Is Your Teacher A Bully Or Just Strict? 10 Ways to Tell The Difference
A few months ago, your teacher snapped at you for smiling too much. Today, you're keeping your expression neutral when your teacher abruptly cuts the music and walks over to you, pretending to knock on your forehead. "Hello? Is anyone in there? Your face is always blank." Your classmates look just as frozen as you feel, their eyes darting back and forth between you and your teacher until the music resumes and class goes on.
Being bullied by a dance teacher can be painful—and confusing. You may have more questions than answers. What's happening? Am I just too sensitive? Is this really bullying?
Teachers who bully often handwave their behavior as "strict teaching." However, there is a difference: Strict teachers build students up, while bullying teachers tear students down.
Strict teachers build students up; bullying teachers tear them down. Photo by Natalia Figueredo/Unsplash
"Teaching is about imparting skills, technique and knowledge to students. Some teachers do that with an open and relaxed manner, while others prefer structure and strictness," says psychologist Dr. Deborah Serani. "Benign strict teaching can be an effective way to instruct. However, when teaching becomes more aggressive, demeaning and hurtful, that is not teaching—it's bullying."
Physical abuse is always inappropriate, but bullying doesn't have to be physical to be damaging. Helena Wulff, a professor and the deputy head of the department of social anthropology at Stockholm University, has witnessed many student-teacher interactions while researching the international culture of dance. She identifies "negative tone and wording, slapping, or picking on one student in particular" as behaviors that cross the line.
Not sure where your teacher's behavior falls? These signs can help you recognize whether they've gone too far.
Red Flag: Your teacher’s behavior benefits them, not you.
Bullies hurt others in order to gain something. Students afraid their teacher will call them "quitters" are more likely to continue paying for classes. A choreographer who screams at dancers will receive prompt and frightened obedience. A studio director who publicly humiliates students attains a feeling of power over their community.
Responsible authority figures help students gain skill and discipline; bullying authority figures hurt and manipulate students to benefit themselves.
Strict teachers have high standards, but the behavior is for the benefit of the student. Photo by Vadim Fomenok/Unsplash
Red Flag: Your teacher repeatedly targets specific students.
Teachers are only human, and may occasionally snap at a student or berate the class. Bullying, on the other hand, is an ongoing pattern of behavior that targets a specific student or group of students by manipulating, mocking, excluding, humiliating, controlling, ignoring or lying to them.
Red Flag: Rules and consequences are unofficial or unreasonable.
A healthy studio environment has established rules—and reasonable consequences for breaking them. A bullying teacher may have irrational penalties for poorly-defined transgressions like "disrespect," or give informal punishments like public humiliation or the silent treatment.
Red Flag: Reprimands are used to attack rather than educate.
"Good teaching is a pattern of 'caring' with encouragement and kindness, but allows for a teacher's specific reactions to the work of students who are repeatedly not doing what they are capable of," says Myron Howard Nadel, a professor of dance at the University of Texas at El Paso. If a teacher needs to reprimand a student, their words should be "meted out judiciously, not out of anger, but love; certainly not for a teacher's misplaced self-gratification."
Red Flag: Your teacher is preventing you from learning.
Some bullying teachers target students by giving them less rehearsal time, fewer corrections or no chance to finish class combinations. Since dance skill grows primarily through practice, consistently preventing students from practicing is a powerful way of harming their dance training.
If punishments hurt your ability to learn, a teacher's behavior has crossed the line into bullying. Photo by Ahmed Odeh/Unsplash
Red Flag: When other adults are in the room, your teacher behaves differently.
Strict teachers have nothing to hide: There's no reason they can't assign students sit-ups or remind them to point their feet in front of other adults. Bullies tend to conceal the extent of their bullying by using their most abusive behaviors when no other adults are present.
Red Flag: There’s pressure to remain at the studio.
The most effective way to protect yourself from a bullying situation is to leave it. Implying that students who leave the studio are "quitters" or "traitors" discourages targeted students from walking away, and helps teachers maintain enrollment through fear rather than solid teaching.
Red Flag: You’re struggling with body image issues or disordered eating.
In dance, bullying is often combined with body type judgement. While dancers and teachers may need to talk about structural characteristics like musculature or range of extension, pressuring students about weight or eating is never appropriate. "As an arts administrator in a college, I've had to scold a ballet teacher more than once for forcing female students to lose weight," says Nadel. "Several of those students had been in counseling for anorexia."
Red Flag: Confronting your teacher makes the problem worse.
A bully who feels they are being "questioned"—no matter how respectful your approach—is likely to retaliate. This doesn't mean no one should address their behavior, but it's safer to tell another teacher or studio administrator rather than confront the teacher yourself.
