Australian performer and member of 5 Seconds of Summer, Ashton Irwin, in his debut music video "Skinny Skinny" Although this blog may beg to differ, I do, in fact, have interests outside of dance. Shocking, I know. One of those interests happens to be music, and more specifically, continuing to fixate on the same artists I've worshipped since I was in high school (we called it "fangirling" back in my day). Some of my best memories from my teen years involve baking cupcakes for Niall Horan's birthday and screaming my lungs out when I finally got to see One Direction in concert. And I may or may not have shed a tear or two (thousand) over Justin Bieber, but that's another story for another day. Although my music taste has evolved over the years (thankfully, for the better), there is one band that I've loved since I was about 16: 5 Seconds of Summer. Commonly referred to as 5SOS, this Australian band first gained notoriety when they went on tour with One Direction. Their first big single, "She Looks So Perfect", put them on the map and they've released four albums and many successful songs since; I swear not a day goes by where I don't hear "Youngblood" on the radio. This band's sound has changed since they first opened for One Direction, but one thing has always remained the same: they never fail to do whatever the hell they want to do. If they want to sing about pizza, they sing about pizza. If they want to dye their hair blue, they go for it. If they want to make a trippy music video that looks like an 80's video game from the comfort of their homes, they even include the dog, too! And do I love everything they've done in the career? Of course not. And if you say you've loved every song, video, and whatnot your favorite artist has released, you're lying. But nonetheless, I admire how unapologetic they are and how they have challenged themselves as artists in the process. Alright... as, uh, "cute" as this is, Becca, what does this have to do with dance education? I didn't think my next blog post would be about my most listened artist on Spotify, but I am writing because I am so excited about the contributions one of this band's members have made to dance education. Today I logged on to Twitter to discover that Ashton Irwin, the drummer of the group, is releasing a solo album. The band is far from breaking up, but Irwin has been keeping himself busy while social distancing during the COVID-19 Pandemic. In preparation for his upcoming album, Ashton released his debut single, "Skinny Skinny", along with its music video. In the video, we see Irwin barefoot and shirtless, wearing just an old pair of jeans. He is surrounded by mirrors, and we see a struggle between himself, his body, and his self-perception throughout the video. Eventually, we see him shatter the mirror as an act of defiance and self-acceptance. His band's past videos have pushed the envelope before, even using freeform movement to tell their stories, but this really breaks away from their previous work. Many of their songs are about the typical highs and lows of relationships, as well as a few ballads of heartbreaks and life changes. Musicians are some of the most interesting movers to watch, but we typically see all four of the members behind their respective instruments. In his most recent Instagram post, Ashton shares a video of himself working on his piece. He writes... It’s so mesmerizing to watch this back now that the Skinny Skinny official video exists. This video is in my kitchen a few months back, you can see the white board behind me with the track listing, I had completed my solo record and wanted to push myself into new creative lanes, so, when I asked [dancer Jessica Richens] to come over and check out this song I had worked on. I told her I wanted to create a contemporary dance inspired by Sergei Polunin. Although I hadn’t danced since I was about 12 years old, I felt it in me still. The desire to show you “Skinny Skinny” through dance felt absolutely necessary. Here’s me fumbling through the dance in the beginning stages of its choreography. Love you Jess, thank you for believing in me! As a dance educator, this post was the most pleasant surprise I have seen in quite a while. First off, male performers sharing their love for dance is still an act of bravery even in 2020. Just last year, Good Morning America host Lara Spencer infamously made a sexist comment about Prince George's ballet lessons, pushing the dance community to launch the #BoysDanceToo Campaign. Dance in the United States is still predominantly female activity, and we have a long way to go to overcome this stereotype. So for Ashton Irwin to come up with a video where he not only dances, but chooses a very expressive and emotional style of movement, is both brave and positive for our dance community. The other piece of this video that moves me is that Irwin is hardly what society would view as a "dancer", and not just because of his gender identity; although he mentions in his post he participated in dance as a child, this