe work can be done well and in a healthy manner.  Dancers should not be afraid of pointe work because of this discomfort, but both they and their parents need to be made aware of the “dark side” of these beautiful pink shoes before they begin pointe work.  It is a part of ballet that takes great commitment and dedication, but the rewards are seen when ballet dancers float gracefully across the stage like ethereal creatures.

(1) Barringer, J. & Schlesinger, S.  The Pointe Book. NJ:Princeton Book Company, 2004. 

When is a Dancer Really Ready for Pointe Work?

"Dance isn't just about fancy footwork. It requires grace, discipline, and major muscles." 

       Ask almost any young ballerina to tell you about her goals and dreams, and she will talk to you about pointe shoes.  Young dancers dream of the shiny satin shoes and crisscrossed ribbons and repeatedly ask when they can buy their first pair.

            Dancers around the world are told that twelve is the magic age for being able to begin pointe work.  In a 2004 study of dance institutions, researchers found that 96% of the participating schools used age as a criterion for pointe readiness, and the majority of the schools used the 12 year of age rule. (1)

            Many believe the age of 12 has been chosen as the deciding factor because of a scientific or medically based reason, but this is not the case.  Twelve-year-old girls are still developing, and their bones are still growing.  The bones in the feet ossify, or harden, earlier than those in the leg, which may offer some reassurance, but at 12 years of age, they are also still growing. (3)  It is also important to remember that individuals develop at different rates, and although similarities between 12 year-old bodies exist, no two bodies are the same.  The age of 12 has been chosen because it assumes the dancer began structured ballet classes at the age of 8 and has been studying consistently for four years.  This age guideline also assumes that the student is at a level that requires four ballet classes a week and has developed the necessary strength and neuromuscular control required for pointe work.

            Since every school is different, and there are few other universally accepted guidelines for beginning pointe work, it seems to be an area in which dance and exercise science experts can and should work together to promote dancer health.  No studies have been done to determine if beginning pointe training too early is connected to injuries; however,  when one considers the fact that dancing en pointe places a force equivalent to twelve times the dancer's body weight on her feet, it seems logical to assume that a dancer whose body is not ready or trained to handle that force will be injured.  Additionally, students who are not ready may struggle and develop bad habits, grow frustrated, lose self-confidence and/or quit dancing.

            A survey of dance schools and criteria used for assessing pointe readiness found that 73% of institutions with no company affiliations made decisions about pointe readiness without the assistance of a health or exercise professional while almost 50% of schools with a company affiliation consulted a health professional. (1)

            In 2010, health professionals from The Harkness Center for Dance Injuries developed criteria that could be used to assess point readiness.   These criteria assess balance, proprioception, leg and ankle strength and control, core strength and control and neuromuscular control.  The authors recommended that these criteria be used in conjunction with other information gathered on age, years of training, level of training and injuries and the dance educator’s observations to determine pointe readiness. (2)

            Hiring an exercise science professional to conduct pre-pointe evaluations in dance institutions is a way to make the procedure objective, identify areas of weakness or imbalances, begin to develop universally accepted guidelines for pointe readiness and contribute to the health of dancers and the longevity of their careers.

            For information on having pre-pointe assessments conducted at your school or studio, please contact me at thehealthydancer@gmail.com.

(1)Helldobler, R., Hess, R., Meck, C. & Roh, J. (2004). Pre-pointe evaluation components used by dance schools. Journal of Dance Medicine and Science, 8(2), 37-42.

(2)Richardson, M., Liederbach, M. & Sandow, E. (2010). Functional criteria for assessing pointe-readiness. Journal of Dance Medicine and Science, 14(3), 82-8.

(3)Weiss, D., Rist, R.A. & Grossman, G. (2009). When can I start pointe work?  Guidelines for initiating pointe training. Journal of Dance Medicine and Science, 13(3), 90-2.