Technique, style, perfection

As we gain experience in teaching, it is natural to occasionally slip into autopilot mode. Justlike our students, we can find ourselves having off days, feeling out of sync, or gettingdistracted. It happens—we are human. However, as teachers, our primary responsibility is toinspire excitement for learning and ignite a passion for growth in our students. Being presentmeans more than simply showing up physically; it means fully engaging with enthusiasm anda genuine desire to grow and learn alongside our dancers.Our goal is to prepare dancers with a deep understanding of their craft, both physically andmentally. Sometimes this means changing things up in class—not only for our students, butfor ourselves as well. This keeps us alert, engaged, and challenged. We must also recognizethat learning technique is a journey, one that alternates between moments of rapid progressand periods of slower, steadier development.Here are a few strategies to help both you as a teacher and your students stay focused andengaged. Small adjustments to your teaching approach can have a significant impact on theirlearning. The more they learn, the more they retain—and the more they retain, the greaterprogress they make.Traditionally, the standard teaching position is standing at the front of the room, but whereyou stand within the space truly matters. A strong teacher moves around the room—walkingthrough the class, standing in different corners, and changing positions. This keeps the energydynamic and allows you to engage with all dancers, not just those in the front. Movingthrough the space gives you multiple perspectives from which to observe, correct, and providefeedback. It also motivates those who tend to hide in the back, as you come to them, and givesyou the opportunity to observe their technique from new angles. Sitting at the front of theroom can be useful at times, but varying your approach keeps both you and your studentsalert.Similarly, the placement of dancers within the class is important. Many dancers tend to stay inthe same spot—whether at the barre, in the center, or while moving across the floor.Encourage them to change it up. This is about stepping out of the comfort zone, for them andfor you. Those who usually remain in the back should be encouraged to step forward and takeownership, while dancers working in the center should be encouraged to move away from themirror. Not every exercise needs to face the front. Allow dancers to work facing away fromthe mirror or in any direction they choose. This forces them to focus on their own techniquerather than relying on others’ reflections. While this may feel uncomfortable at first for some,it is a valuable tool that helps build confidence in their abilities.Every student learns differently. Some are visual learners, others respond best to tactilecorrection, and some understand concepts more clearly through auditory cues. As a teacher, itis important to recognize and accommodate these different learning styles. Incorporate avariety of approaches into your classes to give all students the opportunity to learn in the waythat suits them best. Reflect on your own teaching style—do you tend to rely on one primarymethod of communication? Try mixing it up and observe whether you notice an improvementin student engagement. Chances are, you will see a positive shift.

“From the same point of view,” meaning looking at something from exactly the sameperspective or angle—implying that two or more people interpret a situation or event in thesame way, without significant differences shaped by their individual experiences or biases;essentially, seeing things “through the same eyes.”Throughout my years of teaching dance and owning a studio, I have learned that everythinglife throws at us influences who we are as business leaders and educators. In my opinion, alarge portion of the conflict and confusion we create for ourselves comes from ourunwillingness or inability to understand why someone sees things differently than wedo—whether it concerns world events, business practices, politics, or even constructivecriticism. Everyone sees and hears things differently, and most people also respond to thosestimuli in different ways. It amazes me how people post strong opinions about current worldevents on social media and then imply that if you disagree, there must be something wrongwith you. Perhaps they have never heard the old saying, “Different strokes for differentfolks.”The truth is, we are not all looking through the same lens all the time. Your focus is noteveryone else’s focus, and others are not wrong simply because they do not agree with or feelthe same way about a topic as you do. If we could truly wrap our heads around this, I believea great deal of stress, anger, and anxiety would simply disappear. I can say with completecertainty that it has helped me immensely.Personally, I have never understood why anyone assumes that everyone will agree with theirpoint of view. We can barely control the thoughts that enter our own minds or how wefeel—so how can we expect the world to align with our opinions at any given moment? Inbusiness, I actually welcome it when someone on my team challenges an idea or proposes achange. It forces me to broaden my perspective, and yes, I learn something as well. But I trynot to stop there. I want to know and understand how others view the world through their ownlens in all the situations we face daily. I truly believe that if you want to be a great leader,business owner, and teacher, this one quality can be a game-changer. I make a conscious effortto practice it consistently.This does not mean that we have to agree with how others think or act, or even fullyunderstand their behavior. We do not. The key is not becoming frustrated or judgmental whendifferences arise.This applies to everything that happens in both your personal and professional life.If we want our students to be open and receptive to things they may not like or agree with, isit not important that we help them develop and adopt this mindset? If we can help our studentscultivate this life skill, I can assure you it will be highly valuable in the years to come.However, it is difficult to teach if you are not actively practicing it in your own life.Take a moment to think about your students.Do they all learn the same way?Do they hear and apply corrections in the same way?Do they progress in the same way?Do they enjoy the same dance styles?Do they behave the same way?The answer to all of these questions is no.Everyone has their own lens through which they see the world. Great teachers and leadersunderstand this and are able to meet people of all ages where they are. I firmly believe it isour responsibility as leaders to occasionally set aside our own lens and look through someoneelse’s. This does not mean losing your values, beliefs, or life choices. It simply means notprojecting them onto others, forcing them, or expecting everyone to see through your lens. Inmy view, this is the mark of someone who can leave their ego at the door, who exercises self-control, and whom people are eager to follow. As another old saying goes, one size does notfit all. I encourage you to always remember that we can all see the same thing and interpret itdifferently—and that is okay