is the first time he has done anything like this in his career. I know too many people that are stuck in this mindset that they are not, and cannot be, "a dancer". I've met girls in college that were too nervous to take a dance class because they'd feel out of place. I've worked with high schoolers that felt too awkward to try out a jazz square. I've taught kids that chose to sit off to the side instead of joining into the creative movement fun with their friends. I've performed alongside theater majors that were intimidated by the number of turns I could do. I even know dance majors (and have been that dance major) that get anxious about improvising or expressing themselves through movement. By going out of his way to create and perform this dance, he is saying that in fact, anybody can dance and express themselves through movement if they are brave enough to do so. Ashton Irwin is the last person I expected to release a dance video, yet he is the perfect person to do so. As a dance educator, I believe that everybody can- and should- experience the joy of movement that dance brings. Regardless of gender identity, physical ability, and previous experience, my goal as a teacher is to make everyone feel welcome in my classroom and get to experience dance in the way that Ashton has. You don't need years of training, a flexible or athletic body, or any other characteristic that is too often tied to the term "dancer" to set your soul free through movement. Ashton, I applaud you for stepping out of your comfort zone and setting a positive example for your fans. Bearing your soul is scary enough for us "seasoned dancers", but you went ahead and did it anyways. I am honored that your choose the art form I have dedicated my life to for your first music video as a solo artist. Teachers, these are the role models we need to be looking for. Of course, it is natural and important for us to tell the triumphant stories of Misty Copeland and Mikhail Baryshnikov, but we should also keep in mind where our students are on their dance journeys and what they can relate to. Not everyone is going to be a professional dancer, and not everyone wants or needs to be one. Dance education is about so much more than just straightforward pre-professional training; we are training artists, creators, performers, critics, fans, and above all, people. Dance can have such a positive impact on people of all ages and in all settings, as it clearly has for this punk rock drummer. These are the stories we cannot forget, and encourage our students to imitate. Check Ashton Irwin's "Skinny Skinny" video here!
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From Facebook (Shane Ford): Ballerinas Kennedy George, 14, and Ava Holloway, 14, pose in front of a monument of Confederate general Robert E. Lee in Richmond after Virginia Governor Ralph Northam ordered its removal. I started this blog in 2016 as an online portfolio of what I have worked on and experienced as a dance major, as well as write about issues relating to dance education. The issue of racial injustice is something I have been following and trying to uplift the voices of the oppressed, instead of lead and share my opinions as I usually do on this platform. By no means am and I some saint or hero because I have been reserving my social media for these voices to be heard since the Black Lives Matter protests began in honor of George Floyd's death two weeks ago. The world doesn't need another white girl ranting about how sad it is to see racism running rampant in the United States. With this being said, I am disheartened to see that racial discrimination is not being talked about enough right now in the dance community. Or rather, it is, and it is being drowned out by white teachers reluctant to have these conversations. I am appalled, and have been appalled, by racist and pro-cultural appropriation posts I have seen recently from the dance community. As a teacher, I want to empower my students to speak up about these issues. And I think it would be irresponsible of me to leave this issue absent from my blog when I have clearly been open to discussing every other issue under the sun. And again, I don't see myself as some kind of martyr for the cause, but rather just another teacher setting the right example. And as a teacher, I never want my students to see my dance blog- the page I started to talk about important issues- and see my silence. So here I am today, sharing my knowledge of racial injustice in dance and urging others to continue these conversations instead of dismissing and countering them. Last week, a dance teacher Facebook group with thousands of members sparked controversy when its admins repeatedly deleted posts about the BLM movement. One of the leaders of the group came out to say that while the issue was important, this group was for dance related issues only, and not the place for these conversations. My question is- where is the place for these conversations? As dance educators, we heavily rely on technology to