Dance Studio Owners: Are you making this mistake?

The BIGGEST mistake Dance Studios are making in their marketing right now…

Here’s a BIG question for you this week, lovely Dance Informa readers!

When it comes to your studio, are you marketing what you DO or are you marketing what you GIVE? You see, one of the biggest challenges is how to promote your studio in a highly saturated, competitive market when EVERYONE is trying to promote the same thing!

Every studio offers ballet, jazz, tap, hip hop etc. We need to discover your unique positioning and differentiation in the market.

The wonderful thing is that every studio is different. Some studios are more technique focused. Others give amazing performance opportunities. Whilst some studios pride themselves on individual nurturing and personalized attention.

Really step into the hearts and mind of that parent who is choosing a studio for their child. What are they looking for? What is important to them? How do they want their child to feel? What would turn them off choosing your studio? The more we can understand what your dream student is seeking in a studio, the more we can tailor your marketing message to speak directly to their hearts.

In a nutshell, shifting your marketing message to share what the students will EXPERIENCE at your studio as opposed to what you do in your studio is a wonderful way to connect more with your marketing and start attracting more students.

It’s not about the class itself, it’s about painting a beautifully vibrant picture of how they’re going to feel when they’re in the class.

The studio with the most connection in their marketing will win – and the best thing is that all it takes is a few little tweaks.

In the comments below, share how you describe the experience at your studio…

And, if you’re looking for more guidance on how to craft your studio’s marketing message, the best place to start is in the Free “30 Enrollments in 30 Days” mini course. This course has been designed for studio owners and will walk you through how to rapidly ramp up your registrations. Click here and watch the first video now.

Here’s to more passion, more profits and more purpose in your studio!
All my best,
Chantelle

By Chantelle Bruinsma Duffield of studioexpansion.com

The post Dance Studio Owners: Are you making this mistake? appeared first on Dance Informa Magazine.

A letter to my students: Create Stories that Matter

Vincas Greene was Chair of the Department of Dance at Brenau University in Gainesville, Georgia, and worked there for 21 years. Students adored him and affectionately referred to him as “Master Greene”. Upon leaving Brenau and moving to Spokane, Washington, to continue to develop his art form, Greene communicated to his students via a heartfelt letter. That letter, his “last message”, was so inspiring that we wanted to share it with our readers. Maybe you could empower your dance students with a similar message?

My dear dancers,

I would like to preface this with the note that I love you. You all know Terpsichore is a hard mistress, and we empower her to keep her eagle eyes upon us so that we may constantly be prepared as her emissaries or, as Martha Graham calls us, “Athletes of God”. To this end, I must challenge you to accept these words from a teacher/friend/elder/lover who wants each of you to be the best artist, dancer and person you can possibly achieve.

The Scottish psychologist R.D. Laing wrote, “Life is a sexually transmitted disease, and the mortality rate is 100 percent.”

This entwines with our lives as dancers so well – Dance is passed from one person to another in a centuries’ old chain we can gaze back upon seeing our ancestors as they struggled, loved and taught each other, transmitting their knowledge, discoveries and passions over the years to our most recent teachers, to each of us and then on to our students and, in my case, to my grandchildren of dance. Dance is the physical manifestation of passion, and dancers are the vessels. We become so full of passion it leaps out as dance, love and art. No wonder the world sees us as sensual because our life is communication made physical. Even as our bodies begin to slow, our minds still rage with the exuberance of youth as we picture new dances forming and how our dream-perfect bodies would experience each movement. You can see it in the eyes of our elders as they describe to us past performances and new ideas – and we can also see it as their bodies still enact, as best they can, each nuance that is being described. But we know that for each of us, eventually, the body and the mind come to perfect stillness and the end of the dance, when the performer leaves the stage.

Vincas Greene teaching Brenau University dance students. Photo courtesy of Greene

The time between discovering our passion for dance and the stillness should be full of stories. A story to be spoken or danced is what we have to offer – to contribute to those with us now and those who will hear of us later. Remember, dance is the most ephemeral of the arts, so it is our stories that we leave behind when we leave the stage. I am challenging each of you to create stories that matter. Have experiences that will help you to live stories of excitement, challenge, trepidation, pain, redemption, love…stories that are powerful!

I remember talking to a highly accomplished dancer and having her explain some of her experiences with touring, choreographers and other dancers. She just considered them her own experiences. When I told her that she should tell those experiences to her students as stories, she looked at me with confusion. She didn’t consider her life as a story but just as a personal event. The idea that her life could be shared to teach, motivate, warn and even entertain came as a shock to her. Her life is truly amazing, and she has started to share it as stories for her students, and the stories will be passed on now to illustrate that dance matters. The idea that my life and your life stories are to be created has me stirred up.

