Helping Competitive Dance Students Gain Stage Presence

Some performers are simply unforgettable - but what makes those dancers unique isn't just their picture-perfect technique. It's also the emotion and commitment that they bring to their dancing.

For competition dancers, nailing turns and mastering jumps are just part of what judges score. Because many competitions give equal weight to stage presence and technique, your focus in the studio needs to be balanced between practicing the moves and rehearsing something more elusive-performance quality.

What makes for a great performance? Christopher Smith, director of Hollywood Vibe, emphasizes that dancers must commit to the story they are trying to tell through dance, connect to the music and express feeling through movement: "In every city we go to, we see these wonderful diva dancers, but if they can't perform, we can't give them the top score." When defining stage presence, judges often refer to the whole package-smile, energy and showmanship. For them, winners are dancers who can whisk audiences away to magical places and have them on the edge of their seats, while making all of it look as easy as brushing your teeth. The best way to instill performance quality is practice-and lots of it. Here are some award-winning techniques to help even your most inexperienced dancers reach their performance peak.

Talking to your students about stage presence is the first step. No matter how young your dancers are, if they are going to set foot on a competition stage, they should be able to appreciate a successful performance. Michelle Colon, a competition judge who founded Starz Studios in Casselberry, Florida, says, "When I'm teaching, I'll show examples and ask, 'Does this look like I'm coming from a real or fake place?' I do this with my dancers to help them gain perspective."

Start by pinpointing the choreography's emotional intention. In order for dancers to communicate the meaning of the piece, they need to know what's at the heart of it. This doesn't mean that every dance has to have a story line, but it does mean that its intention or purpose has to be identified before a group can successfully project the emotions judges are looking for.

Be aware that one quick conversation right before your dancers go onstage isn't nearly as helpful as multiple discussions held throughout the rehearsal process. As they learn to analyze what they are experiencing and why they are choosing to project certain emotions, they will begin to take ownership of their performances and their group stage presence will become stronger. Dianna Jones, director of Jean Leigh Academy of Dance in Denham Springs, Louisiana, also points out that although each dancer will bring a unique interpretation to the choreography, the overall message needs to be cohesive. Before starting and while working on a new piece, periodically sit down with your dancers as a group and do the following:

*Listen to the music and discuss what emotions it conjures up for each dancer.

*Have students journal about a real life experience that is related to the main message of the piece.

*Give each student a chance to watch and analyze dance from a judge's perspective. Ask the dancer to observe and critique the group's performance and to internalize those critiques.
*Come to a consensus about the piece's intention. Get everyone on the same page, using similar emotions and personal experiences to drive the performance.
*Master Artists - Bring in famous works for your students to discuss. Have them watch professional dancers from multiple genres and talk about the differences between their performance qualities.
*Improvisation Conduct mini-improvs on different emotions and words. Let students experience what it feels like to do movements in a serious lyrical number with a different intention like "dizzy" or "goofy," or give each dancer a piece of candy and have the group dance the different textures.

Creating a Safe Space

Dancers need to feel supported when exploring the emotional side of dance. When they are comfortable, they will be more willing to try new things and push through their embarrassment and shyness. It's up to you to create an environment that is conducive to exploration. To ease their anxiety, try providing regular in-studio performance opportunities. With plentiful stage experience, students will be confident and comfortable during competition. In addition, a supportive studio atmosphere will help students feel more at ease while developing performing skills. To this end, stay accessible to your dancers in the studio and foster personal relationships between students.

During rehearsals, use positive reinforcement while building your students' emotional range. Instead of criticizing what isn't working, point out the parts of the dance in which their emotions are being communicated clearly and discuss how to extend that through their entire performance. In addition, give new students time to speak about their anxiety. Stage fright and fears of failure can be calmed when students hear other dancers' personal stories.

Keeping It Real

It's important to choose age appropriate themes so that dancers will have an easier time relating to the subject material. You're not going to get a positive result from trying to get too much emotion from a 10-year-old. They can't project a life experience they've never had or are too young to understand. That's why it's best to keep routines fun and light with your younger dancers, and leave the heavier lyrical numbers to your more advanced performers.

Also keep in mind that a topic can have different meanings depending on students' ages. If the choreography calls for the dancers to project freedom, it's important to understand that freedom to an 8-year-old is different than freedom to a 16-year-old. When provided with opportunities to connect their own ideas to movement, young dancers develop stage presence faster and more completely. Don't force it. If they're having trouble relating, find ways to connect the piece to their everyday lives.

Steer Clear of Fake Facials

Although choreographing facial expressions into a routine may seem like a good fix, resist the temptation. Instead, encourage real expression. Suggest emotions and words that can be connected to sections of the dance instead of requiring specific facial expressions. Judges are looking for dancers who can communicate through movement. "It's not the 'eeeahh-ooo' competition face that wins," says Smith. "As a judge, I'm sitting right there in the front row. I want to see that you're having a good time, but it needs to feel natural."

Don't be afraid to give your dancers the artistic freedom to express the emotions of the piece in their own ways. "Nothing you can choreograph is better then genuine emotion," says Jones. "Genuine joy is better than spastic expression."

By continually encouraging stage presence, you will help your dancers experience a more seamless transition from practice to performance, while cultivating their confidence as artists. Be sure to encourage your dancers to practice as though they are performing all of the time, not just before a show or competition. Their warm-up, center work and across-the-floor combinations can double as performance practice. By making it a part of your students' dance training, showmanship can evolve along with technique. It's the complete package that takes home the title.

Surviving Dance Recitals and Making Them Special

It's that time of year - Your child, niece, nephew, grandchild  has spent the last year in dance class building up to their moment to shine, the dance recital. Dance recitals are fun and exciting events for both the excited performers who are eager to show off what they have learned from a year of lessons and practicing, and also for the proud parents and grandparents who are just as eager to see how their favorite dancer has progressed and grown in his/her art.

Although dance recitals are fun, they are often hectic and can be stressful for everyone involved, especially for younger dancers and new dance parents. Here are some tried-and-true tips for surviving (and enjoying!) a child's dance recital:

Help Your Child Practice Away from the Studio

The best way to ensure a less stressful dance recital is to practice, practice, practice. Dancing in front of a crowd can create anxiety that leads to forgetfulness, and the best way to combat stage fright is to thoroughly memorize the entire dance routine. Ask the dance instructor about getting a copy of the musical selection for your child's dance recital music and have your child practice their dance routine at home.

Begin planning the week before the dance recital by making a list of everything you'll need including costumes,  accessories, tights, dance shoes and the teacher's notes regarding stage makeup (how much, what kind, etc.)

Label all costumes and accessories with a permanent marker or sew-on labels. Keep a costume neat and clean by storing it in its original bag, or keep the costume and its accessories together in giant Ziploc bag.

