Training our youngest dancers (Ages 3-7)

Training our youngest ballerinas and ballet boys is an important job that seems easy enough to do.  How hard is it to teach a march, skip or tiptoe run??? 

Much harder than you might think!

Sometimes parents feel like their dancer should be trying more advanced movements. Be patient.  This will happen in due time…… it is important to instill a love of movement and expression into a young dancer’s life, then carefully prepare their body and mind for more advanced training in the future.

Our youngest little dancers (age 3 and 4) will likely do mostly creative movement in their dance class.  Creative movement is dance with props, movement and storytelling.  This creative dance allows the child to move freely and express themselves openly in the setting of a ballet class where they will also learn basic movement like marching, skipping, galloping, etc.  Dancers will practice their balance on one foot and jumping with two feet which takes much thought and coordination at this young age.  They will learn how to follow the leader, stand in a line and make a circle.  They will learn to take turns, work with a friend, listen to the teacher and listen to the rhythm of the music.  Quite quickly they learn the difference between “strong music” and “flowing music” . . . and will even adjust their free dancing to match the music.  All these skills are incredible to learn at such a young age and they will be beneficial to them as they hit “school age” in life outside of their dance classes as well.

When a dancer has a few years experience and is now ready for some more “serious” training, we introduce syllabus into their class with more importance.  In some cases this is when a dancer might start to lose interest because the class becomes more structured. 

So why must we “torture” young dancers with syllabus?  It is important to PERSEVERE! By age 5 and 6 a dancer should be preparing their muscles to avoid injury and be able to successfully demonstrate work for the level they are taking in order to progress.  Syllabus ensures a gradual and careful build up of technique so that a dancer’s body can then handle each level with ease.  Syllabus challenges a young dancer’s mind to remember details, musicality, and corrections and to apply these each time they dance.  Much like gymnast who can’t do a back handspring before they’ve worked on a bridge, a ballet dancer can’t do a pirouette before learning to balance on one leg.  Syllabus helps with this preparation greatly.  At this age, teachers may also introduce gentle stretching into the class as a warm up for the muscles and in order to further help a dancer avoid injury. Also, what is learned in syllabus is then demonstrated on stage.  As an example, the ability to remember there are 4 pliés turned out in 1^st position (in the syllabus) exercise will translate to the stage when your child needs to remember there are 8 sautés in 1^st position in their dance.  A dancer should be able to transfer their technical understanding of that step done in syllabus in their class to the stage when they perform.

One of the most recognizable concepts in ballet is turnout.  This is the rotation (outward) of the legs (and feet), and there are many, many muscles which need to work hard to achieve this. Turnout is then “held” in this way while a dancer executes certain movements.  It looks easy but it certainly is not.  A trained teacher will be able to recognize each dancer’s natural ability to turnout and will think of each dancer independently in order to teach them about this as well as ensure they are doing this correctly and safely.  Ballet teachers need to be ‘hands-on’ in order to help a younger dancer feel their muscles or feel correct placement because often-times dancers don’t quite know yet what is “correct”. 

Indeed, teaching our youngest dancers is a rewarding but difficult task.  They can be needy, inconsistent, and require constant motivation.  They are also willing to “think out of the box”, “be silly”, try new things, and work hard to please their teacher.  This makes young dancers pretty amazing to teach!

When watching your young dancer’s ballet class or performance don’t just watch for all the impressive “moves” they make.  Instead, watch to appreciate how much YOUR child has improved.  Notice how impressive it is that 12 little dancers are working together to make a “v”.  Observe how incredible it is that young dancers can march on beat to the music.  See the joy in a child’s eyes when they dance freely.  See the pride in a young dancer’s face when they put up their hand to offer an answer to a question asked by the teacher. Be impressed to see your dancer trying hard to make sure she is applying the correction a teacher just gave her.  Be appreciative of the teacher who is trying to make pliés engaging and fun.  Be proud that you have chosen to give the gift of dance to your child!  Dance will influence their life well past the time they are in lessons - I guarantee it.

J. Homister

Al Gilbert - Stepping Tones

From our very own Miss Lindsay!