connect with each other (especially now, during the COVID-19 pandemic). What is the appropriate platform, if not the Facebook group designed to discuss issues relating to dance education? Why is it that if I want to discuss the best way to teach a pirouette to my eight-year-olds I can freely do so and receive helpful advice from this group, but I want to talk about how to support my Black students during these trying times, and my post is categorized as "inappropriate"? Before the group was closed by its operators, I read a post from one of its members that highlights just a few examples of racism in dance. I have also had the privilege of studying these issues at New York University, where I am working towards a Master of Arts in Dance Education. NYU Steinhardt's Dance Education program is very much concerned with racial justice and equity, and this past year has opened my eyes to the many issues we need to talk about and work towards solving in our own communities. Here are just a few of the issues I am aware of. There are many more that need to be discussed, but here are just some of the problems that we need to continue to bring up when dance teachers say that "this isn't a dance related issue"... Let's talk about ballet. How many black ballerinas do you know? Misty Copeland is a definitely an important role model, but is she the only one you know about? She has also faced incredible amounts of discrimination throughout her career, starting in childhood. When are we going to talk about how classism is a major reason why we don't have diversity in dance, especially ballet? The arts in our public school systems are severely underfunded, with dance being the first program to get cut (or never even introduced) in our schools. Even if a school is fortunate enough to offer dance, how is meeting for a class period once or twice a week going to prepare someone for a professional ballet career? It's not, and while I agree that the intention of every dance education program in the public school system does not need to be a pre-professional training program, the students that do not have the means to train in something like ballet have to get incredibly lucky. Someone in a place of privilege has to see "natural talent" in a student for that student to ever be given a chance. Misty Copeland, although she has faced many obstacles, was one of those lucky few. But it shouldn't be just a "lucky few". Classism and racism go hand in hand, so when we're wondering why we don't see more Black ballerinas on stage, we need to look at where the problems began in the first place. Have you heard of Michaela DePrince (pictured above)? She was one of the students featured in the 2011 documentary First Position. In a Teen Vogue article, DePrince talks about how she was cast to play Marie (the lead role) in The Nutcracker, but was pulled from the cast at the last minute, being told that "audiences were not ready for a Black Marie". She is also just one of the many dancers told they're Black bodies don't fit the stereotype for the "ideal ballet body". In the documentary, we see her mother dying the straps of her tutu that are supposed to be "flesh color". but are clearly too light to match her skin tone. Black dancers continue to dye their own pointe shoes and clothing just to participate in productions alongside all of the white kids that can find what they need at any dance store. Imagine being exhausted from dance training all week, only to come home to dye your own pointe shoes? When you get to the pre-professional or professional level, those shoes last a week or two at best. Currently, there is a petition demanding Capezio, one of the biggest names in dance products, supply skin color inclusive pointe shoes that I urge everyone to sign. I will share it below. And if you're not disgusted enough- get this: blackface is still being used by professional dance companies. Yes, you read that correctly. The very thing that gets students expelled and ostracized was recently used by the Bolshoi Ballet in Russia. Copeland took to calling out this use of blackface on social media, only to met with backlash. There are dance professionals that think it is not only acceptable, but NECESSARY to put on a production of La Bayadère. I don't know about you, but even if it was somehow "necessary", that isn't the kind of show I think I'd want to see. Now, before you go writing this off as an issue exclusive to ballet, let's talk about musical theatre. I have been participating in musical theatre since high school, and went on to minor in it during my undergraduate days. Yet, the first time I learned that the use of tap dance on Broadway is racist and cultural appropriation was as a graduate student. Tap originated from African dance and the dances of the enslaved people in the United States. When musical theatre was growing in the U.S., tap was appropriated and "cleaned up". Have you noticed that some tappers dance with bent knees, leaning forward and putting weight into the ground? That's authentic