This idea has me contemplating fear, regret and risk. Mark Twain said, “Twenty years from now, you will be more disappointed by the things you didn’t do than by the ones you did. So throw off the bowlines, sail away from the safe harbor, catch the trade winds in your sails. Explore. Dream. Discover.”

As you sit here listening to me, check in with yourself. Notice what thoughts are being stirred up. Notice what you think you ought to be doing or pursuing. Notice what you think would be best for yourself as opposed to what others think would be best for you. Notice now the thought at the edge of your mind that is terrifying. The “if only” or “what if” thought that you immediately reason away – it’s not practical, that’s not possible, everyone would think I’m crazy, my parents/friend/lover would be so mad at me, that’s only for special people – whatever your excuse to cancel that thought out. That is the thought that stories are made of! Embrace that thought, challenge yourself to that thought, wrestle with that thought (like Jacob with God for his blessing), and find your path to your story.

This will also take work and sacrifice. I am not saying drop everything and go a new way. You must discover, invent and plan your way. Being here is a wonderful way to follow this path. But while you are here and wherever you discover yourself in your story, you must embrace it fully. Don’t let yourself be set on cruise control, don’t take the easy way, don’t skip the steps that will make you learn and grow – these all lead to a boring story that you won’t even interest yourself in telling. As a dancer, this means learn your craft and craft your vessel. A flaccid leg is a smudge, not a line. It takes muscles to move your body, understanding to know what you want to achieve, desire to push yourself to excellence – dance must matter to you, matter to the very core of your soul! The first plié in class must matter to you. If it doesn’t, it is just wasted time, energy…wasted life. The dancer cares for each movement, as the poet places each word thoughtfully and carefully in the verse. Place your dancing in the middle of your love. Care for your dancing, learn your dancing, learn about your dancing, tell others the small stories you are creating about your dancing, carry your dancing with you; don’t leave it to be picked up in the corner of the studio whenever you happen to be there.

Vincas Greene with Brenau University dance students. Photo courtesy of Greene.

I believe dance as life is terrifying. To approach each day as the day to improve your craft, make yourself stronger, give yourself more knowledge, and challenge yourself to be greater than the day before is ultimately a scary life. There is nothing easy about choosing to dance – you must constantly defend your choice, challenge yourself physically and mentally, listen to constant critique, and believe that what you are doing matters – matters to yourself, matters to art, matters to our world.

Be courageous in your belief that your life story matters. It is truly a risk to embrace the arts as life, and choosing dance among the arts is probably the riskiest. Following a path of passionate dance is not easily understood by our society. But our society also loves the underdog who takes a risk to pursue the elusive dream. Telling that story, your story, of how you are on the path is the story that draws people in to you. They are illuminated by the fire of your passion and excited by the depth of your dedication.

The world is littered with people who didn’t risk themselves. Their stories are boring, uninspiring and predictable. I remember the absolute fear of starting my life story in dance. I remember the fear of starting new chapters in this story – when I was moving to New York and really just wanted to stay home. The transition of sitting on the jet, mortified at what I was doing, and then relaxing into the adventure when the wheels left the ground and there was no turning back. As you know, I am starting a new chapter in my life story. My stories are getting a little worn, this chapter needs to end, I am terrified of what lies before me and just want to rush back into the comfort of being your “Master Greene”, but another chapter of new stories with adventure, creation, challenges, failures and accomplishments is tantalizing…also, how can I lead if not by example? I can’t have you lose faith in me. So, my parting advice to each person here today: “Take the path that is the scariest to you. Only by risking will you overcome your fears and learn something new. Don’t regret that you didn’t take the chance. Work like it matters and don’t accept less from yourself. Make your story an exciting one.”

With love,
Master Greene

Photo (top): Vincas Greene with Brenau University dance students. Photo courtesy of Greene.

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Allegro Performing Arts Academy: Secrets to Success

Several elite protégés at PULSE dance convention, numerous awards, and a win for Best Musical Theatre number at this past August’s Industry Dance Awards (for the third year in a row). That smells like success. So how does one studio do it?

Allegro Performing Arts Academy, located in Kent, Washington, sure knows how. The Industry Dance Awards go to the best competition dance pieces from studios all over the United States, and Allegro Performing Arts Academy, a winner year after year, has been reaping in success.

Allegro Performing Arts students performing ‘Can’t take my eyes’. Photo courtesy of Allegro.

Tonya Goodwillie, owner and artistic director of Allegro, notes that the studio’s accomplishments are due to “perseverance” and “versatility”. Tiffany Miles-Brooks, co-director of Allegro Precision Dance Company, along with Goodwillie, adds that it’s all about “staying updated”.

“From the beginning, it was really important to us that we train equally in all styles,” Goodwillie remarks. “And as much as people fought us on that, it’s really proven to be a great part of our dancers’ training that are doing so well now. They’re not only tapping and doing great as tap dancers but also hip hop and musical theatre. So the versatility has been a really big part of our success over the past 10 years.”