At ESB, our Tap dancers have the privilege of learning the Al Gilbert Tap system, one of many internationally recognized Tap syllabi. It was created in 1947 by Mister Gilbert in response to what he felt was a lack of Tap teaching materials for young children at the time. He felt pedagogy and progressive movement (that is to say, the teaching of Tap steps with a purposeful methodology using build-ups) was necessary in teaching Tap dance, even to the youngest of dancers. Today, on the eve of its 70th anniversary, the system is world renown, with grade work and exams available from Primary level dancers, through to the advanced tapper. Here is a mini-biography on Mister Gilbert, created by Stepping Tones International, sharing his successes from humble beginnings to Tap pioneer. 

http://www.mbaciu.com/demos/steppingtones/about_frame.html

Born, Allesandro Zicari, July 12, Al Gilbert was one of ten children raised in a tough Italian neighborhood in Rochester, New York. His mother died when he was very young so it was up to his eldest sister to recognize his talent and encouraged him, "If you want to dance-dance". When other kids made fun if him, she'd say, "They're just jealous of you". His older brother, Charlie, learned how to dance on the back street corners of Rochester, and in turn taught his brothers and sisters. There was no formal training. Charlie was the "splitting image" of actor John Gilbert and won many local look- alike contests, so he became known as Charlie Gilbert. Charlie was the first in the family to become a professional dancer and introduced two of his dancing brothers as Al Gilbert and Pat Gilbert. Pat later became known as Pat Rico. Pat passed away on October 12, 1999.

Al loved to perform so much he would dance whenever and wherever he could, anywhere and anytime. Two days after he was discharged from the military in 1945, serving with the Army's 14th Air Corps Division, known as the Flying Tigers, during World War II, he answered a Hollywood casting call for male dancers and got the job. Within a week he became the assistant to the assistant choreographer of The Jolson Story (1946) where he can be seen in a 30 second segment.

He purchased his first dance studio in Hollywood, California, on his birthday in 1947. Dance schools had begun to flourish in Los Angeles after the war. He quickly discovered there was no material for teachers on how to instruct young children, and few teachers who knew how to teach dancing to the little ones. So he started making up catchy dance jingles and experimented with teaching technique standards. Word got out and parents flocked to his studio with their children. "I was the only one who realized there was a need for children's material. I knew no one else was doing it because I was told that this was something new and different". He sold his song and dance material to a teachers magazine in 1949, that in turn created a demand for more of his original material. He then presented children's songs and dances at conventions for Stepping Tones Records.

Al Gilbert and Betty Zimmer (former owner of Stepping Tones Records), developed the first vocal instruction record with rhythmic tapping sounds in the late 1950's, creating Grade 1 Tap Technique. A new revolution in dance instructional material had begun. It was so popular that other companies began copying the idea. In 1971 Al Gilbert purchased Stepping Tones Records and made available Training Aids and Graded Technique records to dance instructors and their students for Pre- school trough Grade 8 Tap. His techniques are also available on Videos and Compact Discs. He continued to perfect his teaching techniques and developed his graded system teaching thousands of students and dozens of teachers. Celebrities such as Annette Funicello (who was discovered by, Walt Disney, while performing during one of his recitals) and Michael Jackson and the Jackson 5, were students of his, as were the children of many Hollywood celebrities. As more and more dance instructors learned of his teaching methods and purchased his material, dance schools around the world invited him to guest teach. He has taught at workshops throughout the United States, Canada, Guatemala, Europe, Australia, New Zealand and Japan. His own Al Gilbert Dance Seminars, which are designed primarily for teachers, are held in 15 cities each year. He is on the road nearly every weekend.

In 1994 he released his 1,000th original song and dance Training Aid and recently released Grade 9 Advanced Tap Technique.

He has also published a book entitled "AL GILBERT'S TAP DICTIONARY", "Encyclopedia of Tap Dancing Terminology and Related Information". He will be demonstrating material from the book on the first evening of hisDance Seminars.

Related Material: DANCE TEACHER NOW, July/August 1994, Spotlight on Al Gilbert by Elaine Starr A DREAM IS A WISH YOUR HEART MAKES, Annette Funicello Autobiography, Published be Hyperion, NY

Dance Competition Etiquette

As we are now in the middle of our Dance Compeition and Festivals, this article is a great reminder of behaviour and expectations for all of us at these events!  If you click on the title it will take you to the original post!  Good luck everyone and have fun!

Dance Competition Etiquette

1)    Sportsmanship- One thing you have to remember is that every single dancer works very hard to perform.  Every parent wants their child to do well and be noticed.  Every dance teacher works diligently so that their students perform to the best of their ability.  Everybody at a dance competition has at least all of that in common.  Therefore, YOU, as a student, parent, or teacher should clap for every single dance and every single award given if you are present in the auditorium.  Dancers, you would want to be clapped for, so do the same for others.  Appreciate the art- not just when YOU are being recognized.  Teachers, set the example.  Tell your students in advance how important it is to wish others good luck and clap for other dancers.  Parents, try not to live vicariously through your dancer.  Instead, appreciate every child for putting effort into their hobby.