"Know that if you're being bullied, it's likely other students receive this kind of abusive behavior, too," says Serani. "Seek them out and share your experiences. Talking about your victimization can help you feel less alone about the abuse. It's important to report any bullying to others, be it a friend or a loved one—and to administration."
Red Flag: You feel anxious, ashamed, or constantly “on guard” outside of class.
Bullying authority figures may dismiss their behavior as "how the real world works," but they're actually undermining students' professionalism. An abusive studio environment trains students to use submissive body language, feel ashamed of their appearance and abilities, and remain on guard against the constant threat of mistreatment—all behaviors that make it harder to navigate school, relationships and the professional world.
Many choreographers use spoken word to enhance their dance performances. But the Campfire Poetry Movement video series has found success with a reverse scenario: Monticello Park Productions creates short art films that often use dance to illustrate iconic poems.
It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:
When I was just a little peanut, my siblings and I used to find scrap paper and use them as tickets to our makeshift dance performances at family gatherings. They were more like circus shows, really, where my brother was the ringmaster, and my sisters and I were animals; we dove through imaginary flaming hoops and showcased our best tightrope acts with the suspense of plummeting into an endless pit of sorrows. This was my first introduction to the beauty of movement as a way of communicating.
Photo by Lindsay Linton
So you're on layoff—or, let's be real, you just don't feel like going to the studio—and you decide you're going to take class from home. Easy enough, right? All you need is an empty room and some music tracks on your iPhone, right?
Wrong. Anyone who has attempted this feat can tell you that taking class at home—or even just giving yourself class in general—is easier said than done. But with the right tools, it's totally doable—and can be totally rewarding.
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Choreographer Ronald K. Brown sees himself as a weaver—of movement, but more importantly, of stories. "When I started my company Evidence 33 years ago, I needed to make a space for what I thought of as evidence—work that tells stories, so that when people saw the work, they would see a reflection or evidence of themselves onstage," says Brown, now 51. "That was my mission, my purpose."
Fast-forward to today: Evidence has become a mainstay in the modern dance world and Brown is now considered a vanguard among choreographers fusing Western contemporary dance with movement from the African diaspora, including popular dance and traditions from West African cultures like Senegalese sabar.
She may not be the first choreographer to claim that movement is her first language, but when Crystal Pite says it, it's no caveat: She's as effective and nuanced a communicator as the writers who often inspire her dances.
Her globally popular Emergence, for instance, was provoked in part by science writer Steven Johnson's hypotheses; The Tempest Replica refracts and reimagines Shakespeare. Recently, her reading list includes essays by fellow Canadian Robert Bringhurst, likewise driven by a ravenous, wide-ranging curiosity.
General director of Spoleto Festival USA since 1995 and, for two decades (1998-2017), the director of the Lincoln Center Festival, Nigel Redden has an internationalist's point of view on the arts—expansive, curious, informed by the cultural wealth that the world has to offer.
He is the son of an American diplomat and grew up moving from place to place—Cyprus, Israel, Canada, Italy—until eventually setting of for Yale to study Art History. After visiting the Spoleto festival in Italy as a young man, and working there while he was still an undergraduate, he very quickly realized what he wanted to: direct festivals. And that's what he has done for most of the last quarter century.
No, she isn't like other artistic directors, and that's not just because she's a woman. Lourdes Lopez, who's led Miami City Ballet since 2012, doesn't want this to be taken the wrong way, but as for her vision? She doesn't really have one.
"I just want good dancers and a good company and good rep and an audience and a theater—let us do what the art form is supposed to be doing," she says. "I don't mean that in a flippant way. It's just how I've always approached it."
Paul Taylor cultivated many brilliant dancers during his 60-plus-year career, but seldom have any commanded such a place of authority and artistry as Michael Trusnovec. He models what it takes to become a great Taylor dancer: weight of movement, thorough grasp of style, deep concentration, steadfast partnering, complete dedication to the choreography and a nuanced response to the music.
Trusnovec can simultaneously make choreography sexy and enlightened, and he can do it within one phrase of movement. Refusing to be pigeonholed, he has excelled in roles as diverse as the tormented and tormenting preacher in Speaking in Tongues; the lyrical central figure—one of Taylor's own sacred roles—in Aureole; the dogged detective in Le Sacre du Printemps (The Rehearsal); and the corporate devil in Banquet of Vultures.
Based on the novel by Roland Topor and the 1976 Roman Polanski film, The Tenant follows a man who moves into an apartment that's haunted by its previous occupant (Simone, played by ABT's Cassandra Trenary) who committed suicide. Throughout the show, the man—Trelkovsky, played by Whiteside—slowly transforms into Simone, eventually committing suicide himself.