“And then also just bringing in choreographers from the industry and always staying new,” adds Miles-Brooks.

Some of Allegro’s guest choreographers have included Emmy-winning Tessandra Chavez, top performer Gina Starbuck, So You Think You Can Dance’s Abe Obayomi, commercial dancer and choreographer Seth Zibalese and more.

As leaders, Goodwillie and Miles-Brooks encourage their studio’s staff to continue to learn and attend teacher workshops, in an effort to stay on top of the industry and to impart the best knowledge to their students.

“I think, as teachers, we feel pressure because we have such great dancers, and we have such great kids who are coming up, young dancers who are coming up, too, that we want to keep doing the best for them, and continue to provide them with everything that we possibly can,” Goodwillie explains. “And dance is an art form. It is constantly changing, so we can’t be stagnant. We have to constantly thrive to be better ourselves. So whatever we can do to better ourselves as teachers is going to better our students in the long run. So, it’s really important.”

Tonya Goodwillie and Tiffany Miles-Brooks with Rita Moreno at the 2015 Industry Dance Awards. Photo courtesy of Goodwillie.

At Allegro, Goodwillie has also assigned different chairs to each of discipline’s departments. Miles-Brooks, for instance, is the chair of the Jazz Department; faculty member Sara Palmer is the chair of the Hip Hop Department. Each week, the department chairs connect, communicate about their students and brainstorm what they can work on, as a collective studio.

“I think it’s all about communication,” Miles-Brooks adds. “A lot of studios, they bring people in, they kind of do their job, and they leave. I feel like we have this system, and we’re constantly together, constantly brainstorming, constantly thinking of what we can do collaboratively.”

Allegro’s group of teachers are equally invested in their students and even offer as mentors. Perhaps it is this sense of “team” that has also trickled down to the student’s own desire to progress.

“We have a mentorship program for our kids, and so we get really in tune with what they want to do with their career, and we help them as best we can,” Miles-Brooks says. “Such as research colleges, research companies that they may try and get in to, getting in tune with what they want to do. So that really helps. A lot of them want to choreograph, so we give them opportunities to choreograph on dancers, and put on shows.”

“No one did that for me growing up,” Goodwillie adds. “I didn’t have that at all – the opportunity to explore what’s after high school. No one sat me down and talked about, ‘Well there’s this college, and you don’t have to go to college right away, there are all these other options.’ I didn’t know anything about the industry and agents. I had no idea. So it’s great for the kids to kind of get a feel of that. And then they can make a better, well-educated decision about what they want to do.”

Allegro Performing Arts Academy. Photo courtesy of Allegro.

Allegro’s most recent big win, the award for Best Musical Theatre number at August’s Industry Dance Awards, actually came as a pleasant surprise. The studio’s number was choreographed by Eddie Strachan for the third year in a row, and still Allegro proved to be on top.

“I actually came into this going, ‘There’s no way we’re going to get it a third year in a row,’” Goodwillie comments. “There were some really great other musical theatre pieces. Three other teachers came with us, and we’ve been having a really good time, and this is just a really cool event, so we’re just like, ‘Let’s celebrate and enjoy it. And whatever happens, happens.’ If you put the numbers together of how many competition pieces were nominated – there were eight categories, six to seven in each category, and those 50 numbers were chosen from thousands of group numbers. So just to be a nominee is really cool, too.”

And there, Goodwillie possibly suggests one more secret to Allegro’s success: a good, positive attitude and respect for others in the industry. Bravo, Allegro Performing Arts Academy.

By Laura Di Orio and Deborah Searle of Dance Informa.

Photo (top): A student at Allegro Performing Arts Academy. Photo by John Roque.

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Longtime Ballet Teacher Publishes Lesson Workbook

Connie Bellingshausen has taught dance since 1972, giving her over 40 years of experience in creating and executing lesson plans. While she has also taught jazz, tap and even period dancing (including Irish and Scottish dances), her main focus has been ballet.

Now, much of her ballet expertise is available to the wider public, as she has published Ballet Barre Etudes: 125 Lesson Plans to Inspire Dance Teachers. For all those dance teachers in need of a go-to resource for those days they didn’t spend as much time preparing their warm-ups, these ballet barre lessons are good sources of inspiration in a moment’s hurry.

Dance Informa met Bellingshausen at a dance costume showcase event in September, where she shared information about her new ballet workbook. Here, we catch up with her again to hear a little bit more.

Connie, what is your teaching background?

“While living in Arkansas, I ran my own studio and taught dance for the University of Central Arkansas. There, I choreographed eight musicals for the theater department, including West Side Story, Pippin, Godspell and Guys and Dolls. While there, the university awarded me for my choreography of King Stag.

I’ve also studied and become certified in Scottish Country Dance, which I still teach now for the Highland Dancers of St. Louis. But for the most part, my focus has been on teaching ballet, tap and jazz.”