Dance recitals can be exhausting, so it's important to make sure your dancer goes to bed a little earlier than usual on the night before the dance recital to ensure a good night's sleep. Some good before-bedtime activities include: reading books or listening to audiobooks, playing board games, or doing a handcraft. Television, computer and hand held video games should be avoided because these media “wake up” the brain's activity center and make it harder to fall asleep.

During the Recital

Before the Show: Eating and drinking while in costume is usually a big no-no, and peeling off a fitted costume to use the bathroom can be a little tricky, too, so be sure to have your little dancer have a light snack and use the bathroom before suiting up.

During the Show: Plan for the inevitable boredom that happens in between dance numbers. Bring books, quiet games (like portable magnetic games meant for long car trips), a small pad of paper and pencil for passing notes or playing hangman, etc. Hand-held video games are not recommended (they can be so engaging that a dance may miss her cue).

Make a Recital Special

Dance recitals are special for young dancers. Parents can add excitement by sending out invitations, making themed cookies and creating personalized wall art.

Create Recital Invitations With Free Pattern

A nice prelude to the dance recital is to send printed invitations. An invitation form can be downloaded for free and printed on cardstock, available at office supply and craft stores. The printed cards can then be embellished with craft store staples - glitter glue and/or adhesive-backed rhinestones - for more pizazz.

Plan an After-Dance Reception

Many families traditionally take their dancer out to eat after the recital. But after a long recital, the dancer may be tired. Plus, eating out can be costly. Instead, it's easy to plan a simple get together at home, with punch, sandwiches and themed cookies. Dance-shaped cookie cutters generally are hard to find in retail stores, but can be ordered through a website that caters to dance related items.

Cookies can be made ahead of time using a simple, sturdy sugar cookie recipe, then iced with a frosting of confectioner's sugar thinned with milk and a drop of food coloring - the choice of color depending on the dancer's outfit.

Create a Personalized Wall Memento

Parents snap away at dance recitals, taking photos that are later relegated to a scrapbook that sits on the shelf. Instead, proud parents can create a framed scrapbook page that can be hung in a child's room, or even the family room, for all to admire.

To make the page especially appealing with little effort, special themed dance stickers can be used, along with photos. There are easy to follow techniques for effective sticker use in scrapbooking.

Evaluative Vs Descriptive Praise - How One is Better for Children/Students

In an effort to enhance their children's self-esteem, parents and teachers often use praise to recognize the efforts and accomplishments of their children. Obviously, recognizing our children's positive behavior is more likely to build self-esteem than dwelling on problems. But praise is not always uplifting.

Studies show that children tend to become uncomfortable with praise that evaluates them. They often push it away. Sometimes they will deliberately misbehave to prove you wrong. For example, you tell Jason what a great artist he is and he tells you Jenny is better at drawing. Or you tell Liz she sings beautifully and she is embarrassed about your bragging.

When parents, teachers and coaches label a child, they tell the child that he or she is the label and is judged for this label, not for his actual capabilities. The child becomes risk-averse and doesn't want to chance messing up and being labeled "dumb." In other words, a "smart" child often believes that expending effort is something only "dumb" kids have to do.

Descriptive Praise

Instead of evaluating what your child has done, it is usually better to describe it. Describe in detail exactly what your child did. Then your child, hearing the description, is likely to recognize the truth and credit him/herself.

The kind of praise a child can “take in” and that truly builds self-esteem comes in two parts. First, the adult describes what the child has done. (“I see you are all ready to go to the store. You picked up your toys, put on your jacket, and even turned off the light in your bedroom.”) Second, the child, after hearing his accomplishment described, praises himself. (“I know how to plan ahead and be responsible.”)

Descriptive praise is harder and takes longer, but the payoff is usually greater. Descriptive praise helps children become independent, creative thinkers and doers. They do not look to somebody else for approval. They trust themselves and their own judgment. They have enough confidence to say to themselves, “I'm satisfied,” or “I'm not satisfied,” with what I have done. They learn to make corrections or adjustments based upon their own evaluations.

Evaluative Praise Creates Dependency

Some praise creates dependency upon the approval of others. Evaluative praise keeps children dependent on us. It sustains a dependence on our evaluations and our decisions about what is good and bad, rather than helping them begin to form their own judgments. It leads children to measure their worth in terms of what will make us smile and offer the positive words they crave.

The evaluative praise, “You are a very generous person,” makes the child dependent on the judgment of the praiser. But the descriptive praise, “When you saw that Elliot forgot his sandwich, you gave him part of yours” gives a child a sense of her own abilities and accomplishments.

Descriptive praise lets a child evaluate him/herself. If you want your daughter to focus her attention more on the impact she had on Elliot, you might say something like, “Look at Elliot’s face! He looks pretty happy because you gave him something to eat when he didn’t have anything.” You can help your child see how her actions affect others.


Components of Descriptive Praise

Effective praise has two parts. First the parent/teacher expresses appreciation for some specific contribution or effort. Second, the child draws conclusions about himself or herself based on this specific statement from the parent.

For a mother to tell her son, “You're so strong” is not as effective in building self-esteem as saying “That was really a heavy load. Thanks for your help.” The son can then think to himself, “I must be pretty strong. Mom thought I was a good helper.” These internal conclusions will be much more believable to the child than a parent's general value judgment of the child as a person.

Evaluative comments are often unnecessary. In the long run, parents can become less judgmental and controlling, and help their children become more independent and motivated, simply by acknowledging what their children do. Just pointing out an aspect of a child's drawing that seems interesting (without saying that it's nice or that you liked it) will likely be enough to encourage further efforts.

For example, if your preschooler makes you a get-well card, instead of saying “It's beautiful,” you can describe it: “I love these yellow balloons and red hearts. They cheer me up. I feel better already, just looking at them.”

Practice Using Descriptive Praise

Next time your daughter gets an A on an exam for which you know she hardly studied,  tell her you think she should try a tougher class next semester. When your son scores a winning touchdown, instead of telling him he's the best player on the team, say how much you appreciate his hard work. On the flip side, be honest. Tell a child that he/she didn't win a drawing/dancing/singing contest because he/she needs to improve rather than telling him/her that he/she was the best one there.

Avoid labels. Praising for effort sends the message that a child has the power to improve and change, but labeling him "smart" gives him little control over changing how he is perceived. Be mindful of labeling yourself ("I can't do my taxes -- I'm terrible at math") and others ("Your gymnastics partner is such a klutz").

Teach kids from an early age that the brain is a muscle that can be strengthened with practice. This sends the message that kids can directly affect their intelligence, which may empower unmotivated teenagers.

Don't act out of guilt. Parents often praise their kids to make themselves feel good, or to protect their kids from failure. But it's critical for parents to help their kids to learn to cope with setbacks and to help them focus on ways to improve.


