You Can't Please Everybody

I had a very interesting experience last week. Something happened to me that has NEVER happened before. It took me awhile to figure out exactly what was going on and to determine how to digest the situation. A disgruntled student contacted one of my many employers and wrote a scathing three paragraph email attacking my integrity as an instructor and my personality outside the dance studio. I won't go into specific details about the message that was clearly meant to disparage my employer from continuing to work with me. But what I can tell you is that I was completely and utterly blindsided that a student who has only taken my class a very few times would go as far as trying to affect my employment because they disliked my attempt to share my art with them and improve their skills. Luckily, I have amazing friends and peers who have helped support me through this situation. And as a few of them have said, I officially have a HATER, which means that I must have made it! 😂

The dance world is a place that is brimming with judgment. We judge ourselves every day in the mirror, while teachers and peers are judging us, as well. Now, this judgment doesn't always have a negative connotation. A majority of judgment in a classroom setting comes from your instructors, whose job is to give you combinations, judge your execution, and offer corrections to help put you on the right path towards success. Your peers may judge you in order to determine what you are and aren't doing well to help them along their path, too. Once you leave the studio and step onstage, you are putting yourself on a platform that opens up a whole different world of judgment from the general public. Some of these people are critics, some are couples on dates, and others are ballet aficionados that spend as much free time as possible sitting in the anonymity that the darkness of a theatre provides. A performing artist is setting themselves up to be critiqued constantly.

Judging Art

One difficult reality that dancers must face is that judgement of their work often feels like a personal attack on one's character. A dancer creates their art by physically exhausting themselves and tapping into emotional parts of their life experience to portray certain roles. When a bad review comes out, a dancer may feel that their own being is under attack. This often isn't true, but that doesn't take away the pain of a negative critique.

There is a great deal of judgment and critique in our careers that is never intended to be malicious. But, then, all of a sudden, out of nowhere, somebody comes along who just doesn't like you. Whether it is a critic that never likes how you perform a role compared to other dancers, a colleague that you always rub the wrong way, or somebody who you somehow offend with any and every action you take, there will be some people that you just can't please. This has been the great lesson of my career as of late.

As an instructor in dance, I have passed beyond the sometimes selfish period of my performance career. When I am in the studio working with my students, class has nothing to do with me and everything to do with getting my students to achieve the impossible. I am heavy in the correction department, try to inspire honest conversation among students, and try to provide valuable feedback to each student in my classes. Where a performance career involves a great deal of focus on oneself, a teaching career is the complete opposite. In fact, I say that the only way I can be successful as a teacher is to help my students become successful. Being a teacher of dance differs from a performance career in the sense that an instructor's sole focus should be to give fully to their students.

Working w/dancer on my new work for Columbia Ballet Collaborative (Photo: Eduardo Patino)

At the end of my time teaching a class, I often wait afterwards to talk with students and answer any questions that have gone unanswered in the fast-pace environment of a technique class. During this time, I also often receive feedback from my students. Nearly all of this feedback is positive. It is rare to never that a student comes up to a teacher with a complaint (they usually reserve this type of feedback for management). But it seems that while many students enjoy a class, it isn't uncommon for a student or two to have an opposite experience. If these students choose to express their discontent, having received opposing positive feedback, an instructor may find it difficult to understand where things went wrong and how to resolve it. The same can happen with a performer. Perhaps, after a show, a dancer receives a plethora of gracious comments and positive attention from peers, management, and friends who have watched their performance. But when that review comes out and tears them off of their performance pedestal, it can be painful and confusing to read something written for the public and to assess where things went wrong.

What I have learned in my most recent experience with my hater is that it is impossible to please everybody. As a friend recently told me, "I am not everyone's cup of tea." As dancers and former dancers, we tend to strive for this ideal that everybody around us will like us as people and artists. I feel that many people, non-dancers included want everybody to like them. But this is just completely impossible. There are so many people on this earth with so many different personalities, lifestyles, expectations, tastes, and more. And to have the expectation that you can please everybody and leave this life with every person you touched feeling positively about their experience with you is one hundred percent impossible. For instance, some students prefer an aggressive teacher that really pushes a dancer outside of their comfort zone. While other students want to attend class to have fun and prefer not to be corrected once. It is impossible to please everybody in the room, in the company, in the theatre, and in the world.