‘Ballet Barre Etudes: 125 Lesson Plans to Inspire Dance Teachers.’

What led you to publish Ballet Barre Etudes?

“After returning from vacation, I was cleaning out a file cabinet with a stack of spiral notebooks filled with lesson plans. Some were close to 35 years old. Many were written in pencil, and the writing was fading. I decided I would start putting them on the computer so I could refer to them when needed. I did this for several weeks and said to myself, ‘I’ve got a book here!’

I wish something like this had been available to me when I first started teaching. Life would have been so much easier. Teachers are so busy these days and my intentions for the book is to make their lives easier.”

Out of the 125 lesson plans included in the book, do you have any favorites?

“I don’t have a favorite lesson. When putting together a lesson plan, I often will consider what the students need at that time or incorporate part of the barre for a combination that I will later teach. Now that I have my book, I try to include one exercise from it that is unique. This makes class more interesting for my students and me. An example would be the pliés in lesson 142.”

You mention Gail Grant’s book, Technical Manual and Dictionary of Classical Ballet, in the introduction. What other dance resources do you recommend to teachers?

“I have quite a collection of dance books! When I first started teaching there were hardly any books available. In my collection I have a couple of out of print books. One is The Chalif Text Book of Dancing Book V. The pictures are great and include Harriet Hoctor, Grace Cody, Marley and Adeline Rotty.

Another book is A Manual of Classic Dancing by Sergei Marinoff. It is leather-bound, published in 1924 in Sunnyside Avenue, Chicago. It is a mail order dance class! He promises to send you a bar (his spelling), costume, slippers, photograph record with his voice over the music and exam questions that must be answered and sent in to him. There are photos of Ruth Page, Georgia Ingram, Eileen Weir and many others. I have tried to find out more about this teacher…

My favorite book for reference is The Classic Ballet, published by Alfred A. Knopf. The illustrations and descriptions are great.”

Lastly, what is your number one piece of advice to other dance teachers/studio owners?

“Never give up on a student. We are Americans not american’ts.”

To learn more about Ballet Barre Etudes, head to Amazon.

By Chelsea Thomas of Dance Informa.

The post Longtime Ballet Teacher Publishes Lesson Workbook appeared first on Dance Informa Magazine.

2016 Recital Costume Guide

It’s already time to start getting organized for recital season – can you believe it?

Dance Informa’s popular Costume Guide is now released! See the latest costumes from the industry’s top costume design houses. These companies will help you dress your dancers in style, and give you the customer service that you need to run your recital smoothly.

Check out the Guide here, and be inspired!

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Studio Owners: Keep your finger on the pulse

Introducing Studio Pulse Software

Running a dance studio requires one to wear many different hats. An owner must look out for the students, offer great training, gather together a good group of faculty and staff, and organize recitals and performances. But studio owners also have to be business savvy – deal with tuition, registration, scheduling and billing, all of which require time, money and a decent organization system. And who doesn’t want to save a bit of time and money, and to do things more efficiently?

Enter Studio Pulse. This new software is designed to help studio owners with their billing, accounting, class organization, attendance, client emails and more – all to streamline and make owners’ jobs easier.

Studio Pulse came to be because the Joffrey Ballet School was in need of a program with which to run the school and wasn’t happy with other companies on the market.

“So we made a version for Joffrey and said, ‘Hey, all dance studios can use this’,” explains Felicia Guerra, account manager for Studio Pulse. “So that morphed into the product that it is today. Since then, as we sign on more and more dance studios, we’re all about listening to the customers and trying to find the features they want, to make the access easier, the user interface easier. We wanted to make sure that it looked great, it was simple and it was logical with a really clean design. Our number one goal is that you can get on the system and learn to use it within a day or two, versus a month or two like some of our competitors.”

Currently, about 30 studios use Studio Pulse to grow their business and to do so in a most efficient way. 

Some of the many features of the Studio Pulse program include: 

Rosters and Attendance

Studio Pulse allows studios to keep track of class lists and students’ attendance in a much more concise way than large books of daily attendance sheets. Joffrey Ballet School, for example, uses iPads to take attendance and even automatically generates an email or text to parents notifying them of their dancer’s absence. 

Payroll

The Studio Pulse program can track faculty members’ attendance and link it to payroll, and can eliminate any chance of human error. This job alone may normally require several hours a week of the studio owner or staff’s time. With Studio Pulse, however, that time can be better directed to teaching or maintaining the more artistic aspects of running a studio. 

“What we tell people is that you can hire an employee for $10/hour, 40 hours a week to assist with all these aspects of your business, or you can just hire Studio Pulse for $100/month,” says Guerra. “Studio owners are already doing a lot of work! They’re in there doing every bit of the billing, costuming, all of that. Essentially, they can still do that, but it’s going to take them a fraction of the time.”