Descriptive and Appreciative Praise may seem unnatural or more cumbersome at first. It is likely that you will occasionally find yourself offering an evaluative statement – don’t be too hard on yourself. Many times only a slight change is needed to make a remark more descriptive and less evaluative. By finding words that focus on the deed not the doer, your children/students will be able to form their own opinions about themselves, their actions, and abilities. By fostering, rather than fashioning their self-esteem, they will feel secure, capable, and supported and will become more confident and responsible as a result.

Further Reading

Praise that Builds a Child's Self Esteem

The Foxtrot: One of the Most Popular Ballroom Dances

The Fox Trot was perhaps the most significant development in all of ballroom dancing. The vaudeville actor, Harry Fox, invented this dance whose quick and slow steps permit more flexibility and dancing pleasure than any other dance. The energy of the dance was what teenagers were looking for, and subsequently the only truly American ballroom dance spread like a forest fire across the states and internationally. The dance was premiered in 1914, quickly catching the eye of the talented husband and wife duo Vernon and Irene Castle, who lent the dance its signature grace and style.

Over time, the Foxtrot split into slow and quick versions, referred to as "Foxtrot" and "Quickstep" respectively. In the slow category, further distinctions exist between the International or English style of the foxtrot and the continuity American style, both built around a slow-quick-quick rhythm at the slowest tempo, and the social American style using a slow-slow-quick-quick rhythm at a somewhat faster pace. In the context of International Standard category of ballroom dances, for some time the foxtrot was called "Slow Foxtrot", or "Slowfox". These names are still in use, to distinguish from other types of foxtrots.

Today, the Fox Trot has evolved into a dance of social elegance, characterized by smooth, graceful and gliding movements and enjoyed by people of all ages. It remains America's best-loved dance.

Before you can take your first step, you must have the correct standing partner position. With upright shoulders, imagine you have a straight line from each shoulder, through the hips, to the ball of each foot. Carry your head and chin up, shoulders down and relaxed, chest slightly lifted, hips well under the body, and weight forward over the balls of your feet. Partners stand face to face so that the shoulders are parallel, and bodies are slightly to the right of one another. The man places his right hand just above his partner's waist with his elbow held high. The women places her left hand on his shoulder. The gentleman holds his partner's right hand in his left hand, extended out to the side with a slightly bent but firm elbow. With their upper bodies in light contact, the man's hold should be firm so he can lead with assurance.

Fundamentally, the Fox Trot is just a dance-walk done to music. The foxtrot is danced to music written in 4/4 time with the first and third beats of each measure more heavily accented. The foxtrot has similar characteristics to waltzing. The two have very smooth movements that travel on the length of dance line and counterclockwise all round the floor. It is danced in combinations of slow and quick steps, with each slow step taking two beats and each quick step taking one beat of the music. The 4/4 timing is "slow, slow, quick, quick" or "walk, walk, side, together." On the long slow steps you lead with your heal and you are low to the ground, on the quick steps you are high on the balls of your feet. (down, down, up, up) The long walking movements involve a subtle rise and fall action. Turning movements are similar to the Waltz, but with a more moderate rise and fall, and more length-wise action. This dance is a succession of sweeping glides, which blend with one another. For the sake of simplicity, let's use the man's perspective when describing the movements in the Fox Trot. Keep a strong frame, and lead with your heal pressing through to the ball of your foot as you brush your leg forward. The following is the basic side close step.

1. Step forward left, slowly.
2. Step forward right, slowly.
3. Step to the left side, quickly.
4. Close together right, quickly.
There are many variations on the basic step. You can change the direction, or rhythm. You can even turn or subtly pause. Always remember the importance of balance and relaxation as you dance from your waist down; carrying the upper body free and easy. Leading men should indicate the steps by pressure with their right hand in the ladies back, or with their upper body, but don't grip your partner with a strangle hold. Keep your head up, never look at your feet, and never pump your left arm up and down.

Back Basic Step:
It is the opposite of Forward step. It also consists of two walks followed by a chase, to the count of, Slow, Slow, Quick, Quick, but the man moves backwards while the woman moves forward. Normally it is taken on a quarter turn over steps 2-4 in order to get prepared for the next Forward movement.

Hesitation Turn:
This step is used as a means to turn at a corner. The most common amounts of turn are 1/4 and 3/8 to the left.

Left Box Reverse Turn:
It is an important part of the Foxtrot, most notable being the 8 count box rhythm. There is more subtle rise and fall action. Box may be danced without a turn or with turn to left over the 6 steps.

Side Sway:
It is comprised of side movements to the count of slow, slow, quick, and quick. The slow counts are side steps, while the quick, quick is a side chase.

Promenade:
It may be called as V shaped dance position, in which both the man and the woman travel in the same direction towards the open end of V. Both man and the woman take two walks forward to the count of SS, and then turn to face each other in a closed position to finish with a chase to the count QQ.

Here is an excellent demonstration of basic Foxtrot steps that are easy to follow and a pro ballroom couple, Timothy Howson & Joanne Bolton, whose dance is more advanced, but you can still see the basic pattern in their steps.

Dance as a College Major - What to Look for

If you are a young person with a passion for dance, chances are you are interested in majoring in dance in college. Even those who know they will not go on to become prima ballerinas may choose to explore colleges with a dance major offering, as it can be a great way to get exercise while creating a positive emotional outlet, perfect while focusing on another field of study

As a dance major, prepare not only to develop your physical skills, but also to explore the history, theory, and science of your art. Get ready for a schedule of technique and choreography classes, long evenings in rehearsal, and academic classes. Dance majors challenge their bodies and their minds in this demanding art form.

Both the bachelor of fine arts (B.F.A.) and the bachelor of arts (B.A.) prepare students for careers as dancers and choreographers. The B.A. also prepares students for careers in dance education, administration and therapy.

Students of dance learn to express ideas and emotions through dance forms such as ballet, modern, jazz, ethnic, and folk dance. Classes cover such topics as dance technique, choreography, and the history of dance.

Learning about the various aspects of the stage, various movement styles and the human body will make you a better dancer. It is in the best interest of all dancers to expand their minds to include other areas surrounding dance that will help them not only be more technically astute dancers, but will also equip them with more expansive knowledge that help extend their career in the dance and stage world. A major will help you to remain in the dance field even when you physically can no longer dance professionally or, paired with business courses, for example, owning your own dance studio. Socially, being around other students can provide a learning experience in itself.


College Checklist

Audition

Wanting to join a company doesn’t mean you have to do it at 16 or 21. It all depends on which company you want to dance with, what their requirements are, and how you fit in (regarding both technique and personality).

Before you make a decision about college, talk to your dream companies first. Try auditioning for companies you want to dance with and see what happens; regardless if you’re considering college first or not. Talk to the director and ask about the company’s view on a dancer’s age/training. Are they looking more for moldable and young dancers, or mature and experienced ones? Getting these answers will help you make an informed decision on what you want to do.