2)    Backstage-

a)    In reference to sportsmanship, wish the dances before you and after you; “good luck”.  When dancers come off stage, tell them that they did a “good job”.  These words cost you no extra effort.  In fact, you may even make a few friends.  It doesn’t matter what studio they are from.  They need encouragement just as you would.  Your efforts will most likely be noticed and very appreciated.  

b)    Do not block the wings to watch.  Dancers often have wing changes, props, and/or run off after the dance.  If you are sitting in the wings, you are in the way.  Simple as that.  Be at least 3 feet away from the wings.  I you are the next dance, you will most likely have time to enter the wings while you are being announced. 

c)     Be quiet.  I know dancers get nervous backstage.  However, that’s no reason to start laughing uncontrollably loud.  Saying “shhhhhh” is a lot louder than tapping a person and whispering to them to remind them to hold the volume down.   

d)    Know your dance and be aware of your space.  Do not decide to practice your entire dance backstage.  Movement backstage is extremely distracting to the dancer.  Not to mention, dangerous.  You could hurt yourself and others by simply doing a grande jete or a pirouette.   Stretching backstage usually means you’re in the way.  Instead, consider stretching in the dressing room.
 
3)    Dressing Rooms-  It’s common for studios to segregate themselves in the dressing rooms.  That’s fine.  However, be mindful of everyone’s space.  Throw your trash away.  Don’t touch anything that isn’t yours.  Don’t practice dances full out.
 
4)    Schedule- Most competitions will schedule to either put numbers in between yours or accommodate costume changes.  Either way, competitions prefer to stay on schedule.  If you have a decent number of dances close together, do your best to make it backstage a few numbers beforehand.  If a competition runs late, it’s usually the dancers fault.  It’s up to the dance to change quickly and report backstage.  Don’t make the backstage manager have to come find you.  If you have 5-10 dances in between your numbers, now is not the time to check your cell phone, watch dances from the audience, run your dance, or sit back and relax.  Change and wait backstage.  Most costumes changes can be done in about 5 minutes or less if a dancer is really making the effort.
 
5)    Awards Ceremony-

a)    Even at the awards ceremony, you are performing.  You are on stage.  Do not bring your cell phone with you.  Your texts and facebook status of your results can wait a few minutes. 

b)    Leave room for the judges (or whoever is handing out awards) to walk.  If you are asked to move over, please do so.  There is plenty of room available. 

c)     When you are on stage dancing silly before the awards ceremony, there is no need to dance 2 inches behind the edge of the stage.  You can be seen just the same 5 feet from the edge…plus you won’t break any bones from falling off. 

d)    We know you’re tired by this point, but you can be energetic for a few more minutes.  This means clap for EVERYONE.  Refer back to #1. 

e)    When accepting an award, an improper response would be to grab the award and walk away.  A more acceptable response is a curtsy/bow toward the judge, handshake or hug, and ALWAYS a “Thank You”.  It doesn’t matter if you get a bronze or a platinum.  You need to show your gratitude toward the judges for taking the time to evaluate you.

6)    On Stage-

a)       Unless your top falls off, don’t stop dancing.  And, even then, fix it quickly and keep going.  You can continue dancing without a shoe or a headband.

b)       Don’t lip sync unless it’s choreographed.  In addition to this, a huge no-no is counting on stage.  You should be able to count in your head.  The only mouth movements you should be making are for facials. 

c)       It’s ok to look at the judges once in a while, but you are performing to the audience.  Don’t stare the judges down.  You need to perform to the back row of the audience. 
 
7)    Competition- Competitions aren’t just about the trophies.  Competitions are about bettering yourself and challenging yourself.  Therefore, you should participate in all of the available workshops and seminars at competitions.  You should also take the time to watch dancers from other studios.  Also, when you get home, ask your teacher if you can see the critiques so you can fix your mistakes for the future.
 
8)      Attitude-  While a certain amount of confidence is required to perform on stage, there is a thin line between confidence and arrogance.  Be gracious.  You parents and teachers have worked extremely hard to get you to where you are today.  Thank them before patting yourself on the back.  Stay grounded, humble, and aware of other dancer’s feelings….and after all that, THEN be proud of yourself because everyone else is. 
 
Dancingly yours,
Miss Jaime

Posted 4th May 2011 by Jaime Popard