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Another vogue ball performance, such an amazing atmosphere!

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January - Present | TDM DANCE ACADMEY  | South Wales | 80 hours
28th - 4th April | Dani Dee Easter Camp  | South Wales | 25 hours
January - March | Vogue Ball Rehearsal  | Manchester | 20 hours
Jan - March | Movie it Rehearsal | Manchester | 15 hours

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References

(owner/editor), N. (2016). 10 Audition Basics, Plus Pointers For Keeping A Positive Perspective. [online] Danceadvantage.net. Available at: http://www.danceadvantage.net/audition-tips/ [Accessed 8 Apr. 2016].

(owner/editor), N. (2016). 12 Tips for Teaching Tots. [online] Danceadvantage.net. Available at: http://www.danceadvantage.net/12-tips-for-teaching-tots/ [Accessed 6 Apr. 2016].

A-Z Quotes. (2016). QUOTES BY YAMINI KRISHNAMURTHY | A-Z Quotes. [online] Available at: http://www.azquotes.com/author/21756-Yamini_Krishnamurthy [Accessed 8 Apr. 2016].

Design, O. (2016). TDM Stage School - Notorious Dance Co. [online] Tdmstageschool.co.uk. Available at: http://www.tdmstageschool.co.uk/tdm-dance-group-notorious.asp [Accessed 6 Apr. 2016].

Instagram. (2016). Danielle Stephens on Instagram: “@miaboiswagxoxo @carabarras @elishaclarke123 @_lowriwilliams_ @mckenziemainwaring12 @lottiestephens06 @kieron_h_99 @brooke._.hallett…”. [online] Available at: https://www.instagram.com/p/BDq-xR-LXDJ/?taken-by=danideedanceschool [Accessed 6 Apr. 2016].

Instagram. (2016). Danielle Stephens on Instagram: “Easter school ❤️”. [online] Available at: https://www.instagram.com/p/BDjXu_yLXKC/?taken-by=danideedanceschool [Accessed 6 Apr. 2016].

Instagram. (2016). Ella Walker-Hunt on Instagram: “MISS THIS 😩”. [online] Available at: https://www.instagram.com/p/870C5cO-2I/?taken-by=ellamarshamay [Accessed 6 Apr. 2016].

Instagram. (2016). Harrison Campbell on Instagram: “B O O T Y L I C I O U S”. [online] Available at: https://www.instagram.com/p/8OOXd_D6dU/?taken-by=iamharrisoncampbell [Accessed 8 Apr. 2016].

Instagram. (2016). Harrison Campbell on Instagram: “I heard you wanna walk like me 👑”. [online] Available at: https://www.instagram.com/p/zCvVPYj6al/?taken-by=iamharrisoncampbell [Accessed 8 Apr. 2016].

Instagram. (2016). Joe Warner on Instagram: “A modern day take on a classic fairytale. The way they use dance, music, colour and projection to tell the story is brilliant. Well worth…”. [online] Available at: https://www.instagram.com/p/BD3VDWKtpND/?tagged=intothehoodsremixed [Accessed 8 Apr. 2016].

Lines, C., Cruises, C. and Cruises, C. (2016). Costa Cruises - Fleet and Itineraries 2016, 2017, 2018 | CruiseMapper. [online] Cruisemapper.com. Available at: http://www.cruisemapper.com/cruise-lines/Costa-Cruises-4 [Accessed 8 Apr. 2016].

Mcdowell, J., Mcdowell, J. and profile, V. (2015). Manchester Blog, Rambler: House of Suarez rock Manchester. [online] Fashionrambler.com. Available at: http://www.fashionrambler.com/2015/02/house-of-suarez-rock-manchester.html [Accessed 7 Apr. 2016].

Vilord, T. (2011). 1001 motivational quotes for success. Austin, TX: Live Oak Book Co.

Vivaproductions.co.uk. (2016). Untitled Page. [online] Available at: http://www.vivaproductions.co.uk/ [Accessed 8 Apr. 2016].

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PHILADELPHIAN ROBERT RICH WAS INTRODUCED TO THE PERFORMING ARTS EARLY IN LIFE AND DEVELOPED A LOVE FOR DANCE. UPON GRADUATION WITH HONORS FROM HAMPTON UNIVERSITY IN 2006, ROBERT WAS CHOREOGRAPHER AND CREATIVE DIRECTOR FOR THE MAIN UNIVERSITY EVENTS. AFTER GRADUATION, ROBERT'S PROFESSIONAL CAREER TOOK OFF IN NEW YORK CITY. HIS DANCE CREDITS INCLUDE: THE LXD, LADY GAGA, ELLEN DEGENERES, AND JILL SCOTT. CHOREOGRAPHY CREDITS INCLUDE: GENUWINE, JASMINE VILLEGAS, NATALIA KILLS, SO YOU THINK YOU CAN DANCE, DANCING WITH THE STARS, AMERICA'S BEST DANCE CREW NBC'S PARKS AND RECREATION.

