The lights fade to black, and at this moment I not only want to crawl out of my skin, but I want to crawl out of the theatre. My recital piece was a hot freaking mess, and not just a hot freaking mess, but an embarrassing hot freaking mess.
You see, I knew this piece wasn't going to be good, but instead of solving the problem I lived in excuse land - “My students don’t show up consistently”, “My classes are mixed in level”, or even better, “My students don’t go home and practice”. Sound familiar? I get it, but the truth is, as a dance teacher it is our responsibility to ensure our students look successful on stage, and as a studio owner it is our job to ensure each piece that hits the stage meets our standards and your values.
In my last post, we explored 4 things that get in the way of a dancer’s healthy mindset. These included perfectionism, stress, fear, and negative self-talk. Today, let’s dive deeper into negative self-talk, often referred to as the inner critic, and tools to quiet it.
In an article exploring negative self-talk, PsychAlive says, “The critical inner voice is an internal enemy that can affect every aspect of our lives, including our self-esteem and confidence, our personal and intimate relationships, and our performance and accomplishments at school and work.
There is such beauty in the tangible results of hard work. A clear indicator in a very unclear industry that what you are doing is doing something and a means of holding whatever that tangible result is/was as precious and inherently valuable is something that feels a little lost to me.
Our current state of instant gratification in many facets of our lives is such an interesting juxtaposition to what happens most often in dance. In our craft, in order to be ‘good’, one must train… years and years of training to simply be ‘good’, not even ‘great’.
This month we take a brief look at the risks of overtraining and burnout and some simple steps we as teachers and dancers can take to make sure we are optimizing recovery.
Daily Dancer Takeaway: Allow yourself time off—especially around the holidays—to rest and recharge without guilt, knowing it will benefit you in the long run to combat the risk of overtraining and burnout.
I am standing in front of my students and I am drawing a complete blank. I feel anxious, overwhelmed, and outright stumped. My heart is beating as I feel the pressure of what to do next. I silently pray to the universe hoping it will deliver me some kind of amazingness.
Everything in me wanted to resist the idea of planning my dance classes, but something had to change. I wasn’t happy, I wasn’t giving my students my best, and in turn, I wasn’t helping my students reach their fullest potential.
Whether you’re dancing for 1 class a week or 10, it’s important to consider the kind of floor you’re dancing on. Dancing on a sprung floor reduces the risk of injury and can even prevent lifelong injuries. Unfortunately, we have seen studios who train pre-professional dancers that have just thin rubber over concrete as a floor, tile, laminate flooring, and non-sprung wood flooring. What do these all have in common?
They are bad for your body!