Sometimes, it is baffling to comprehend that those who choose to express their opinions have seen the same performance. One person's taste may differ greatly from another. Or one person's education and knowledge of dance may be vastly different from the people sitting next to them. The same goes for an instructor trying to impart their knowledge upon a studio of dancers. Some students may thrive under a challenging teacher, while others may collapse into negativity. Luckily, there is great beauty in having so many people involved in our field. Every teacher and every dancer is not someone's cup of tea. And that is fine. There are a range of options for each person to choose from. As long as we understand this concept, we can move forward from negative feedback much quicker. Yes, you should assess whether you feel that feedback is true and could potentially help you grow and cultivate your craft. But you can't please everybody and you absolutely shouldn't lose grasp of the type of artist you want to be just to please somebody who may never actually be pleased with you. You may just not be their cup of tea!

Using Teaching to Supplement Your Salary

Teaching a contemporary class

Most dancers that identify themselves as independent dance artists need to have some type of backup plan to sustain themselves during off times, supplement their income, or throw some extra spending money in their pockets. While a handful of dancers choose to make some of their income working at a restaurant, as a barista, and at other non-dance jobs, I wouldn't be afraid to make the claim that a majority of freelancers use teaching dance classes to supplement their dancer salary.

Some dancers teach because it seems like the most obvious and practical way to work in their field when they aren't dancing in a studio themselves. Whether they are or aren't passionate about passing on our art, it is much more lucrative to teach an hour and a half dance class than it often is to work in other fields. Luckily, for me, teaching has never been an unfortunate necessity to help supplement my income. I have always known that I wanted to teach and freelancing has only allowed me to incorporate this aspect of dance into my schedule.

My interest in teaching didn't come naturally. In my earlier training years, I was more focused on the number of pirouettes I could execute than sharing my knowledge of dance with those younger than me. It wasn't until the age of 16 that I really took notice in the importance of having a passionate, caring instructor. Kimberly Martin, or Ms. Kim, was the first teacher that I had that went way out of her way to help me along my path towards becoming a professional dancer. I had many instructors that worked their asses off to get me to where I did, but Ms. Kim was a bit different. When she realized how passionate I was about dancing, she took me under her wing, coached me, inspired me, and even let me live with her on the weekends to extend my training as far as she could. Beyond that, I had incredible experiences with Claudio Munoz during my summers at the Houston Ballet Academy, Jock Soto and Peter Boal at the School of American Ballet, Paul Gibson as a Ballet Master with Pacific Northwest Ballet, and Bob Rizzo of Riz-Biz Productions. As teachers and mentors, these people showed me how giving and unselfish the art of teaching can be. Existing in the somewhat selfish profession of ballet, where you spend countless hours staring in the mirror and working on yourself, I knew I had to find a way to pull myself out of the narcissism involved in self-correcting and instruct those that had similar dreams.

The first time I tried to gain teaching experience was when Peter Boal took over PNB. Sitting in my first evaluation with my new boss and former teacher, I vocalized my interest in developing my chops as an instructor. I assumed that we would quickly bond over this since his teaching had inspired me only a few years prior. It was a bit surprising when he responded, "I think you should really focus on your dancing right now." Nearly, a decade later, I don't necessarily disagree with his opinion. But I still wish that he had given me the opportunity to develop my skills under his tutelage.

It wasn't until a summer layoff a handful of years into my career that I got my first true opportunity to conduct a classroom. I was visiting home for a few weeks between seasons when the director of my home studio called to see if I wanted to teach a few ballet classes for their week-long intensive. I jumped at the chance and nervously developed a lesson plan for the class. Secretly, I hoped that I would show up, leave the paper sitting in the corner, and prove the genius of a teacher that I was on my first try. But in reality, having a written lesson plan helped me out a great deal, as I was no prodigy. Where I think I lacked in experience, I made up for in blind passion.

I didn't have many opportunities to teach outside of, maybe, three more individual classes at home until I began working as a freelancer. The closest I got to working with students would be the three years I choreographed new works on the Professional Division students for PNB's annual Next Step Choreographer's Showcase. While I didn't get to work with this young talent in a classroom setting, I still had the gratification of helping these kids along their path.

Once I started freelancing, I realized how important it was that I find ways to supplement my income. I googled Philadelphia Ballet School, came up with a contact list of training facilities in the region, and started sending my information out in search for work. Only a few schools responded and, of those, only one ended up working out. I was extremely excited to get in the studio, but I was also a bit nervous for my classes. My nerves had gotten the best of me and when the school director asked how much teaching experience I had, I lied and told them that I had three years. The honest truth was that the number three was just a little less than the number of classes I had taught. My untruth meant that I would have to show up with undeniable confidence and avoid any errors in instruction. Luckily, things worked out well. Perhaps, I was kind of a natural.