Billing and Registration 

Perhaps one of the most important features is that Studio Pulse allows clients to register for classes on a studio’s website and it also bills them automatically each month, depending on the studio’s payment plan. This means no late dues!

“What happens is when you register a client, you’re going to put in their name, contact information, the class that they’re taking, and it’s automatically going to create all of the invoices for the rest of the year,” Guerra explains. “So there’s no need to go in and create billing or apply discounts on a monthly basis; everything is created for the year.”

And Studio Pulse is so accessible and easy to use that, should a studio owner need to adjust something or add a discount, he/she can log in at any time and override anything that’s been done. 

Studio Pulse also acts as the “collector”, so studio staff members don’t have to feel bad about nagging parents for late payments. 

“Studio Pulse really helps a lot of those studios make the transition from being one of those ‘parents just kind of do what they want and pay when they want’ studios to saying, ‘Hey, we have a really professional software. It’s going to charge you on the day your billing is due. You have control to go in and update your billing information,’” Guerra adds. “And then it doesn’t feel as personal to a lot of studio owners. They feel guilty for collecting and running their own business. It’s going to outline everything for their customers really clearly – this is what it costs, these are the consequences of not paying on time. The system just does it all for you so you don’t have to have those tough conversations.”

Even drop-in students are able to use this feature when they choose to take class. Guerra mentions that a new drop-in feature is soon to be added to the software so that these students can buy a bulk amount of classes online, drop in and take class when they want, and it is removed from their virtual card. 

Recital and Costume Management, and Inventory Tracking

Over the next few months, Studio Pulse will also offer two new features: Recital and Costume Management, just in time for recital season; and Inventory Tracking, which will act like a store’s shopping cart for those studios with in-house dancewear stores. 

Even for those owners who may be technologically-tentative, Studio Pulse provides an easy-to-use, non-threatening program. And a 20-hour technical support is available for questions or assistance. 

Studio Pulse also offers a free trial so that studio owners can test out the software and its unique features before committing to the service. 

“What happens with some competitors is that when you order a free trail, you get a version with half the features,” Guerra says. “Our free trial has every feature on it, and it’s full of sample information, so you go in there and run payments and run accounts and play around with it. If you decide to move forward, we just delete the sample information, but that specific link that your trial comes on will be your permanent link, making it such an easy start.”

In general, Studio Pulse has the capabilities to save a studio owner, and the studio’s staff, time and money. 

“They’re going to collect more dues on time, more consistently, and they’re going to spend less time doing administrative work, like registering students, updating records, adding fees to accounts,” Guerra explains.

To learn more about Studio Pulse, or to get a free trial, head to studio-pulse.com.

By Laura Di Orio of Dance Informa.

Photos: All photos courtesy of Studio Pulse Software.

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Dance Studio Owners: A Plan for Weekly Productivity

How many times do you get to the end of the week and feel like you’ve been so busy teaching and taking care of everyone in the studio that you haven’t had a moment to yourself?

Just “keeping up” with the workload of running a studio can make it tricky to get the important things done…

Here’s a tip to help you make the most out of each week in your studio! 

First up, download this free Weekly Studio Planner. Next, each Sunday evening or Monday morning, sit down and answer the questions below to set your goals for the week in each category:

ATTRACTION
What can I do this week to gain more awareness in our community and bring more students into the studio?

RETENTION
How can I boost the ‘wow’ factor and create an even more addictive studio environment for our students?

TEAM
In what ways can I take on more of a mentoring role with my teachers to help them blossom and give the best experience to our students?  

SYSTEMS
How can I streamline my workload this week by outsourcing, automating or delegating?  

These are the four main categories for studio management, and each week our goal is to make sure we’re nurturing each of these areas within our business. We can’t neglect one by focusing too much on the others.

Using this weekly planner is going to help you focus on what’s really important in your studio.  

Print it out and keep your weekly planner next to your computer, stick it on the wall where you can see it, or take a photo of it and set it as your phone wallpaper – anything that’s going to keep giving you little reminders to take action!

Download your Weekly Studio Planner PDF for free by clicking here.

How do you manage your workload in your studio?  Do you have any tips for staying productive when you wear 10 different hats in the studio?  

In the comments below, share your best productivity tip for studio owners…

Here’s to more passion, more profits and more purpose in your studio! 

All my best, Chantelle

By Chantelle Bruinsma Duffield of www.studioexpansion.com.

The post Dance Studio Owners: A Plan for Weekly Productivity appeared first on Dance Informa Magazine.

9 Reasons to Thank Our Dance Teachers This Thanksgiving

Being thankful is a great mindset to adopt all year round. But Thanksgiving, in particular, is a great reason to vocalize what we’re thankful for.

Emily Bufferd teaching at Joffrey Ballet School Summer Intensive. Photo courtesy of Joffrey Ballet School.

This Turkey Day, we’re saluting those who keep us pointing our toes, on our legs and grooving in the dance studio. Let’s give thanks to the tireless, passionate dance teachers out there. Here are nine reasons why to say gratzi to dance educators — although, you can probably think of many more.