We can all agree that giving corrections and evaluating students can be a delicate matter. Goneare the days when dance teachers would simply call you out by name in the middle of classand bluntly tell you what you were doing wrong. It is interesting how my generation actuallywelcomed that kind of attention. Any attention from a teacher was good attention, whether itwas praise or correction. It meant—and was understood—that the teacher noticed you andcared about you, your talent, and your progress.Today, criticism is not always received in the same way. This may be partly due to theconstant evaluation children face at school, or the ongoing ways in which they can be“judged” in everyday life. Unfortunately, with this heightened sensitivity, it can be difficult toknow where the boundaries are and how to balance them with being an effective and engagedteacher.But my question is this: when did correction become a bad thing? When did it start to meanthat you are not good enough, or that your teacher “hates” you? When and how did thismindset develop? And why do we tend to associate criticism with negativity, even when it isgiven with the sole intention of helping someone grow? There is a misunderstanding here thatneeds to be addressed. It is important for teachers to always be mindful of their intentionwhen giving corrections and to be as transparent as possible with their students. This helpsensure understanding. It is time for students to recognize that correction is a natural part oflearning. If there were no room for improvement, why attend class at all? Even the mostaccomplished professionals continue to receive corrections. The difference lies in how thosecorrections are given and received, and what is done with them. Tone, delivery, and approachmatter greatly. Positive reinforcement is essential, but direct and factual feedback can also bebeneficial. It is a balance. Reflect on how you perceived your own teachers, and keep in mindthat every student is different and may need a different approach to understand what you aretrying to teach.Above all, remember that your role as a teacher is not only to correct, but to help dancersunderstand that these acts of guidance come from care, good intentions, and experience.Remind your students that receiving corrections from educators should be viewed as a gift,not as a sign of failure. This is the first step toward creating the most positive studioexperience possible. If you want to go a step further, you may choose to encourage a standardof behavior and etiquette in which dancers say “thank you” after receiving a correction orhaving a question answered. This is a valuable habit to instill and serves as a constantreminder that they are seen and valued—that someone genuinely cares about their future. It isyour responsibility to remind them that you are there for them: to teach, help, guide, support,mentor, and yes—occasionally correct them. Help them understand that every correction isnew knowledge they can carry with them and use to further develop their training andeducation. The more they know, the more successful they will be, and that is a gift no one canever take away from them.