What Interests You? - The best program for you depends on what you want to do in the dance field after college. Are you especially interested in performing, teaching or choreography? Do you prefer ballet, modern, jazz or theater dance? Or do you want a program where you can be diversely trained without being forced to specialize?

Research Colleges and Programs - The Dance Magazine College Guide (sold wherever Dance Magazine is sold) is a good place to begin to narrow your search in finding the right program to meet you needs. However, since there are a few, noteworthy programs that may not be listed there, you should use other sources of information as well, along with a careful examination of all the programs' web sites that you're interested in.

Visit - Try to visit colleges that you're interested in while they are in session in order to find the program that is right for you. Start with the colleges that are closer to you. Observe classes, see performances and even try to take a class with the students if you're in 11th grade. It is never too early to start visiting.

Curriculum - Take a look at the overall curriculum of the dance department. Does it offer courses in various dance techniques, stage, acting, kinesiology, choreography, etc.? Again, these and other courses not named will help well round the dancer and expose them to all the areas of dance and stage.

Further Checklist
Is the department accredited by the National Association of Schools of Dance?
What is the audition policy?
Which type of dance does the department focus on?
What is the department’s ratio of students to faculty members?
What are grads doing now?

Further Things to Consider When You're Attending a College

Try to experience as many different techniques, styles, teachers, and workshops as you can.On top of technique training, other preparative tools are unanimously recommended by Seniors and graduates alike. One of these tools is taking on jobs in college, and, most importantly, saving money. In addition to savings, jobs offer something you can put on a resume. “I would definitely recommend getting a job at a studio, because it offers hands-on experience to another aspect of a dance career: teaching,” Adelphi Senior Kelly Leya offers

Another important tool for a dancer to utilize is the array of Summer and Winter intensives offered. Intensives get you exposed to the choreographers who are out there and the people you will be competing with for a job. And intensives help you to stay in shape during the summer.

Internships are a great way to see what life is like in “the real world." You are making connections, and learning first hand what a company's work entails.

Consider Alternative Majors

For those seeking a professional career in ballet, it may seem obvious to go with a Dance or Ballet Emphasis major in college. But don’t limit yourself! If you have other interests you’d like to pursue, ask the academic and dance counselors about combining majors or getting a double major. In many cases, this will allow you to get dance training, while also providing solid training for a career in another field.

Many dance programs prohibit non-major/minor students from taking their full-time dance program classes… but the same professors often provide open classes as well. These classes usually have a reduced credit value (as they do not go toward a dance major or minor). However, they’re the same length and intensity as a dance major’s class, and are a great option for an academic major who still wants to dance regularly.

Talk to Pro Dancers and College Students

If possible, talk to professional ballet dancers and college students about their experiences. Visit a college dance program or sit in on a rehearsal at the local ballet company. Either way, talking to fellow dancers can give you insight into your goals and how to reach them.

When speaking with college students who look to become ballet dancers, ask about the training they’re getting, how they decided to go to college, and what their goals are. These are all questions you probably have yourself, and they can likely answer them for you.

Finding a college that is supportive of both pre-professional and recreational dancers can be tough, but don’t give up! Keep looking, and try classes out until you find the perfect college for you. Remember that even if you choose a college that isn’t a perfect fit, you’re not stuck. You can always chance your mind and transfer.

Here are a few excellent colleges:

Point Park University

Located in Pittsburgh, Point Park's Department of Dance has long been recognized as a stand out when it comes to their dance program. They offer concentrations in ballet, jazz, modern, and dance pedagogy (becoming a dance teacher). Throughout your Bachelor's Degree studies, you will have plenty of hands on performance experience, leaving you with what every dancer needs most, a solid resume start. Students who continually impress the faculty may be selected for the Bachelor of Fine Arts degree program, which may lead to limitless opportunities to dance for companies and continue to build both exposure and experience.

The Juilliard School

Most anyone who has been extensively involved in the creative arts field has probably heard of the Juilliard School and the dance programs they offer. From training children to graduating adults who go on to dance in the most prestigious of companies, Juilliard established its dance division in the 1950s. The audition process is rigorous, however those who are accepted will greatly benefit from studying under some of the biggest names in dance instruction and performance. The Juilliard School is located in New York.

Oklahoma City University

Home of the Ann Lacy School of American Dance and Arts Management, Oklahoma has as much fun and pep as they have technique and excellent education. So many OCU graduates have been accepted into the Rockettes, that the school's website even features a Rockette Hall of Fame section. OCU offers a Master of Fine Arts program in dance, as well as a wonderful Bachelor's program and summer intensives.

Elon University

Dancers who travel to North Carolina for college will love Elon's Department of Performing Arts. Rather than specializing in the more traditional college forms of ballet and modern, Elon throws in jazz and tap as well as a more updated approach to dance education. Never stuffy or stodgy, and with plenty of performance opportunities for studying actors and dancers, Elon will fulfill the desires of college students looking for a well-rounded approach to a professional dance career.

Florida State University

Florida State University is known for prestigious, award winning resident faculty and staff as well as guest artists, teachers and choreographers. It has The Maggie Allesee National Center for Choreography, offering choreographic research center within a university setting. Students can spend a semester in New York and there's a summer study abroad program in Valencia, Spain with a focus on Flamenco dance and culture. A program in Paris is starting in 2012.


Finding the Right College for You

If these schools are out of your budget or range of travel, consider shopping around locally. Ask your favorite dance teacher where he or she studied, as they may have a great tip that assists you in your search.

Check out @kinerenterprise 's Top 3 Things I Learned as a College Major

Not Just for Girls: How Dance Can Teach Boys Life Lessons

Students at the Bolshoi Ballet Academy Summer Intensive Program

Recently, Jacques Berlinerblau wrote an article expressing his frustration over his son being bullied because he enrolled in ballet - click here. Dance class is not just for girls. While girls still outnumber boys, more boys are taking dance class than ever before. You may feel pressured by relatives who view dancing as effeminate and want to steer your son in the direction of typical male dominant activities like basketball and karate. However, if your son is interested in dance or you feel he would enjoy it, consider enrolling him. Dancing actually builds great strength and endurance. The exercise and principles of dance can help your son perform better in all areas of his life from athletics to academics.