#1. Physical fitness

Whether it’s ballet, jazz, contemporary, hip hop or ballroom, dance is a great full-body workout.

#2. Physical awareness

There’s a reason dancers often say they really know their bodies… enter dance teachers here.

#3. Good posture

Your carriage will become the envy of your non-dancer friends, family and colleagues.

#4. Discipline

You may not appreciate the routine and regime that go hand-in-hand with most dance forms in this very moment, but you will down the road.

#5. Learning how to take criticism

In dance, you are used to constant feedback. While it can at times be disheartening or trying, learning how to be open and receptive to criticism is a major skill. So thank our dance teachers for that one.

Matthew Powell teaching company class at Slovak National Ballet. Photo by Costin Radu.

#6. Making you tough as nails

Dance, no matter what style or form, makes you strong physically and mentally.

#7. Providing a sanctuary

In the spirit of Juliette Simone from the classic dance movie — well maybe not a classic, but a guilty pleasure for sure — Center Stage: The dance studio can be your safe haven when other things in life feel hectic or imbalanced.

#8. Well, this may be obvious, but they teach you steps and how to string them together

The gift of dance, how can you not be thankful for that?

#9. The encouragement to pursue your wildest dreams

You may or may not have visions of being in the spotlight. But for many of you reading this, a dance teacher has played a significant role in your life. Maybe dance is your dream, or perhaps it’s to be a doctor, journalist, attorney, parent. No matter what your aspirations are or were, dance teachers often push us to our limits and then encourage us to reach even further.

By Stephanie Wolf of Dance Informa.

Photo (top): Dance Informa Editor Deborah Searle with her students from Project Dance Atlanta 2015. Photo courtesy of Searle.

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Sound Wisdom: A Guide to Tap Dance from Tony Coppola

As I removed my tap shoes and sat down to write this article, I thought, “What is the most important thing I’d like my readers to get from this article?” Well, obviously, I would wish for you all to fall in love with tap dance. I know, I know, that’s quite a lofty goal, but maybe if you’d get a standing ovation with a tap piece, you’ll embrace tap with a healthy respect. It is a truly American genre (now danced worldwide), and it’s a joy and a challenge to create music while you dance. To quote an old phrase: “It’s a treat to beat your feet!” It is my personal hope that rather than recycling the tap of the past, we can keep what is valuable from bygone eras and endeavor to take tap forward in an effective, energetic and entertaining way.

One of your first considerations is to assess the purpose and demographics of the performance for which the piece will be performed. Is it a concert, or a recital, or a commercial setting (such as a showroom or a theme park), or a competition? And what kind of audience would you have: 60 people, or 600, or 2,000? And what is the age span? In addition, is the piece a solo, a small group or a larger production? All of these considerations will guide you in making one of your most important decisions – your choice of music.

Coppola Rhythm Ensemble. Photo by Sergio Minero.

In choosing music, you should choose music that your audience can relate to, that they can attach to and enjoy the groove with the dancers. That doesn’t mean predictable; it’s good to have a few surprises or highlights in the piece, both audibly and visually. Your simplest consideration in choosing music is: Can the audience hear the taps? And that means all the way at the back of the theatre. Music that’s too heavily orchestrated will smother the taps. Also, check out the acoustics in the theatre. In preparing your dancers, I’ll assume that the level of tap technique is adequate to support the choreography. Young dancers should be in a class that includes a healthy dose of technique. A class which only works on a routine short-changes the dancers; they will have less substance to put into a dance.

As a judge, I often see tap pieces which include several dancers who do not execute all the sounds. Make sure each dancer can do the steps alone and a cappella. Then when you reassemble the dance it will be stronger.

Once you’ve chosen your music, listen to it over and over before choreographing so that you can effectively use the phrases and accents in your choreography rather than just choreographing 8’s. If you’re creating an a cappella piece, you need to drill the dancers to keep time; there is generally a tendency to rush, which is very unsettling to the audience. Musicality is the goal of the choreographer and the dancer. (Challenge yourself with music in other meters such as 6/8, 3/4, 5/4, 9/8, etc.)

So now that you’re married to the music, it’s wise to create a theme – a series of steps or a phrase that’s recognizable when it is reprised. It is the signature of the piece, and it should grab the audience both audibly and visually and show the character of the piece. Tap’s musicality can be applied to many styles, from traditional hoofing to Latin, to rap, to blues, classical, to rock and show tunes.