But some found the show's depiction of a trans-femme character to be troubling. Whether the issues stem from the source material or the production's treatment of it, many thought the end result reinforced transphobic stereotypes about mental illness. We gathered some of the responses from the dance community:
Update: Raffaella Stroik's body was found near a boat ramp in Florida, Missouri on Wednesday morning. No information about what led to the death is currently available. Our thoughts are with her friends and family.
Raffaella Stroik, a 23-year-old dancer with the Saint Louis Ballet, went missing on Monday.
Her car was found with her phone inside in a parking lot near a boat ramp in Mark Twain Lake State Park—130 miles away from St. Louis. On Tuesday, the police began an investigation into her whereabouts.
Stroik was last seen at 10:30 am on Monday at a Whole Foods Market in Town and Country, a suburb of St. Louis. She was wearing an olive green jacket, a pink skirt, navy pants with white zippers and white tennis shoes.
Whether or not you see yourself choreographing in your future, you can gain a lot from studying dance composition. "Many companies ask you to generate your own content. Choreography is more collaborative now," says Autumn Eckman, a faculty member at the University of Arizona.
Look beyond the rehearsal studio, and you'll find even more benefits to having dancemaking skills. "Being a thinker as well as a mover is what creates a sustainable career," says Iyun Ashani Harrison, who teaches at Goucher College. "Viewing dance with a developed eye and being able to speak about what you're seeing is valuable whether you're a dancer, a choreographer, an artistic director or a curator."
Succeeding in composition class often has more to do with attitude than aptitude. Above all, you need "a willingness to play along and explore," says Kevin Predmore, who teaches at the Ailey/Fordham BFA program. "You have to let go of the desire to create something extraordinary, and instead be curious."
Egg Drop Soup's "Partying Alone" video turns a run-of-the-mill dance team audition on its head with a vision of female power from a mature woman. The panel is stunned when a gray-haired, red-lipsticked 80-something tosses aside her cane and lets loose, flipping her hair—and the bird.
Egg Drop Soup - Partying Alone (Official music video)
Take a second look at that head-banging grandma—she is none other than renowned dance researcher and anthropologist Judith Lynne Hanna. An affiliate research professor in anthropology at the University of Maryland, College Park, the author of numerous scholarly books and an expert witness in trials for exotic dancers, she has spent her career getting us to think about dance's relationship to society. Hanna, 82, said she hadn't performed since college when she got a call from a music video producer, who caught a video of her dancing with her 13-year-old grandson. The rockers of Egg Drop Soup loved her energy and flew her out to Los Angeles for a day-long video shoot. We spoke to Hanna about the experience.
Since its founding in 1999, more than 80,000 ballet dancers have participated in Youth America Grand Prix events. While more than 450 alumni are currently dancing in companies across the world, the vast majority—tens of thousands—never turn that professional corner. And these are just the statistics from one competition.
"You may have the best teacher in the world and the best work ethic and be so committed, and still not make it," says YAGP founder Larissa Saveliev. "I have seen so many extremely talented dancers end up not having enough motivation and mental strength, not having the right body type, not getting into the right company at the right time or getting injured at the wrong moment. You need so many factors, and some of these are out of your hands."
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
Tired of the typical turkey and stuffing? For Thanksgiving this year, try something different with these personal recipes that dancers have shared with Dance Magazine. The ingredients are packed with dancer-friendly nutrients to help you recover from rehearsals and fuel up for the holiday performances ahead.
If anyone raises an eyebrow at your unconventional choices, just remind them that dancers are allowed to take some artistic license!
A dancer once contacted me because he was devastated after walking in on his girlfriend with another man. While he was distressed about ending the relationship, he was most concerned about a major performance coming up. They had to dance a romantic pas de deux. When I met with them together, she was afraid he would drop her and he didn't want to look lovingly in her eyes. My role was to help them find ways to make magic onstage and keep their personal difficulties offstage. They ended up dancing to rave reviews.
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy (a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
But in an open letter posted to Belgian magazine Rekto Verso just a few months ago, 20 of his company's current and former dancers outline a horrific culture of sexual harassment, bullying and coercion. This comes on the heels of similar accusations at New York City Ballet and Paris Opèra Ballet.
Earlier this week, New York City Ballet principal Tiler Peck gave us some major onstage makeup inspiration while attending an offstage event. While walking the red carpet at the CFDA/Vogue Fashion Fund gala, Peck's beauty look was still perfectly suited for the ballet with her top knot hairstyle and stage-worthy red lip. Peck's makeup artist for the night, Daniel Duran, shared his exact breakdown on the look, working exclusively with beauty brand Chantecaille. So, whether you're in need of a waterproof brow pencil, volumizing mascara or long-lasting red lip this Nutcracker season, we've got you covered.
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the "Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.