Dance is art, exercise and sport all in one. Boys can get the following benefits from taking a dance class:

* Gross motor skill development: According to a 2004 Queens College study, preschool dance classes help develop gross motor skills.
* Self-expression: A boy learns to express himself through movement to music.
* Total body workout: Dance provides a complete workout and can help prevent childhood obesity.
* Improves balance: Dancing helps a boy improve his balance which can help with other sports.
* Gain greater flexibility: A boy will gain a healthy flexibility which may also help in other sports as well as helping general mobility.
* Learn to move in continuous fluid movement: Dancing teaches a boy to move in continuous fluid movement which can help in sports like football.
* Better coordination: A boy will gain greater coordination skills.
* Builds strength and endurance: Some of the strongest dancers are male ballet dancers who gain a great deal of total body muscular strength from ballet techniques. All dancing helps build strength and teaches students endurance as they learn more complex dance techniques that work the muscles harder.
* Becomes a team player: A boy learns how to work as a part of a team when he dances in a group.
* Better posture and deportment: A boy will learn how to stand up straight and move with masculine grace because dancing requires strict body alignment for correct form, which is also healthier for the body.
* Increases self-confidence: A boy can gain greater self-confidence as he gets stronger and grows as a dancer by accomplishing difficult dance moves.
* Requires discipline and focus: Dance class requires focus on the teacher's instructions to learn dance moves and the discipline to practice until a student learns the lesson correctly. This discipline can help boys with attention deficit disorder improve the ability to focus and pay attention. The discipline learned in dance class can also help boys focus better on academics and build better study skills for school.
* Music appreciation: A boy can gain a greater appreciation for music by participating in a dance class.
* Provides a sense of accomplishment: When a boy masters a dance routine, he feels great sense of accomplishment.
* Appreciation for physical fitness: A boy involved in dance will be more aware of the importance of physical fitness and is more likely to exercise regularly.

Dance Opportunities for Boys

There are many different forms of dance available to interest boys, such as Funk, Hip Hop, Rock 'n Roll and Ballroom. The energetic kicks, flips and spins of the Dance-Rock-n-Roll-Boogie Club (DRRB) appeal to a lot of boys, with at least 50% of the classes being made up by boys. "It is such an energetic activity that boys who are sporting often make the best dancers!" Laughs Mr Jerome of the DRRB Club. Ballroom dancing has also proved to be a perennial favourite. The owner of Oxley Dance Studios, Owen Oxley, notes that his ballroom dancing classes have enjoyed a 50/50 mix of boys and girls for over 15 years. "While boys often get self conscious about dance at some stage during their teen years and leave for a while, they invariably come back within a year"

Choosing the right dance class for a boy is important for success. Here are some tips for finding the best dance class for your son:

1. Enroll in all boy dance classes: Since many dance classes are still female dominated, your young son may feel more comfortable in all boy classes or classes with a more equal rate of male and female students. Placing a preschool boy in an all girls' dance class can sometimes be a little scary to him or even off putting.

2. Make sure your son is not the only boy: You don’t want your son to be the dance studio's first male student. Take a dance class where they are use to teaching both boys and girls.

3. Ask the school about teaching technique for boys: Finding out how a dance school approaches dance and treats male students can help you figure out if it is the right place for your son.

4. Observe a class: Take your son with you and observe a dance class before signing up for one. Observing a class can help you see how the teacher interacts with students and if your son would be comfortable. Some dance studios even offer free trial classes so your son could participate in the trial class before you enroll.

5. Consider the type of dance: What type of dance would most interest your son? If he is starting at preschool or kindergarten age, he will often be placed in a mini movement class the combines tap and ballet techniques. Some dance studios offer jazz and hip hop classes to the very young but many offer this to elementary school age children and older, many of whom have already completed a mini movement combination class.

While sport will always be a major part of boys' lives, we should also encourage them to enjoy the many creative, social and emotional joys of dance. Giving sons a love of dance - and the confidence to enjoy it - is a gift that will last them a lifetime.



Sources:
National Parent Teacher Association (PTA) site

Goodwin, Joy, "Keeping That Big Nutcracker Party Coed," The New York Times  August 19, 2007

The Bolero: One of the Most Sensual Latin Ballroom Dances

One of the most sensual of the Latin ballroom dances, The Bolero's roots can be traced back to Spain in the 18th century, has the same Afro-Cuban roots as the Rumba and is thought to have originated from Cuban or Spanish folk dances such as the Danzon and Beguine. Originally in 3/4 time it was initially a faster tempo dance from what it is today. Often performed as a couple, the male lead mimicked the dramatic and passionate moves of the toreadors in a bullfight while the female accompanied with flourishes that sometimes corresponded to the bull's movings or the swish of the matador's cape. A hot, red-blooded intense form of Spanish ballet. The music is frequently arranged with Spanish vocals and a subtle percussion effect, usually implemented with guitar, conga or bongos.

The Bolero dates back over 200 years to Spanish folk dances of love and romance. The term "Bolero" stems from the Spanish verb "Volar," meaning "to fly," exemplified in the elegant moves of the dancers. Around the time that Afro Cuban musical styles matured, toward the end of the 19th century, Cuban composer Pepe Sanchez composed the first known Cuban Bolero, entitled Tristeza ("Sadness"). By the early 1900s, the immensely popular Bolero reached Mexico and Latin America. Additional significant Bolero composers include Guty Cdrdenas and Agustin Lara from the early 1900s and, more recently, Jose Feliciano. Boleros are a ballad style with slow tempos and sentimental lyrics. The signature Bolero rhythm, originally played with a pair of castanets, is now more commonly played by a pair of maracas. Because of this traditional instrumentation, the drum set player has to duplicate the familiar rhythmic sound with sticks, usually playing it on rims and or hi hat. The tempo range is slow at quarter note = 74-120 beats per minute.

The Bolero was imported to Cuba where it was further developed and slowed down quite markedly in tempo.  Similar to the dance known as the Rumba and the Son, the evolving Bolero, combined from the traditional contradanze and sevillana dances, travelled to the U.S. in the 1930's and gained increasing popularity when French composer Maurice Ravel (1875-1937) wrote his composition in 1928 for  ballet dancer Ida Rubenstein which was choreographed by Bronislava Nijinska. The first performance was on November 22, 1928, at the Paris Opera House and Ida danced it on a table-top. In 1934, a mostly forgotten movie named Bolero, featured Carole Lomard and George Raft dancing to Ravel, shown at the bottom of this post. 50 years later, the Ice Dance team of Torvill and Dean immortalized Ravel's score in their Gold Medal winning Free Dance at the 1984 Winter Olympics in Sarajevo.

Along with the Cha Cha Cha, Rumba, East Coast Swing, and Mambo, Bolero is one of the five rhythm competition dances in American style ballroom dance competition. The bolero is a close cousin of the Rumba, sharing the same footwork timing and many similar figures. Bolero is the slowest rhythm dance. The music tempo is only 96 beats per minute. As with rumba, the basic footwork timing is slow-quick-quick. As with rumba, three steps are taken to four beats of music and the music is written in 4/4 time. For spectators, it is often difficult to distinguish bolero from rumba. It is also difficult to class music as either rumba or bolero. In competitions, the “standard tempo” of rumba music is 104 beats per minute, which is slightly faster than the “standard tempo” of Bolero music, which is 96 beats per minute.