tap, rooted in these African dances. What about the dances that are done completely upright, that Broadway style we've all seen in a recital or two? That's this "cleaned up" version that was taken by white people and claimed as their own. The very idea that an art form needs to be "cleaned up" is racist, and too few people that have studied tap are taught about its roots and authentic form. Educational and community theatre productions are also not immune to racism and appropriation. You've all seen Hairspray, right? You know, the show about RACISM and SEGREGATION? Sure, it's an upbeat show and a personal favorite of mine, but the story behind the show is dark and sad. The Corny Collins Show may be fictional, but is based on shows like American Bandstand that were once segregated. Dick Clark once fought to include Black dancers on the show, but it was a while after that that Black dancers and white dancers would partner with each other on television. Musical Theatre International (MTI), the leader in licensing shows for all kinds of productions (school, community, etc.) waited until LAST WEEK (when BLM is finally becoming the most-talked about thing in the United States) to BAN all-white productions of Hairspray. So you mean to tell me that there are theatre educators producing a show that is supposed to be about celebrating diversity with an all-white cast? People really think it's okay for white people to play Black roles? The plot of the show heavily relies on accurate casting. To depict these characters any other way is incredibly irresponsible. In 2011, we all tuned in to the reality series that would take us on an eight year journey into the world of competition dance. More specifically, we got to look at a very problematic and abusive teacher for the sake of entertainment. Abby Lee Miller, the infamous Dance Moms coach, loves to brag about how she choreographs dances about "real issues", such as suicide, school shootings, and even racial injustices. However, how quick were we to forget all of the incredibly racists things she did to Nia, the only Black dancer on her original team? Now, I understand playing to a student's strengths, Nia's being upbeat jazz and acrobatic routines at the time, especially in the competition scene. However, week after week Nia's mother, Holly, begged for her to have a lyrical solo, something Nia had been hoping for since joining the team. Miller's response? She justifies her only giving the lyrical solos the white girls and giving Nia the "ethnic" solos to prepare her for the kinds of jobs she can get in the future, as she is Black and the other girls cannot get those roles. At fourteen years old, this somehow made some sense to me, even though I felt for Nia wanting the lyrical solos. However, looking back I'm just confused. The "ethnic solos" Nia would often do were an appropriated version hip-hop and even an appropriated Indian dance. It would have been great if Nia learned authentic African and hip-hop dances to honor her culture, but she was hardly given an authentic dance education in these styles. Also- the white girls should have been learning these styles in their true forms, too, to gain an appreciation for them and the cultures they come from. Additionally, Nia was criticized for coming to dance class in braids; Miller told Holly to "fix their hair, because it's horrible". Miller fished for excuses, but at the end of the day, she is racist. And she was given a platform to be racist for eight years afterwards. Again, these are only a few issues of racial injustice present in the dance world. There is still so much for me to learn, and I will be continuing my education on these issues in my classes, my free time, and throughout the rest of my life as an educator. I am setting an example for other teachers to do the same. As dance teachers, we are NOT above these issues, and these issues ARE dance related. We have Black students counting on us to treat them with the dignity and respect they reserve. We can't just look at Misty Copeland's success and think our work is done. We can't just hashtag a post with #BlackLivesMatter and think the conversation is over. History has shown us that the conversation will never be over. My generation was led to believe that racism ended with Hitler's death and the end of segregated schools; we were led to believe that racism is a thing of the past. Every Black person murdered or harmed by our criminal justice system is proof that systemic racism is very real and very much a problem. We cannot just turn a blind eye to it because we have a recital to reschedule or pointe shoes to sew. We must educate ourselves, listen to Black people's experiences (especially in our field), and follow them in the fight to change. I am no expert on this subject and am hardly the voice that needs to be amplified right now. If you have a story to share, another racial injustice to discuss, or a resource we would benefit from, I encourage you to share it in the comments below! Resources, Readings, Etc.
