6 Reasons Dance Training Makes Us Better Human Beings
Everyone knows that training is the cornerstone of a successful career in dance. But as a dance educator, I also take comfort in the fact that high-quality dance training helps shape students into genuinely good people (in addition to creating future artists, which is a wonderful goal in itself.) These are the lessons dance teaches that help make students into better humans:
Improvement Takes Commitment Over Time
In my tap courses at Cal State University, sometimes students are shocked when they can't learn something quickly. In today's world, we're used to getting fast results. You need an answer—Google it. You need to talk to someone—text them. The cooking channel wants your dinner to be easy, the physical trainer wants your workout to be five minutes, Rosetta Stone can have you speaking Mandarin in an hour.
Zee at Big Apple Tap Festival
But dancers know that even when you have aptitude, there's no substitute for hard work and perseverance. Acquiring any skill of value takes time. It's the way we learn to dance, to play music, to speak a foreign language, to succeed academically, to change social norms and to break down barriers. We lace up our shoes day after day, week after week, year after year and learn how to dance. Commitment over time is the very antithesis of modern living and is at the core of dance training.
"Failures" Are Opportunities
At the foundation where I work that gives low-cost dance lessons to underserved kids, we do assessments to place students in the appropriate level. Every year we remind the kids that in academic schooling not moving up to the next grade every year is seen as a failure but in the arts, it is normal to stay in a level for multiple years as you perfect your skills. Every year there are kids who don't move up and are upset. But they soon realize that moving to the next level comes with mastery of a certain set of techniques and mastering those techniques takes hard work.
You Don't Get Something For Nothing
In dance class you are only entitled to what you earn. And what you earn doesn't even necessarily have to be perfect dance technique. Some of my favorite students over the years have not been the best tap dancers but they've been magnificent students. They show up on time and are prepared, they work hard, they sweat and they persevere. Maybe they don't become the most skilled dancer in the room, but they often reap the most benefits. And here is the beautiful part: those kids have worked hard exactly because they don't have a feeling of entitlement.
We Are Accountable to Ourselves and Each Other
At the foundation where I teach we have a very strict wardrobe policy. Any student not properly dressed sits and observes class that day. It may seem overly harsh, but there's wisdom behind it. There might be a time that a dancer or their family forgets the uniform, but it doesn't happen again. Over time, as the dancer matures, they learn to be responsible without the parents being involved, and you no longer hear "My mom forgot my shoes."
Dancers also become responsible for learning the material. They learn that the teacher is not a puppet master who can make a body do the correct thing; it is up to the student to learn the material. They learn that they are responsible to the rest of the class, and that being absent lets down their classmates because other dancers can't get in a good practice without everyone in the room. Missing class, coming to class unprepared or not focusing on executing the steps properly, they learn, affects everyone else.
Cutting Corners Isn't An Option
My younger students will invariably ask me when they can move to the next level and my answer is very frustrating to them, I'm sure. I say that there is really only one level: beginning. If everything goes well in the beginning, improvement will flow. If any corners are cut, it will be hard to become advanced. I distill advanced steps down to the same words I use for a person's first tap lesson. Anyone with an aptitude for dance who excelled a little too quickly will tell you that they eventually go back to fill in the gaps.
What Other People Think Doesn't Matter
In a world that is so concerned about appearances, dance teaches you that what others think is not the most important thing. I try to explain to my young students that they can't let their experiences get derailed by what they think someone else may be thinking. If they stand front and center in class and make a mistake, what does it matter what another student thinks? Stand in front, get that correction, improve because you want to and let someone else's view be damned. Let those too lethargic to meet their potential stand in the back and watch you strive to be better. If you can't do it today, there is always next class and you are already on the way because you have begun.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.