Now that you have a basic grounding in the dance's roots you should be able to sense the vibrant, passionate and sensual feel that the Bolero requires. It is quite voluptuous looking visually and is performed by single dancers, couples and sometimes by dance troupes.  The music used to accompany this graceful and romantic dance is rich and rhythmic often in a 4/4 tempo and uses strong and percussive beats with guitar and castanets; Spanish vocals often accompany.

Basic Bolero Steps(4/4 time)

Begin in a still position with a comfortable knee bend and a straight, relaxed The step pattern follows a slow-quick-quick routine - the first two beats encompass the slow movements and beats three and four will be quicker steps.

A sensual rise and fall movement occurs throughout the performance and requires great skill in order to master successfully. Perform a long, sweeping step to the side on the second slow beat with a lifting extension of the body.

Rock step forward and backward on the quick three and four beats.

When danced as a couple in ballroom competition, the Bolero often has smooth, expert choreography where the male lead is reflected in movement by his female counterpart. Extra steps such as cross body leads, open breaks, underarm turns, fifth position breaks and crossover breaks are often employed and it is quite often a good idea to learn how to dance the Rumba first before attempting the slower, highly stylized Bolero. Performed well, the dance should stir the blood and excite the senses of those watching.


Movie Clip of Bolero

Martha Graham's Legacy in Modern Dance History

She stood alone on an empty white semicircular platform. Her straight black hair fell like silken threads of fringe behind an oval face with chiseled cheekbones, deep set dark eyes, and a strong angular jaw. Set in a frozen intensity, her body was poised for imminent action. A dissonant sound from an unseen source broke the silence. Instantly, her coiled body released its pent up forcenot in great gentle sweeps of motion, but in sudden percussive shock waves that came from the center of her core. Hard and precise, with little action in her limbs, the contractions and releases sent vibrations through her body and into the surrounding air. Cutting, intersecting lines, circles, and angles shot out from her small frame in rapid succession. Yet the feet of this dancer were cemented to the empty stage.

Called simply, "Dance," Martha Graham's solo mystified its audience when it was first performed in 1929. This kind of restrictive staging and movement, her signature approach to dance, was in keeping with her desire to direct her audience to the percussive gestures of her torso, which were the center of her vital action. She experimented with what the body could do based on its structure, because she wanted the dancing body to be related to natural motion and to the music.

As a dancer, choreographer, actress, costume designer, and inventor of a unique dance technique, Martha Graham has made one of the most important contributions to the evolution of Modern Dance in America. Born May 11, 1894, she struck the dance world like a thunderbolt in the beginning of the 20th century, when she combined satire, social comment, comedy, tragedy, joy and sorrow with an intense passion for expression.

In the summer of 1916, a big eyed young women of 22 walked into a Spanish-styled stucco
in Los Angeles and enrolled in Ruth St. Dennis School of Dancing and Related Arts. This unique school assumed the responsibility of developing a student's mind along with their body. It was the only dance school in America to offer a total program of study which included: free style ballet, ethnic dance, history and philosophy of dance, discussions on oriental art and Greek philosophy, music, lighting, makeup, and even costumes. During these early years, Miss Graham developed her unique teaching techniques, and acquired the performing experience that would blossom later in her life.

By 1930, when she formed her own company, she dismissed the classical, fluid, lyrical form of modern dance and replaced it with a sharply angular, sexually charged aesthetic. Her pieces were more like dance dramas enacted on symbol strewn sets designed by Isamu Norguchi, and accompanied by composers like Copeland and Barber. Martha's Long, straight, sometimes dark, dresses replaced the traditional light, flowing chiffon costumes of the past. Her inspiration usually came from art, history, literature or social commentary. Like a dramatic play, she would create and develop characters to express the feelings or ideas she wanted to portray. She created dramatic masterpieces, which illuminated the very essence of life.

She met some opposition from her early audiences, who were disturbed by her Freudian exploration of desire, guilt, and rage. "It's not my job to look beautiful," she responded, "It's my job to look interesting."

In 1936, Graham made her defining work, "Chronicle," which brought serious issues to the stage for the general public in a dramatic manner. Influenced by the Wall Street Crash, the Great Depression and the Spanish Civil War, it focused on depression and isolation, reflected in the dark nature of both the set and costumes.

She was also very much involved in the labor movement, thus her work was show-cased in a production sponsored by the International Labor Defense. She was driven by a desire to show the 'American Experience', and her dances reflected this not only in their movement, but in the costumes and scenery. Her socialistic and anti-military view is expressed in "Heretics" and "Sketches for the People". Graham took an interest in the dance styles of other cultures, also, and some of her most famous works were inspired by the American Indians in New Mexico, "Primitive Canticles" being one of the prominent ones.

She introduced many other new features to modern dance like moving scenery, using props and sculptures as symbols, and combining speech with dance.She danced and choreographed for over 70 years, and during that time was the first dancer to perform at the White House, the first dancer to travel overseas as a cultural ambassador, and the first to receive the highest civilian award, the Medal of Freedom.

She was one of the founders of the New York City Julliard School, still recognized as one of the country's best art schools. Martha Graham continued to dance well into her seventies, and taught and choreographed dances until her death in 1991. She was working on the choreography for the Olympics when she died.

Martha Graham, the mother of modern dance, will be immortalized for her intense emotional performances, unique choreography, and mostly for her homegrown technique. Her fierce pelvic contractions, and rugged floor work was passed on through contemporaries like Merce Cunningham, Paul Taylor, Twyla Tharp, and Mark Morris. The Graham technique is routinely taught in studios the world over, and has been practiced by many dancers including; Rudolf Nureyev, Mikhail Baryshnikov, Madonna, and even Betty Ford. The Martha Graham Dance Company still showcases her work around the world. Her legacy, her unique approach to dance and her unbridled passion, has changed modern dance forever.

Two Dancing as One: Keeping Connection in Ballroom Dancing

Thanks to Marissa Wright for parts of this post. The wonderful thing about ballroom dancing is that two people work together to create a beautiful art form to music. The partners rely on each other, each doing their part to make the partnership work. The leader must make the decisions about what step to dance, what direction to go and which beat to dance on. The follower must follow the leader's directions (which is more difficult than it sounds) and complete the picture the leader sketches. Both partners provide counterbalance to each other to make their movements bigger and turns faster. All of this is made possible through the use of connection.


If you were to ask five different people what they think dancing is all about, you will most likely hear five different answers. However, what makes dancing, dancing is simple: connection. In order to truly dance, you must be connected to the music, connected to your partner, and connected within yourself.

It is easy to become disconnected when you are partner dancing, such as ballroom, Latin or swing, and not realize it because you are concentrating on one small detail-the beat, where your feet go, what you are doing with your arms. However, when this happens you are missing the whole point of partner dancing.