Some specifics:

• Unison: never underestimate the value of unison. A good step laid down in perfect synchronization is very satisfying to people. It’s a valuable technique to spread out various rhythms and return to unison for a dynamic punch. An entire dance done in unison can be boring.
• Canon: Canon, or presenting rhythms in a round, can be very effective. It works for duos, groups and lines. Have several of the dancers start a choreographic phrase, and then have the other dancers start the same phrase later. How much later? Eight counts is pretty safe, but four counts is very effective (assuming the music is in straight, or 4/4, time). If you separate by only two counts, it can sound like a mistake to the audience, like botched unison.
• Counterpoint: This refers to two rhythms sounding at the same time. Canon will automatically produce counterpoint, but you may want to create two different tap idioms complementing each other. Be careful – if the steps are too busy, it will just sound cluttered. Leave spaces. Single sounds are valuable.

Tap is conversational. Just like verbal language, it needs inflection, causes, punctuation and emphasis. Don’t let it become a run-on sentence. 

• Trades: So if tap is conversational, it lends itself to back-and-forth as in question-and-answer. A literal trade would be where one dancer (or group) lays down a rhythm, and the second group repeats the rhythm verbatim, usually trading either eight counts or four counts. A more conversational approach is to vary the second rhythm (the answer). Often the second rhythm is trying to outdo the first.
• Supplemental sounds: It’s a nice change of pace to throw in other sounds such as claps, snaps, yells and sounds made with props or different surfaces. (Effective use of set pieces and props can fill a whole article by itself.)
• Dynamics: I can’t help but notice the lack of dynamics (degrees of volume). It takes more than just “banging out steps”. A cappella tap is a great opportunity to use some very soft and quiet choreography; it will force the audience to listen closely. Then you can rebound with something aggressive. Contrast is very valuable musicality.

Coppola Rhythm Ensemble. Photo by Sergio Minero.

It’s also effective to contrast the difference between direct rhythms (on the beat) and syncopated (off-beat). Since tap sounds are mostly staccato, you can get sustained sounds with a myriad of slides and nerve taps used like a drum roll.

• The visual imperative: If you have blazing fast feet (you can start fires on the floor with your feet), it’s not enough! Rapid fire sounds may be impressive, but without something visual happening the audience will be bored sooner rather than later (not to mention that the audience may not grasp the new ounces in a blur of sound). We live in a time when, due to technology, quick cuts and editing, and social media, people’s attention span and our concentration and focus will follow that which moves. But before delving into staging, it’s wise to look at the visual energy of the individual dancer. A high energy dancer should get upper body energy by “selling the step” – putting emphasis on the body; the arms, unless specific, will usually follow the torque in the torso. I am very fortunate that in my tap ensemble here in Las Vegas, my pro dancers are high energy; I rarely have to choreograph port de bras (arm movements). This is conducive to the feeling of a “jam”. It’s an advantage if the dancers are versed in other genres, and it is often reflected in their carriage and port de bras. Upper body movement of the head, arms and torso can help you emphasize and pick up the accents in the music. Also, use of levels doesn’t only mean levels of the set pieces. The individual dancer can use the floor and the air to create levels.

One of the things I’ve seen in judging that really makes me cringe is tapping with the hands held behind the back. While you may think that it lets the dancers concentrate on the feet and gives it uniformity, it subtracts all the energy in the upper body and can become a bad habit. It’ll be more difficult to break that habit when you do need port de bras. When I see the hands held behind the back, it looks to me like the dancers got taken prisoner during their tap dance. One of my colleagues actually refers to it as “prisoner tap”.

• Mixed Genre: We touched upon drawing from other genres. I wish for my students to not just think upon themselves as tappers, but as tap dancers. The more versatile and well-rounded you are, the more choice you have to create effective, dynamic tap. Combining forms of dance gives you many options and catches the audience’s interest. I had success several years ago combining a cast of ballet dancers and tap dancers complementing each other and integrating motifs. We are in the time of hybrid dance forms, so take a chance. Stir a pot of “dance soup”.
• Staging: If you’ve created the steps, body lines and matching port de bras that compliments your music, now it’s time to stage it: to move the bodies around to create patterns, angles and enhance the energy of the piece. In decades past, dancers stayed in a particular formation for longer than in present time. We discussed the audience’s shorter attention span, so it’s fashionable and effective to change positions more often. How and when and why is the art of staging; there are so many choices. You can move the dancers downstage, upstage, laterally, diagonally, and up and down for levels. By moving the dancers, I mean dance them to the pattern – don’t walk or march them there. It’s dance, not drill team or military corps. Obviously, diagonal allows you a longer pass (and provides more interesting angles in the body). Opposition, dancers moving in opposite directions, creates a simple and effective choice. Staging the dancers in pairs lends itself to such tools as having the two “do-si-do” around each other, coming back to the original position. When choosing steps that travel, you’ll need to get dancers on the ball of the foot so they can “fly” like sprinters.

At this point, it’s worth mentioning that if there are props in your dance, make sure the dancers can handle them gracefully without anything looking clumsy or cumbersome. If the props are stationary, it can work to create paths in and out, around, over and under, and on top of the props. This can also give you a variety in the pitch of the sounds that the steps lay down.