WARNING: This article discusses matters of consent and sexual assault. As my loyal readers and supporters know, I am currently in a Master's program at New York University (NYU) getting my graduate degree in dance education. Naturally, this new program has come with new experiences. One that stands out to me is the range of generations represented in all of my classes. I am on the younger end of my cohort, as it is not uncommon to take time off between earning an undergraduate and a graduate degree. Many of my classmates have had professional performing careers, have choreographed around the world, and have become seasoned dance teachers. While age is just a number, it has been an eyeopener to hear their stories and learn from their practices. This experience has made me think about what my own generation stands for. I think about the issues I have faced, and the issues I face now. While consent has been an issue for many generations before mine, I've grown up in the #MeToo era and consent was a huge topic of conversation during my undergraduate years at Bridgewater State University (BSU). With social media providing a platform for survivors to speak out, it is more important now than ever that dance educators start discussing how these issues are presenting themselves in their classrooms, and how we can positively impact our students when it comes to teaching basic principles of consent. The first matter is physical corrections. Traditionally, especially in ballet classes, teachers will fix a student's alignment by moving their arms, legs, head, shoulders, torso, etc. by moving it with their own hands. It isn't rocket science to understand that there are certain parts of the body that are off limits to students of all ages. However, teachers have questioned why touching even a finger can be controversial. Is it really harmful to fix a student's arm to get them to lift their elbows properly? The answer is yes. Although there may be no sexual nature to a physical correction, consent refers to all physical interactions, not just sexual interactions. Consent is about allowing a person to make decisions about their own body, and staying in control of it at all times. If someone has been previously abused, they may feel uncomfortable with all kinds of touch or anything that makes them out of control of their own body. We can't generalize everyone, but this is a very real feeling for many survivors. Even when this isn't the case, you are sending the message that you are the one that controls their body. So what can you do to empower students to stay in control of their own bodies and make decisions for themselves? Ask for permission! Before fixing their arm, ask, "may I touch your arm" or "may I fix your arm placement". By doing so, you are allowing students to decide for themselves whether or not they are okay with being touched. You are also filling them in on what the touch will be, so that they can give informed consent. But what happens if they say no? Be okay with a "no"! By being okay with a student refusing physical corrections, you are not only letting them stay in control of their body, but you are reinforcing the idea that it's okay to say no. As a dance teacher, you should have enough training, experience, and creativity to find another way to make the correction. Oral corrections, visualizations and imagery, and demonstrations are perfectly effective ways to get your point across. If they say no once, should I just not bother? That may depend on the student. Some students, like myself, are highly uncomfortable with strangers touching me in any way. However, once I get to know a teacher, I begin to feel more comfortable and have no problem with physical corrections. When you continue to ask, continue to accept any answer you receive, you are building a trusting relationship with the student. And that should matter above all else. Some teachers choose to ask at the beginning of class whether or not students care for physical corrections. This is a step in the right direction, but you should take into account that we cannot generalize all physical contact. Some students may be okay with the arm correction, but not okay with the shoulders or torso. Asking at the beginning of class also does not allow room for students to change their minds. If they said they were okay with it at the beginning of class, but later don't want that contact, they may be reluctant to speak up. How do I get my students to practice the same protocol when interacting with each other? Make it the norm. Many teachers will establish "classroom agreements" or "community norms", collaborative rules to follow while dancing and learning. If you class will involve any partnering work or peer corrections, consider adding "asking before coming into contact with a friend" to the list. When you lead by example and set this standard, your students will follow. If a student is not comfortable with partner work, on any given day and for any reason, but okay with this, too. If the choreography calls for it, a further discussion may be needed to ease the student into it (depending on setting and student population), but for definitely have a back up plan for day to day activities so that a student does not feel excluded or like a burden if they would rather not complete physical partner work. By implementing asking for consent and honoring every students' answers, you are not only practicing consent and "avoiding a lawsuit", but you are modeling how consent should work outside of dance, including in sexual relations. I am certainly no expert in sexual violence, but I do know from growing up in this generation and from personal experience that one major issue is that people don't know what is consent and what isn't consent. When you implement these practices in your classroom, you may be providing a student with crucial exposure to informed consent. If you're still reading this and you're feeling annoyed that you have to do something extra in class, consider this: this is one of those moments when you realize that as a teacher, it is not just your responsibility to teach your content (teaching students how to dance), but to use your content to teach students how to live. Bad habits die hard, but by changing your ways, you will be having a positive impact on all of your students. At the end of the day, this isn't just about protecting yourself; it's about being a good teacher. Part of quality teaching is reflecting on your practices and how they are affecting your student. As a member of this generation of dance students and the next generation of teachers, I am calling you all to action. Implement basic principles of consent in your classroom to create a safe learning environment where everyone can learn how to dance and learn how to live. If you or someone you care about needs assistance coping, please call the confidential National Sexual Assault Hotline at (800) 656-4673 or visit their website. Photo from the Royal Ballet Academy
There is a special beauty in turning your hobby into your career. Dance played a big role in my childhood. After school, I couldn't wait to get my tights on and head over to the studio. I practiced at home, stretched in front of the TV, and read every dance book out there. Dance was a huge part of my identity, and I loved it so much I decided to share my passion with others and become a dance teacher.