 "Lead and follow" is the secret to getting two partners dancing smoothly together. It's simply impossible for two people, dancing in close contact, to move as one if they're making their own decisions, choosing their own timing and doing their steps independently. They must coordinate their moves perfectly - and for that to happen, one person must be in charge. Politically incorrect it may be, but the convention is for the male to be in charge (the Lead) and the woman to follow. If  you were wondering why the Antonia Banderas ballroom movie was called "Take the Lead", now you know.

Dances like tango, salsa, swing are, first and foremost, social dances. At social functions, men and women need to be able to dance with complete strangers, who went to other dance schools and learned different steps. If they try to do their own thing, there's little chance they will mesh - but if both have learned the techniques of lead and follow, they can dance comfortably together, even though they've never met before.

The Lead - usually the man - has a much tougher job than the Follower. Sure, it takes skill for the Follower to read the signals given by the lead and react to them with split-second precision, and she often has more complicated steps to execute. But it's up to the Lead to remember the choreography,  - or worse, to make up the whole dance on the fly, from his repertoire of moves, to whatever music is being played - and then transmit his instructions to the Follower clearly without saying a word.

How to keep the connection?  First and foremost, you must remain connected to your partner. Without this teamwork, you are not moving in harmony-why even dance with a partner? You must be constantly aware of where your partner is, what they are doing and how what you are doing relates to them. Even if you are not looking at them, your body is always trying to face them. In Latin dancing and swing dancing, you have many opportunities to look directly at your partner, which helps you to connect on a lead and follow level, but also on an emotional level.

In partner dancing, you communicate through your dance frame and through any other body contact you have. Keeping your center turned toward your partner wherever possible and maintaining a solid frame by keeping tone in your muscles (not flexing them, stiffening your arms or trying to crush your partner) will keep you connected to your partner for better leading, following and harmony.

Next, you must remain connected to the music. Dancing on the beat is only part of this, although it is certainly the most important part. You also need to listen to the music and do what it tells you. Is it telling you to move softly and smoothly, or quick and staccato? Try to fill every microsecond of music, even when your feet are not moving-continue your hip action in Latin dancing and fill out your shapes in ballroom dancing by stretching your body and arms. If there is a hold in the music, it is an added touch if you strike a pose and hold it.

Lastly, stay connected within your own body. Make sure your whole body is telling the same story. It is easy to let your arms flail around, completely disconnected from your body. Arm styling does not look very good if it does not seem to be matching your body-feel as though you are using your body to start each arm movement. Also, do not let the sides of your body, from your ribcage to your hips, collapse when you make body shapes; rather, keep both sides straight and stretch one side more than the other. Every line in your body should flow smoothly to the next.

The best dancers are able to pull all the pieces together and have a beautiful connection to each other, the music and within their own bodies. They seem to float across the floor together in perfect time to the music, their bodies portraying every note. Every piece of technique you learn helps you to get a little closer to this high degree of connection. While it may take some time to reach this level, focusing on improving your connection to your partner, music and self will greatly improve your dancing.

Graceful Body, Graceful Hands - How to Hold Them When You Dance

When you’re dancing a difficult part, it seems that hands would be the last thing you need to worry about.  But remember, ballet is all about lines and aesthetics. Stiff hands can easily break those beautiful lines you’ve worked so hard to achieve. The next time you head into class or rehearsal, remember that your hands should be graceful too.

Shape Up

If you aren’t method-specific, relax your fingers and have the middle finger and thumb close together, as though you were holding a rose between them. This creates a lovely, soft shape that works for all roles at all times.Since the specific manner in which your fingers are held varies depending on which style of ballet you’re taking, be aware of the need to have a shape. Balanchine ballerinas hold fingers separated, with the thumb lifted. Imagine stretching your fingers over an apple. Vaganova dancers relax four fingers over a lifted pinky. If you aren't sure what your instructor wants, don't be afraid to ask after class. 

Lose the Tension

No matter what shape you’re giving your hand, tension in the fingers has to be lost. Stiff, hyper-extended fingers make for a stiff end to lines that would otherwise be soft and elegant. Fingers should be held and active, but relaxed with a minimal tension. The feeling should be like holding a handkerchief between your fingers: Enough strength and support to hold it, but with a relaxation in the fingers that keeps you from grabbing and creasing the material. Try it with a tissue until you feel comfortable with it.

Lift the Wrists

Your wrists link together the line that flows from your shoulder to your fingertips. It's important that you keep them lifted adequately to support the line. Look in a mirror and place your arms in bras bas(both arms down and rounded just in front of your hips with fingers almost touching.). Your wrists should continue the line from your forearms, angled neither below nor above. When you’re dancing — especially when any arabesque is used — make sure you aren’t letting your wrists flop and bend downwards. 

Save Tea Time

Though it may seem like lifting the pinky more than usual gives a more dainty line to the hands, overdoing it can give an awkward line to your port de bras. While the pinky is always lifted slightly above the rest of the fingers, it should never jut out or be stick straight. Keep your mind on your pinky and see if it looks like it’s escaping from the rest of your hand. If it is, try relaxing it a little and losing some of the tension. This will make you look a less like you’re trying to drink tea and more like you’re an elegant ballerina.

Draw Water

When moving through your port de bras, let your wrists and hands trail just the slightest bit behind the rest of your arms. Pretend that you’re drawing your arms through water, and you’re leaving a soft, rippling trail from your wrists to your fingertips. This will help make your port de bras look smoother and leave a relaxed feeling in your hands that is vital when moving from position-to-position.

Give Yourself a Hand

Hands are an important part of your dancing, so make sure not to forget about them. Practice making soft, beautiful hands throughout the day. This will make lovely fingers second nature in your dancing.

Good Video on Graceful Hands

Ballet Basics - The Hands

5 Ways to Show Mom You Care on Mother's Day

This Mother's Day, don't just buy Mom a gift. Show her how you truly feel by expressing your love and appreciation in a way that fits her style. Dr. Gary Chapman, the author of the book The Five Love Languages, finds that we all have our own style, or language of love. Some people need to hear words of appreciation to feel loved, while others feel more loved by quality time. When you select a gift, or token of appreciation, with your Mother's style in mind, you are sure to find a gift that pleases. Here are some suggestions for each of the five styles:

1. Words of Affirmation
While I love you may be the first words of affirmation that come to mind, these are certainly not the only ones. Compliments, appreciation, thanks for deeds done or gifts received all work. The important thing is to be specific and not to use vague generalizations. When using words of affirmation to thank someone for a gift, be sure to include some acknowledgement of the cost to the other person and the value to you. A letter can be a powerful way to show your mother appreciation for you and your Mom.

2. Quality Time
Quality time is giving someone your undivided attention. It could be something as simple as sharing a conversation, or doing something you both enjoy together. Quality time is not watching TV or movies together because the screen is the focus of attention, not Mom. Remember, do what Mom enjoys on her special day.