• Performance: I hope in a future article to discuss the value of the art of theatrics. All of the elements for creating effective and entertaining tap must of course be performed to the max, with connection to the audience, strong and appropriate characterization with performers who relate to each other and command the stage…and wrapped up in a magical intangible called style!

By Tony Coppola of Dance Informa.

Tap master Tony Coppola is also a former All-American gymnast and a percussionist. He has taught at conventions and judged competitions for several decades. Tony directs and choreographs the Las Vegas-based Coppola Rhythm Ensemble.

Photo (top): Coppola Rhythm Ensemble. Photo by Sergio Minero.

The post Sound Wisdom: A Guide to Tap Dance from Tony Coppola appeared first on Dance Informa Magazine.

Dance Informa’s 13 Favorite Dance Costumes This Season

Whether you’re shopping dance costumes for competition, a Christmas show, spring concert or recital, there are a ton of reliable, fabulous costume companies to choose from. In no particular order, here are Dance Informa’s 13 favorite dance costumes this season.

‘Cosmic’ from Tenth House, Designed by Allison Holker. Photo courtesy of Tenth House.

#1. “Cosmic” from Tenth House

This ballroom-inspired costume, designed by Allison Holker, has everything you could possibly want in a costume — sequins, fringe and a beautiful neckline. Included with the costume are rhinestone hair clips and a sequin armband.

#2. “Fly” from Art Stone: The Competitor

This stunning grey costume has sequined appliques that complete the look of a girl floating in the clouds. I especially love the top with mesh straps and the asymmetrical skirt that is sure to float on stage beautifully.

#3. “Walk the Walk” from A Wish Come True

If you’re thinking, “I need a really shiny gold costume for this musical theatre production”, A Wish Come True has a perfect costume for you! Available in 12 different sizes, you can create a sparkly fun piece with a wide variety of ages involved. Included with this costume are a sequin bow and hair barrette.

#4. “Sugar and Spice” from Curtain Call

This adorable costume is perfect for a little princess. It’s truly “Sugar and Spice”, and everything nice! There is a flower and tricot barrette included with this costume.

#5. “Neon Lights” from Weissman

“Neon Lights” is such a vivacious and vibrant costume for any dancer to feel super confident in when on stage. These neon colors will shine under the lights during an upbeat jazz, tap or musical theatre number. This costume includes a jeweled feather patch for your hair!

‘The Dream’ from Victoria Dancewear. Photo courtesy of Victoria Dancewear.

#6. “The Dream” from Victoria Dancewear

This leotard with attached tutu truly is a “dream” ballet costume. The brown and teal colors work well together to create a kind of ombre effect on the skirt. Included with this costume is a floral wreath headpiece.

#7. “Jungle Warrior” from Dansco

This “warrior” character costume is fun and yet strong at the same time. With a cool-patterned skirt, and arm bands included, I wouldn’t want to mess with any girl wearing this tribal costume.

#8. “Latin Flair” from Eurtotard

Give me a playful full skirt with sassy polka dots any day! What I love about this skirt from Eurotard is that you can dress it up with a shiny top, or keep it simple with a black leotard. This is a popular skirt for Spanish dances and The Nutcracker.

#9. “Sugar Plum” from Revolution Dancewear

Velvet is back! This costume is made from a glitter stretch velvet fabric, and the color pops so well. A ton of accessories come with this costume, including a tiara on comb, arm ruffles and choker, all wrapped and sent on a hanger in a garment bag.

#10. “Bounce” from Stage Couture

This girly, yet strong hip hop costume is perfect for the fierce competitor, or an awesome hip hop routine for recital! Great on all shapes, the stretch fabric can move well and is not too form-fitting.

‘Rumor’ from Costume Gallery. Photo courtesy of Costume Gallery.

#11. “Rumor” from Costume Gallery

Available in three colors, this fun costume has sparkles and a circular skirt, which will move beautifully on stage. I can definitely see a fun jazz number with this costume! Included with the costume is a glitter stretch headband.

#12. “Distant Melody” from Theatricals Costumes by Discount Dance Supply

I absolutely adore the color and style of this costume. I feel this would be a perfect “first lyrical piece” costume for any young dancer. With adjustable straps, it is sure to fit well with all shapes and ages. Included with this costume is a light green tulle pouf hair clip with a rhinestone butterfly attached.

#13. “Star Studded” from NX3 (pictured up top)

I want this sweatshirt just to wear everywhere, especially during a cool hip hop number. Simple, yet awesome, this swagged out new costume brand is sure to please dancers and audiences.

To see more spectacular costumes from all of these companies, visit Dance Informa’s Costume Guide here.

By Allison Gupton of Dance Informa.

Photo (top): “Star Studded” from NX3. Photo courtesy of NX3.

The post Dance Informa’s 13 Favorite Dance Costumes This Season appeared first on Dance Informa Magazine.