The first step on my journey to becoming a dance educator was to dance at the collegiate level. I enrolled at Bridgewater State University as a dance major in 2015. I was so excited to receive academic credit for my art. During my freshman year, I took multiple classes in my major during the day, participated in dance extracurriculars at night, hung out with dancers, and continued to feed my obsession for my field. Being a dance major is one of the opportunities I am most grateful for. I grew as an artist, a dancer, a teacher, and a friend. However, it was at BSU that I experienced my first bout of burnout. According to Dancing Opportunities, "burnout is a state of consistent or unexplained tiredness, poor performance in spite of normal training, negative mood state and increased incident of illness or injury; burnout is often seen in dancers where training, rehearsing and performing schedules do not give them sufficient time to rest and recover". Being a dance major isn't as glamorous as my fifteen-year-old self expected it to be. Dance is physically demanding. Movement classes were fun and fulfilling, but were often hard to drag myself to after sitting in lecture-based classes all day and staying up with my friends all night. There was one semester I had three movement classes back to back, then a four hour rehearsal immediately after. Although I had danced my whole life, I wasn't used to this much movement all at once. Dance can also be creatively and emotionally draining. In composition classes, I would often be working on emotional pieces and bringing up thoughts and feelings through movement that I otherwise wouldn't. Bearing my soul, testing my confidence, and growing in a competitive environment challenged me. There wasn't a single class I could sit in the back of class and blend into if I was having a bad day. I had to be on and active at all times, something students in other fields may not be going through. Not to mention the outside of class components. I had performances, observation hours, volunteer days...you name it, I had to do it. Even when I wasn't physically moving, I was writing about dance or talking about dance and working in dance 24/7. There were many "breaking points" for me during this time. There were many tears, a few failures, and lots of heartache as a result. Somehow I found myself trapped in the love of my life. It's very difficult for me to talk about the burnout I experienced in college. For one thing, I worked so hard to chase my dreams that I felt so ungrateful complaining about it. I also worry that others would tell me I wasn't cut out for it or I should try to do something else. My burnout did not get any better until I made a change. After a 24 credit (at a school where the average student takes 12-15) semester including two shows, 20 observation hours, a research project, and much more, I decided I needed to take a step back and figure things out. One of the best decisions I made was getting involved in non-dance activities on campus. I became a Resident Assistant (RA) my junior year and got involved in other clubs. I loved the girls I danced with at BSU, but having friends outside of dance gave me a chance to explore other interests. I became more involved with the theatre department and lightened my course load. I am not saying all of this now to complain about my experience or scare anyone out of becoming a dance major. My time at BSU were some of the best years of my life, and I could talk endlessly about how much I love the Dance Department there. However, it's important for me to acknowledge the dark side of turning my hobby into my career so that I don't end up completely burnt out and turned away from the dance world too young. I want to dance and teach for a very long time, but that involves some self care and strategic planning. Now that I am in graduate school and still studying dance (thank God), I have come up with strategies to avoid spreading myself too thin and burning back out. Here are some of the ways I take care of myself and avoid burnout... Practice Self Care I try to eat healthy, balanced meals at as normal of times as my busy schedule allows. When I have to be at school for long periods of time, I try to keep snacks with me so get me going before each class. This semester, my goal is to meal prep and plan ahead to make sure I'm eating well and taking care of myself. If my body doesn't have an energy to dance, my mind certainly won't! Know Your Limits Your body has limits, both mentally and physically. If you've suffered an injury, give your body some love and know when it's time to back off in class. The world will not end if you don't do the floor work this one time. Your life doesn't depend on how many relevés you can do at the barre. Be kind to your body, and it will be kind right back. Know what you can handle