3. Receiving Gifts
From flowers to fancy diners, gifts are the customary way to show appreciation on Mother's Day. The most important factor is a visible reminder of love, not so much the cost of the gift. In times of crisis or of loneliness, physical presence is a powerful gift.

4. Acts of Service
Acts of service are those things we do to take care of the people we love. Take over Mom's chores like cooking or cleaning to show your love or do something for her she can not do herself like fixing the car or cleaning the gutters. Many of the loving acts traditionally performed by Mothers are acts of service.

5. Physical Touch
Physical touch is important to all human beings. A hug, holding hands, or massaging sore muscles and joints are all examples of a loving physical touch. Remember older people need to be touched as much as young people.

Most Mothers are adept at recognizing love from their children no matter what age and what form it takes. But, when you take the time to understand your Mother's love language and express your love and appreciation her way, you send a powerful message. When determining your mother's primary love language, think about the ways that she tends to show support to others most. If Mom is always cooking something special in the kitchen, then acts of service may be most important to her. If she is always giving you verbal encouragement, perhaps words of affirmation are important.

Which ever method you choose, it is important to show your mother appreciation. You will find that thoughtful and heartfelt appreciation is always a present that will please- the perfect Mother's Day Gift.
And if you have a Grandmother that you'd like to honor as well, you might like this post: Remembering Grandmothers on Mother's Day

Dance Recital Checklist: From Choosing a Theme to Making it Festive

It's that time of year again when dance students look forward to recitals. The task of choosing a recital theme is a hard one for a teacher. A well-chosen theme will make the recital flow better and be more cohesive. Theme also makes it easier to select songs and costumes by narrowing down the sheer number of available choices. Here are some theme ideas.

Start with a Broad Theme and Narrow It, or Vice Versa

Consider themes which are broad enough to incorporate all of the styles of dance which will be performed. A specific ballet theme like “The Nutcracker” may not allow for hip hop or tap performances, but a more general theme like “Broadway Hits” or “Disney Magic” will offer a wider variety of musical selections and allow for more forms of dance.

Start with one song and develop a theme around it by going broader. Inspiration a single song can inspire a larger theme. For example: a song like “Itsy Bitsy Teeny Weenie Yellow Polka Dot Bikini” might be the inspiration for a summer theme, a California theme, a silly song theme, or a 1960’s era theme. Other songs may inspire themes such as journeys, love, parents singing to kids, living a better life, experiencing a personal metamorphosis, having fun with friends, and more.

Choose an Era as Your Theme

Time period themes are fun and popular choices for dance recital themes. Start by choosing a decade like the disco era of the 1970s or the flapper fad from the roaring ‘20s. Consider a broader theme such as “Dancing through the Decades” and choose chart-topping hit songs from different decades as the musical selections. Other era-based themes may include: Billboard Top 40 Hits, the era of musical theater, and Disney movie theme songs from then and now. Or how about party dances from different decades: dances might include the “electric slide,” the “chicken dance,” the “mashed potato,” the “twist,” among others.

Consider Color-Based Themes

A color based dance recital theme might include songs like: Blue Suede Shoes, Purple Rain, Blue Bayou, Red Red Wine, Back in Black, Its Not Easy Being Green, Mellow Yellow, Little Pink Houses, White Wedding, Knights in Black Satin, Ebony and Ivory, and many other color-named songs. Choose rainbow colored or jewel tone dance recital costumes, and decorate with multi colored balloons and streamers.

Other Dance Recital Themes

Some other dance recital themes to consider are: “Around the World” with songs and dances from different countries (belly dancing, the Macarena, Irish folk dancing, English country dancing, polka, square dance, etc. ) “On the Move” with songs about going places (Kokomo, California dreaming, I left my heart in san Francisco, Key Largo, Little Rock, etc) or songs about modes of transpiration (Leaving on a Jet Plane, Big Yellow Taxi, Rocket Man, Little Deuce Coupe, Morning Train, etc.). More themes can include: travel, movies, Hawaiian luau, heaven on earth, princes and princesses, seasons, that's entertainment, love of dance, musical theater, Broadway, on the radio, and more.

Dance recitals are an exciting event for the dancers and the audience alike, and recital day should be a special event. A well-chosen theme which unites the music, the decorations, and the dance numbers can transform an everyday dance recital into something magical and utterly unforgettable.

Although dance recitals are fun, they are often hectic and can be stressful for everyone involved, especially for younger dancers and new dance parents. Here are some tried-and-true tips for surviving (and enjoying!) a child's dance recital:

Help Your Child Practice Away from the Studio

The best way to ensure a less stressful dance recital is to practice, practice, practice. Dancing in front of a crowd can create anxiety that leads to forgetfulness, and the best way to combat stage fright is to thoroughly memorize the entire dance routine. Ask the dance instructor about getting a copy of the musical selection for your child's dance recital music and have your child practice their dance routine at home.

Begin planning the week before the dance recital by making a list of everything you'll need including costumes,  accessories, tights, dance shoes and the teacher's notes regarding stage makeup (how much, what kind, etc.)

Label all costumes and accessories with a permanent marker or sew-on labels. Keep a costume neat and clean by storing it in its original bag, or keep the costume and its accessories together in giant Ziploc bag.

Dance recitals can be exhausting, so it's important to make sure your dancer goes to bed a little earlier than usual on the night before the dance recital to ensure a good night's sleep. Some good before-bedtime activities include: reading books or listening to audiobooks, playing board games, or doing a handcraft. Television, computer and hand held video games should be avoided because these media “wake up” the brain's activity center and make it harder to fall asleep.

During the Recital

Before the Show: Eating and drinking while in costume is usually a big no-no, and peeling off a fitted costume to use the bathroom can be a little tricky, too, so be sure to have your little dancer have a light snack and use the bathroom before suiting up.

During the Show: Plan for the inevitable boredom that happens in between dance numbers. Bring books, quiet games (like portable magnetic games meant for long car trips), a small pad of paper and pencil for passing notes or playing hangman, etc. Hand-held video games are not recommended (they can be so engaging that a dance may miss her cue).

Make a Recital Special

Dance recitals are special for young dancers. Parents can add excitement by sending out invitations, making themed cookies and creating personalized wall art.

Create Recital Invitations With Free Pattern

A nice prelude to the dance recital is to send printed invitations. An invitation form can be downloaded for free and printed on cardstock, available at office supply and craft stores. The printed cards can then be embellished with craft store staples - glitter glue and/or adhesive-backed rhinestones - for more pizazz.

Plan an After-Dance Reception

Many families traditionally take their dancer out to eat after the recital. But after a long recital, the dancer may be tired. Plus, eating out can be costly. Instead, it's easy to plan a simple get together at home, with punch, sandwiches and themed cookies. Dance-shaped cookie cutters generally are hard to find in retail stores, but can be ordered through a website that caters to dance related items.