Adv. Ballet class w/Alaska Dance Theatre (My Students & Pianist)

Over the past 3 1/2 years, I have taught everywhere from local schools to pre-professional training academies and for companies that hold drop-in classes. Recently, I have added professional dancers to the mix; teaching company class for Eugene Ballet, the National Choreographers Initiative, and Koresh Dance Company. All of these have been incredible, but the most rewarding experience I have had in my short teaching career has been working for nearly four months as Interim Artistic Director for Alaska Dance Theatre.

Getting to spend so much time working with my students at ADT, I was able to see the fruits of our labor in working towards perfection. In almost four months of classes, the students that I worked with had exploded technically and grew a great deal as artists. My passion for dance and their trust in my instruction created this incredible atmosphere where you could feel a tingling energy the moment that each class started.

One of my students at Alaska Dance Theatre - When I arrived, her leg was at 90 degrees, knee was bent, & foot wasn't fully extended. This was taken two months later.

I always knew in my heart that I had talent as a teacher. Dance isn't just my vocation. It is my ultimate passion. I immerse nearly every moment of my day in the dance world. My approach to teaching is essentially my own version of (and a way better version than) No Child Left Behind. No matter talent, body-type, or level, I always try my best to make sure that every student receives a handful of corrections throughout class. The schools that I have taught at have ranged from recreational dance schools to academies that only work to train professional dancers. Here and there, I have heard recreational school owners tell me that the kids just want to have fun. My instant reaction to this is, "Dancing is a lot more fun when you can do it well." I am tough, but I am honest and I don't let dancers get away with wanting anything less than the best for themselves.

It is very sad that I will not be returning to Alaska for the upcoming semester (though I will be returning to teach at their summer intensive in June). But lost opportunities can lead to new ones, sometimes instantly. The last few weeks I was in Alaska, I learned that the famous Millennium Dance Complex franchise was opening a new school in Philadelphia. Not only is this institution bringing commercial dance classes to my city, it opened its' doors a block away from my apartment. It seemed too good to be true. So, I sent my information to the owners, was hired on the spot, and solidified my place on the faculty at Millennium. After returning home from Alaska to a week of Nutcracker and another week to adjust to being home, this Saturday I begin teaching an Advanced/Professional Ballet class and an Advanced Contemporary class at this renowned institution. I am very excited to have the opportunity to continue having a regular place to continue teaching and look forward to gaining more teaching opportunities in the near future! Cheers!

The Rules of Company Class

I started writing this post back in July while creating at the National Choreographers Initiative, but quickly got distracted by the intensity of the choreographic process. It has been awhile since I posted, as I have been swamped while working the past few weeks in Anchorage, Alaska. While it is a few months since I started writing this blog, I feel that this topic is very relevant and hasn't been addressed much. So, I'd like to share. Enjoy!

National Choreographers Initiative dancers taking company class onstage

Back in October, I posted the rules of taking open class while prepping to dance with Barak Ballet in Los Angeles. Nine months later, I am back in the LA area having a completely different experience working as a choreographer for the National Choreographers Initiative. Each of us four choreographers have been offered the opportunity to teach company class for the professionals that have been brought in for this 3-week choreographic laboratory. I love teaching, so I happily took the director up on her offer. Having spent my first hour and a half on the other side of company class and digesting my vast experience taking class in an array of company cultures through freelancing has inspired me to gather a list of general rules for company class from both the teacher's side and the professional's side.

- Company class is a time for dancers to warmup their bodies and to improve their technique. This should generally be on their own terms. Some days a dancer is exhausted and just needs to wake their body up. Other days, a dancer may not have much rehearsal or may be understudying much of the day. During these periods, a pro may use class to push their technique to the next level. Company class is not an equal effort day to day.

- Company class instructors should approach class from an external perspective. Warmup should be approached very differently than classes that would be given to academy students. Yes, professionals need to be pushed, corrected, and kept on task. But company class should be nothing about the instructor and all about the dancers.

- It can be really effective for an instructor to offer combinations that relate to the work that is being prepared for performance. This offers the dancers an opportunity to perfect challenging sequences in choreography.

- Expectations of a dancer in company class should be very individual. If there is not a developed relationship with a group of dancers, it can be rude to make assumptions about why a dancer is acting a certain way in class. If a dancer changes my combination, I am assuming that they are making an important decision for themselves. Back to the first rule in this post, some dancers may be tired or hurting. Company class is a vehicle for the rest of the rehearsal day. Their is often an assumption that dancers must take class like they are students until they retire. Do every combination 100%, even if it doesn't feel good on your body. Of course, it is the dancer's responsibility to remain reasonable about their choices. For instance, if my back is sore from my recent injury, I may not perform arabesques or attitudes derriere in adagio or grand battements at barre. I am not being lazy. I am being smart about my body and extending the length of my career by making an educated decision to leave a combination out.

