Choosing a dance school – Is there really a difference?

While on the surface the offerings may seem the same, the essence and caliber of each dance school can be completely different. How do you know which school will be right for your child?

Some schools try to create a more conservatory-like environment, by requiring a certain number of classes per week, for example. This can be good for the more serious student, but for the student who enjoys dance as one of several other activities, this can create difficulties. Sometimes exceptions can be made. Don’t be afraid to ask! If the school cannot accommodate you, try another school where your child is more comfortable.

It’s not unusual for a studio to audition students for placement purposes or to move students if they end up in a class that doesn’t suit their abilities. Sometimes age groups are the standard, but being inflexible can hold back a talented dancer or push someone who isn’t ready.

Most schools have a recital at the end of the year. This is a great way to see the ongoing work in the school. You will find out how advanced the older students really are! Dancing on stage can be an enjoyable and growth-promoting experience for children.

if the school you choose is not under a lot of pressure about your recital. Some schools actually start working on the spring recital in the fall! However, this greatly reduces the amount of time students are learning the art and technique of dance.

It is wise to check recital costume rates when you are looking for a school. Although a studio prefers the glamor of sequined costumes, which can cost you up to $100 a piece, your show and teachers may not be of the caliber you’re looking for! There is a trend starting in some schools to keep costs down by putting together costumes that can be used again for classes or as street wear. In our studio, we had access to a wide range of costume possibilities to support these new ideas. Parents appreciated the lower prices and the greater potential for use.

What is the school’s policy about parents viewing classes? Some schools have observation windows; some have parent visiting days; some will allow you to watch at any time as long as you have permission from the teacher, and others will block you outright. There are good reasons behind all of these policies, but as a parent, you need to be comfortable with both the policy and the necessary explanations. It can be distracting to both the children and the teacher when there are observers in the class, so be understanding of this when you have an opportunity to observe.

Does the studio run contests? How competitive are students with each other? The merit of the school has little to do with its position as a competitor. Often the schools that compete have very demanding schedules and many hidden expenses for costumes and competition fees. You need to decide if this will work for you, your dancer, and your family.

If the school has been around for a while, what has happened to the former students? Has anyone gone to college to study dance or acted professionally? Or are they just teaching at the school they came from? If students have had a good background (unless you’re in a school with a professional company), they probably won’t teach in the studio instead of going to college.

I have talked to many college level dance teachers who constantly lament about the girls who have taken classes for ten years at the local dance school and were considered “star students.” Unfortunately, when they get to college, the girls learn that their technique is terrible and they don’t know even basic dance terminology. These children often have a huge ego from having been the pride and joy of their former teacher and it is very difficult to train them properly. All that wasted time and money! Really very sad, both for the parents and for the dancers. Sometimes these same girls decide after two years of college to come back and teach at that local school or open their own studio! And the cycle continues!!

What about the teachers in the schools you are considering? Where did they study? What are your credentials? Many dance school teachers belong to organizations like Dance Masters of America or the Dance Teachers Club of Boston. These are good organizations, but belonging to them does NOT make a person a good teacher. Absolutely anyone, (EVEN YOU!), with a little training could pass their “teacher’s exam”. It is absurd, but true, that absolutely anyone (INCLUDING YOU) can open a dance school!

Has the teacher studied dance at university, at a conservatory, at a performing arts school, or at a school with a professional company? If the teacher has a list of impressive people she has studied with, was it just one or two classes or continuously for at least a year? Does the teacher continue to study dance in professional quality schools on a weekly basis? Does she behave like a dancer? How is her posture? What is her acting experience? If she is young, is she still acting? Many women have performed with the Rockettes at Radio City Music Hall in New York City. This means they are tall, can lift their legs high, and can do precision group work all day with very short breaks. However, according to at least one former Rockette, he is silent on her ability to teach or dance ballet, tap, or jazz.

What do you look for in classes? For preschoolers, the best type of class involves group stretching, exploring rhythm and a wide range of movement possibilities to a variety of music, and sometimes using props like scarves, tambourines, or maracas. Occasionally a teacher may use discs with instructional games or dances, but a steady diet of this shows an inexperienced teacher without a creative direction of his own.

Beginning at kindergarten age, many schools offer combined ballet and tap classes. Some schools include jazz, but usually second grade is pretty early to teach jazz. Most young children do not have the physical maturity to perform jazz movements and should not be in a full jazz class before third or fourth grade. (Why spend the extra money on shoes?) By third or fourth grade, most kids can handle an hour or hour and a quarter of just ballet, tap, or jazz.

Another big question is “What about the tip?” Most girls dream of one day dancing on their toes, but the fact is, most shouldn’t! Before starting pointe training, feet and legs should be strong, bones and muscles developed, and technical ability good. It is possible to start working on points IN THE BAR around the age of 10 or 11, but it is preferable to 12 years. Reaching a certain age is NOT an automatic reason to start pointing and I would be very wary of any school that uses only age as a criteria. Some teachers feel that if a child wants to pointe and is not allowed, then they will change schools. Every good teacher will continue to say “no” to that student if he does not have the necessary strength and technique. This is VERY IMPORTANT because a child’s feet or legs can be damaged and she may never be able to dance again.

If you’re not sure about toe-offs, you can do a few simple tests with your child: Are their feet and legs steady when they first releve (stand on the balls)? Can she stand solidly on one foot? Can she get up to half her toe on one foot without moving or falling over? If she is solid and steady then maybe the strength and balance is there. There is much more on a technical level to look into, but this gives you some basic information.

Tap is a popular dance form at local dance schools. Most parents don’t realize that there are two basic types of Tap: “Broadway Tap” and “Jazz Tap” (also called “Rhythm Tap”).

The “Broadway Tap” is usually done in heels and uses more arm movement. It tends to be more visually appealing with less emphasis on sound complexity.

In the vein of Gregory Hines, Savion Glover, and the old tap masters, the emphasis on “Rhythm Tap” is on clarity of sound and intricacy of rhythms. It is usually done in flat, oxford-style shoes, and is the style most often taught in top college dance programs.

Above all, you want your child’s dance experience to be a joyous learning experience with quality instruction in an environment that respects both children and parents. Remember, dance teachers are human beings and they work very hard, some teach 250-300 students a week by themselves! Even teachers who don’t meet your standards deserve a lot of respect. (You don’t have to send your kids to them, but they still deserve your respect!)

This should demystify the world of dance schools a bit. Here is the joyous dance throughout the year!