How I Grew To Love Teaching Adults To Dance
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
When I first started teaching, I assumed that an educator with my performing credentials—Pacific Northwest Ballet, Houston Ballet, BalletX—would be swept up by a prestigious ballet program and that I would begin developing the stars of tomorrow. Like many expectations in my life, this one didn't immediately happen the way I had envisioned.
Kerollis giving his niece a private lesson
Throughout my performance career, I had gained some experience teaching kids in a master class format. But I had never taught any regularly scheduled classes. When I was presented with the opportunity to teach weekly open ballet classes for adults at Koresh Dance Company's school nearly six years ago, you can imagine my lack of excitement when I agreed to work with dancers who were very unlikely to become professionals.
Before I stepped to the front of the classroom, I did some research as a student in other adult beginner classes. I found that the focus was often on fun and charm. This meant that information was generalized, corrections were rarely specialized or hands-on, and classroom etiquette was infrequently enforced.
But I remembered how necessary it was to have instructors physically adjust me when I was training. I thought to myself, "How can these dancers ever understand technique if they aren't shown how it feels to dance?" I also found myself incredibly frustrated by the students' lack of awareness of certain etiquettes, like how to share a barre, when to ask questions and proper spacing in center.
Being a young teacher at the age of 28, I questioned whether adults (most of them my senior) would be open to me enforcing strict rules, or if they would adapt to me putting my hands on their bodies to convey placement or movement.
In the end, I decided to use the same approach with all of my students, from young pre-professionals to middle-aged recreational dancers and beyond. It is my opinion that whether a dancer plans to have a performance career or not, they all need to be taught to be ready to step onstage.
Once I finally started teaching, I was surprised to find how eager adult students are. While it took time for some to get used to my style of teaching, many would come to me after class to share how excited they were to be taught how to dance without being patronized because of their age.
I quickly learned that most adult dancers weren't just in class for fun. Many were there because they were impassioned dance fans who wanted to know what they were watching onstage. This group of dancers inspired me to start my classes with trivia questions to teach them about the inner workings of our world. Topics I have discussed include the differences in methodologies of ballet training, how rankings work within professional companies, facts about historic and modern day repertoire, and much more.
I've also found that many of these dancers are high-level professionals in non-dance careers seeking an escape from their stressful jobs. Other students attend classes on a doctor's recommendation to ward off the hazards of an aging body. Some didn't receive the support they sought to pursue a dance career as a child. And, yes, there are actors, singers, traditional and non-traditional dancers who have taken my classes to enhance their other artistic practices or to prepare for dance auditions.
Kerollis and students in another 8-week Absolute Beginner Workshop at Broadway Dance Center
I have grown to love my adult students. While some kids I've taught take dance classes because their parents forced them to, each and every one in this group is lined up at the barre because they want to be there. Not only are they eager to learn, but they have a realistic outlook on their goals and know how to laugh at themselves. They are aware that they are unlikely to become professionals, but they still work just as hard as my kids with career prospects. And I have found that they are also the greatest supporters of my work as a choreographer and the biggest fans of my podcast and blog.
While my initial reaction to teaching adult dance students may not have been humble, I feel so lucky that they have shown me the value in teaching dance to all ages.
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:
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 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.
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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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.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.