          (My mom sneaked video taking company class at PNB circa 2008)

- Apprentices and less experienced professionals should approach company class like they approached school class. It takes time to develop an understanding of what your body needs. I didn't start altering my approach to company class until I had my first injury three years into my career. At that point, I recognized that overworking any position in arabesque may be more detrimental to my dancing than beneficial.

- Instructors should try their own combinations with the music to make sure that the tempo is comfortable, doable, and what they imagined the exercise to be. To speak and hear a combination versus executing a combination is a very different experience.

- If a dancer is entering class with an established company, they should ask other dancers if they can stand in any specific barre spot before claiming space. If there aren't many spots available and you are waiting for dancers to show up and claim their regular spot, wait away from the barre until the instructor walks in. Typically, somebody will point you in the right direction of a dancer's place that isn't in attendance.

- I strongly believe that those who teach class should still be taking class. I find that I teach much better when I am checking in with my body and reminding myself what it feels like to dance. 

- If you are going to leave class early, you should always give the teacher a wave as you leave. To walk up and thank the teacher directly, as you would at the end of class, interrupts the flow for those who are continuing with class. Quietly grab your stuff, walk to the door, and wait for the teacher to acknowledge your exit.

- Generally, new or auditioning dancers should pay attention to the hierarchy of individuals in a class. If a dancer has been with the company for many years or is a Principal dancer, let them dance where they want to dance in center. Some dancers could care less about hierarchy, but some are very particular about this order.

- It is the instructors job to be sensitive about when to push dancers in class. I am a dancer that always appreciates corrections. As I stated before, some dancers just want to warm up and focus on their technique in rehearsals. If an instructor feels that a dancer is being lazy, then they can bring that up outside of class and try to push a dancer to work harder. One common error I see is that instructors make judgements about dancers that they barely know. A dancer that is altering a combination or skipping a combination is not necessarily a lazy dancer. Only when their is a developed relationship between a teacher and a professional is it fair to make a judgement.

- Teachers that don't teach to their ego are generally the most respected teachers.

- Do offer corrections to technique, but be careful when offering corrections in style. Once a dancer becomes a professional, for instance, they are very unlikely to change certain parts of their dancing. For instance, if a dancer takes their pirouette preparation from a straight back leg, they may not be willing to execute this from a bent back leg. If they have figured out how to execute a beautiful pirouette from one position, why force them to change it unless it is for choreography that requires unison.

- This is a pet peeve of mine, not necessarily a definitive rule. It is merely a suggestion. Professionals generally don't need to be given specific combinations for plies and stretching. Plies should be about telling the body that class is beginning and stretching should be about limbering your own individual needs. If a dancer doesn't know how to execute these on their own, they probably shouldn't be professionals. I tend to shut down if I am given an extravagant plie combination.

- In most companies that I have danced, it is generally acceptable to wear what you wish for class. When dancers are forced to wear a dress code or to take off their warmups, I have found that dancers are generally treated with a lower level of respect in those workplaces. 

- Instructors should learn to trust the dancers that they are teaching in their decisions. There is not often enough trust in dancers to make their own decisions.

- This is kind of a given. It is more common for dancers to talk in company class, whether catching up with a friend or discussing choreography for a later rehearsal. While it is ok to chat here and there, don't be disrespectful and talk throughout all of center. Show the instructor respect and offer your attention for a majority of class.

- One rule that I am a big advocate of is to support your fellow dancers. If somebody executes a major feat, show your appreciation. I'm also one of the first people to start clapping to the beat when a dancer accidentally ends up having a solo across the floor. Comaraderie and support go a long way in a difficult and competitive career.

- It is acceptable to miss company class here and there if your body really needs a break. Don't make a habit of missing class. If there is an instructor whose class you don't mesh well with, try to find a way to take another class to warm up, like open or academy classes.

- Now that you are a professional, don't approach class like you know everything. There is always something else you can learn.

- While most unionized companies don't require dancers to attend company class, keep in mind that this is more of a technicality than a pass to miss class. Beyond that, a great deal of casting, especially for incoming choreographers, takes place during class.

Company class can be a blur (PNB company class onstage circa 2004)

 - This is my own personal rule. I feel that company class, whether for a classical or contemporary company, should still be a classical ballet class. Ballet is the basis for most technical dance. When company class starts turning into an instructor's interpretation of a mix of classical and contemporary styles, dancer technique will suffer. Keep class as class.

- Whether you like the class or not, always thank the instructor and pianist after class. It is in our culture to clap at the end of class. If you really loved class, hoot and holler. Walk up to the pianist and shake their hand. Walk up to the instructor and say thank you. Instructors appreciate applause and recognition as much as dancers do. Most of them still are or once were in your position.