mentally and emotionally, too. If you thrive off a good challenge, push yourself to be creative during improv. If you're feeling self conscious spending the day in front of the mirror, it's okay to sit out and cheer your friends on when the teacher says "anyone who wants to- one more time". You are the only one that can decide what you need, and the decisions you make in class should best reflect those needs. Explore Other Interests Part of the reason I started my blog because I love to write so much. Putting my thoughts into words helps me process my feelings and express myself. I'm also an avid reader, and I self identify as a "young adult realistic fiction junkie". I've spent the last five summers working in an amusement park where there's never a dull moment. I like spending my Saturday mornings watching TLC with my mom. Although being a dancer is central to my identity, not everything I do every second of the day has to be about dance. One of my favorite high school teachers once got on her soap box and talked about how we are more than what we do for a job. I am my career, but I am more than that. And getting excited about other things isn't something I should feel guilty about, but be proud of. Admit How You Feel Be honest with yourself. If you wake up in the morning and are excited to get to that open class in town, pour some coffee and get yourself over there! If you wake up and need a day of retail therapy, head to the mall. If you wake up and regret it, hit the snooze button and give yourself a break. Life is about balance, and it really is okay to choose non-dance related activities in your free time. Some may argue that you're not going to grow if you don't dance every minute you can, but I'm going to challenge that and say that if you continue to do so eventually you won't choose to dance at all. Keep Dance Fun You're not going to love every class you take if you study dance at this level. That's just the reality of college in general. But if you've chosen this path, there is something about dance you just can't get enough of. When I'm feeling burnt out, I try to find fun dance activities to do, like taking a pointe class or designing a creative movement unit plan based on Frozen. I try to balance the parts of dance I struggle in with the parts I could do all day long. Remember Why You Choose This The best cure for my burnout is to teach. During college, I worked with both a children's and high school theatre company. Even after a stressful week at school, I loved getting to work with those students and I found so much joy in teaching them. Student teaching was also a challenge, but I left school everyday hoping I would get to work in a school with students that I loved just as much. I keep my card from my 4th graders hung up in my room now, so that when I'm starting to feel burnt out I remember that this is what I was put on this earth to do. Even if I'm stressed now, I don't have to be stressed forever. I can find that joy again. Burnout is a reality many dancers and teachers will face in the course of their career. Burnout doesn't have to mean it's all over for you, though. Keeping your passion alive is going to be challenging at times, especially in a career that is physically and emotionally draining. Taking a little break here and there does not mean you're any less dedicated or you love dance any less than the next person. If you balance your time, your body, and your mind, and you can stay on the path to success and keep your love of dance alive. Photo from Dance Magazine An Ode to the Teachers |
1. Justin Timberlake- Can't Stop the Feeling | |
2. Kenny Loggins- Footloose | |
3. MKTO- Classic | |
4. Starley- Call on Me (Ryan Riback Remix) | |
5. Alice Merton- No Roots | |
6. Selena Gomez- Kill 'em with Kindness | |
7. Sheppard- Geronimo | |
8. Coldplay- Sky Full of Stars | |
9. Demi Lovato- Neon Lights | |
10. Capital Cities- Safe and Sound | |
11. Selena Gomez & The Scene- Love You Like a Love Song | |
12. Katy Perry- Roar | |
13. Carly Rae Jepsen- Call Me Maybe | |
a guide to applying to undergraduate dance programs
College was always in the cards for me. I attended a college preparatory high school, and from day one of freshman year I told my guidance counselor that I was going to be a dance major. I spent the next few years explaining to people in my life that yes, majoring in dance is in fact a "thing", sifting through dance magazines looking for colleges to apply to, and Googling dance programs into the wee hours of the morning.
There is a lot to know that I really didn't know when considering which programs to apply to. While I am no expert on the subject, here is the best advice I can offer a high school student looking to take dance to the academic level, things that I feel would have been good to hear when I was going through this process...