Dance is a dynamic art form that requires both creative vision and structured education.Although choreographers and dance teachers both play essential roles in the dance world,their responsibilities, skill sets, and goals differ significantly. If you have ever wonderedwhether you are more drawn to creating or to teaching technique, understanding these rolescan help clarify the path for you and your dancers.While many assume that a talented choreographer must also be an excellent dance educator,this is not always the case (and vice versa). Choreography focuses on artistic vision,movement composition, and storytelling, whereas teaching requires a different set of skillscentered on the learning process—patience, clear communication, the ability to conveyinformation in a way students can retain, and the capacity to break down technique fordifferent learning styles. A dance teacher should approach teaching with a distinct intention. Itis about pedagogy: the educational component of dance, foundations, student development,and performance skills. Dance teachers help students build a strong technical base and guidetheir progress, whether they are beginners or emerging professionals. Dance educators areresponsible for teaching technique and embedding lessons within lessons, so dancers canultimately tell a story through movement.On the other hand, an outstanding dance teacher is not necessarily a strong choreographer.Teaching requires expertise in certain skills, while choreography demands creativity and theability to compose original movement. Creating choreography requires artistic vision and theability to translate that vision to dancers and the stage. Of course, there is some overlap,especially in the process-driven aspects. A strong dance teacher should have vision in howinformation is delivered, just as choreographers need strong communication skills to conveytheir ideas to dancers. However, these two paths are distinctly different.Can you be both? Absolutely. Many choreographers begin as dance teachers and/orperformers, and the reverse is also true. Some professionals balance both roles, teachingdance during the week while creating choreography for performances, competitions, or mediaprojects. By understanding the difference and developing both skill sets, you can become awell-rounded dance professional.Although choreographers and dance teachers share a love for movement and expression, theirroles serve different purposes. The choreographer shapes the artistic vision of a performance,while the dance teacher builds the skills necessary to bring that vision to life. Excelling in onedoes not automatically mean excelling in the other, but mastering both can make you an evenstronger presence in the dance world.Do you prefer creating breathtaking performances or guiding dancers toward technicalmastery? Let us know in the comments.

Gone are the days when a dancer could be defined simply as a “jazz dancer” or a “balletdancer.” Such narrow labels no longer serve a dancer’s career or potential, and limitingoneself to a single style can even hinder growth. In today’s world, versatility is essential. Adancer’s ability to adapt and perform across multiple genres not only expands opportunitiesbut also makes them more valuable to choreographers seeking well-rounded artists.It is essential to prepare young dancers for a market that demands flexibility. Training them tobe versatile and capable of handling a wide range of dance styles allows for betteremployability. The more tools dancers have in their repertoire, the greater their chances ofsecuring consistent work. While not every dancer may love or excel in every style, the valueof learning different techniques—whether they are enjoyable or not—is undeniable. A broadskill set is invaluable and gives dancers a competitive advantage others may not have.We will always encounter students who dislike certain styles—whether ballet, tap, orsomething else—but it is important to encourage them to respect each one. Teach them thevalue of every genre and help them explore areas they may initially resist. Many studentshave returned to me after beginning professional auditions, eager to learn the very things theyonce avoided. Some even reassess skills they neglected during their pre-professional training,realizing that a narrow focus on one type of work or performance is not always the wisestapproach. These dancers are now taking classes in acrobatics, aerial work, ethnic dance, tap,and more to expand their range and prepare for unexpected opportunities. When achoreographer asks, “Who can do this?” the dancer who confidently raises their hand gets thejob.Our role as teachers is to train dancers to be adaptable. True dancers are more thanperformers—they are thinkers, athletes, storytellers, and artists who bring something uniqueto the table. The more diverse their skill set, the more likely they are to succeed. With somany talented dancers, how will your students stand out at auditions? Choreographers do notwant to hear what a dancer cannot do—they want to know what they can do.This is where you, as the teacher, come in. The only way to create versatile dancers is to be aversatile teacher. We must continue to educate ourselves and evolve in order to meet ourstudents’ needs, regardless of which skills they aim to develop. Constantly challenge yourselfto introduce new concepts and techniques. Create an environment where learning is excitingand where dancers leave your studio with a diverse set of skills that capture a choreographer’sattention. While technique and talent are common, versatility is rare and invaluable. Teachyour dancers to be indispensable, and be the kind of teacher who inspires them to grow intoadaptable, well-rounded artists.