Know Your End Goal
Do you want to dance professionally, choreograph, teach, or some combination of these or other possibilities? Look into the different programs out there and find out what the focus of each program is. You can do this by looking for specific majors (i.e. a degree in dance vs. a degree in dance education) and looking at the curriculum to see what courses you would specifically be taking. Some schools have dance as a concentration rather than its own degree, but the courses may still prepare you for your future.
Additionally, look into the type of degree you are applying to. Typically, a BFA (Bachelor of Fine Arts) program is geared towards professional dancing and students will spend the majority of their time taking technique or choreography classes. BFA programs are also known to be more competitive programs to get in to. BA (Bachelor of Arts) programs usually have a more diverse curriculum. The level of competition to get into a BA program will depend on the school. If you are looking for a two year program, schools like Dean College and some community colleges can offer you this.
Get To Know the Program
Familiarizing yourself with a specific program can help you decide if it will be a good fit for you or if it is likely to be an option. Many dance programs often open houses or drop in classes that you can attend to see if you will be able to keep up there. If the program you are interested does not offer this, try reaching out to their department and see if you can shadow a student or take a class with them!
If may also benefit you to look up a program's acceptance rate. Keep in mind, a school's acceptance rate will be different from your specific program (if the program requires an audition). Many schools will accept you into the institution, but not into the program if you do not pass the audition.
Make Sure You Have Options
With many of these programs being as competitive as they are, it is important to tier your schools like any prospective college student would. Which programs do you genuinely feel you have a shot at, which are safe bets, and which are a reach? Apply to a variety of these programs to ensure that increase your chances of studying dance as planned. Note: pedagogy or dance education programs are sometimes just as selective as a dance performance program, depending on the school.
Plan As Far in Advance As You Can
The harsh reality of applying to be a dance major is that it takes much more planning than your typical college application would. In addition to the researching process, auditions, audition videos, portfolios, interviews, etc. can be very time consuming. It is in your best interest to start looking into these programs as soon as you decide that is what you want to do after high school. Invest in a planner or use an online calendar to plan auditions and application deadlines. Like any other audition, start practicing and preparing for that early, too.
Diversify Your Experiences
The first experience I ever had with modern dance occurred during an audition. While it is important to try new things during an audition regardless, it will help you to seek out new opportunities in dance before this process. Dancing at the collegiate level is going to diversify your experience, but starting ahead of time can help you feel more prepared for the audition and make you a more desirable candidate. Even something as simple as taking a Vaganova style ballet class when you have always studied Cecchetti will make you feel more comfortable to walk into whatever lies ahead of you.
Ask Yourself What You Want Out of a College Experience
If what you what to do in college is just dance, dance, dance all day, everyday, then you will want to attend a conservatory style school. If you are looking for a more traditional or diverse college experience (whether you want to double major or add a minor or get involved on campus), a conservatory style program is better for you.
Make Your Dream Work
This process may be a trying time for you, especially if you watch your friends get acceptance letter after acceptance letter and all you want to focus on is the senior prom. However, if this path was meant for you, I truly believe you will get there. You may need to adjust your plans or seek alternative options, but you have the capability to make your dream work.
I hadn't heard of Bridgewater State until my guidance counselor mentioned to me that they have a dance program. I have had many failed auditions that I went into with no preparation and no potential to pass. I have submitted applications the day they were due and struggled through this process without any guidance from the dance world. Yet here I am, four years later, about to graduate with my BA in dance and will be student teaching this month. No, I didn't end up at the dream school I'd hoped to go to since I was 14 years old, but I have learned so much and have met the most amazing mentors and friends at BSU.
Do what it takes to make your dream work, even if it doesn't seem like your desired path. You might just end up in a better place than you ever thought you would. I know that's what happened to me.
Author
Welcome to my blog!
My name is Becca and I am a 24 year old dancer, teacher, writer, and advocate originally from Massachusetts.
I hold a Bachelor of Arts in dance from Bridgewater State University and I am a Master of Arts Candidate at New York University.
I have this *radical* idea that all students have a right to a quality dance education that is inclusive, positive, meaningful, and fun. Keep reading my blog to follow my dance teacher journey and reflect with me on issues relating to the art of dance.
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