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My personal Development Plan

Self Assessment

If you have a dream to become a professional dancer, then you need to have a good sense of your ability and always be striving for more. This industry never stops, I will always be learning and growing. you have to be constantly be trying to make yourself better as well as continuing to believe in yourself. Which I know is hard at times. I sometimes doubt myself and find myself asking questions. Have I got the potential to be the best? Is my body's facility right to achieve the technical perfection of a dancer? Do I have the dedication? I have to be aware of what I am capable of as a dancer. Throughout a dancer's career, you are judged on your appearance, body type and look everyday, And I need to know that I am strong enough to take what the industry throws at me. There will be many opinions thrown at me, but if I learn to build a thick skin and keep assured in myself, then you can accept any weaknesses or strengths in order to become the best dancer you can be.

Strengths:

-      I have a strong look for commercial work in the dance industry which makes my employment rate increase a considerable amount. How to maintain this is to keep on top of my appearance, making sure I look the best I can at all times.

-      I have a natural ability to perform. Since I was young I have always been able to perform which is a talent in itself. You can teach someone to dance but you can’t teach someone to perform. There can be someone in an audition who’s dance ability is stronger than yours, but if you perform more you’re more likely to get the job.

‘’A dancer must have tremendous personality. A God like Christ and even a Goodman like Rajneesh had some personality. Combination of talent, dedication, creativity and being emotive is imperative. A coupling of these four qualities with technique is essential. Monotony is deterrent as it regards your style and I notice today, that new dancers perform in a startlingly similar fashion.’’

(Yamini Krishnamurthy .2016)

My training has really helped develop my strengths and sculpted me into being an all rounded performer. I have learnt how to adapt to different genres of dance and give more energy when needed.

Weaknesses:

-      Self belief. I really struggle with self doubt and never think Im good enough which really hinders my progression in dance. I need to have more confidence in myself and believe what my teachers and peers are telling me.

-      Flexability has always been a struggle for me since a young age. I have always been so stiff and to achieve the things I want in my career I need to be more limber. Stretching more everyday will improve this and that is what I intend to do more regularly.

In this personal development plan I will devise a short term and long term goal plan to give me structure on what I will do when I leave my full time training. A planned out map of things I intend on doing that will build my career and give me comfortable lifestyle working in the field I trained in.

Short Term Goals:

-      Take my first cruise ship. After getting the cruise ship job it has made me more determined to go. As travelling is such a passion of mine, I thought why not do it whilst earning money, doing something I love at the same time. Doing Jazz all day everyday will also improve my technique which I need to work on. Also this will give me a chance to save money. I am fortunate that Mr Carpenter gives us audition techniques in our jazz lessons which I can retain for when I attend a cruise ship audition in the future.

-      The money I will of saved from the cruise ship I will use to move to London and get my face seen in the London dance scene. Which I think as a British dancer, is the place you need to be.

-      Get into a dance company that specifies in Commercial/Jazz or a touring company such as ‘Viva Productions’

Long Term Goals:

-      I want to be in a Broadway show. Something I’ve always loved is the West End in London, so to be a dance in a show like Wicked or The Lion King would be amazing. The training Ive had at shockout has prepared me for jobs like this I just need to make sure my technique is up to scratch.

-      Touring with an artist would be my biggest dream. As a child sat watching Janet Jackons world tours and admiring the dancers and knowing that it was this that im meant to be doing. Artists I would love to tour with are: Rihanna, Lady Gaga, Beyonce.

-      I would then like to go on to teaching commercial at a college or university in South Wales. There isn’t alot of commercial dance in Wales hence me having to move to Manchester so I would like to take what I have learnt and give it back to students in South Wales.

-      I would like to then open my own dance school, preparing students for moving away to specialist schools like Shockout Arts. I would make sure they know what an audition is like and what will be expected of them if they get through the audition. The fitness, technical aspects and stamina would all be covered, on top of the performance.

Untitled Page. 2016. Untitled Page. [ONLINE] Available at: http://www.vivaproductions.co.uk/. [Accessed 08 April 2016].

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Shot of me performing at the vouge ball. Best dance experience to dance.

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A competition done last October that  I performed in and we came first. Qualified to perform in Las Vegas representing Wales this summer.

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In November I went to watch the Broadway show 'Guys and Dolls' at the Palace theatre. I went mainly to see what the male dancers were like and if I was up to their standard. From watching this show it gave me an insight on what I needed to work on and how to do it. I realised the boys were jumps were so elevated and the clarity of their movements were very clear. My ballet training will help me achieve this and I think it will be possible for me to work on Broadway in the future.

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we recently were lucky enough to go and watch This amazing show based on Hip Hop theatre. It was an eye opener to me because it showed Hip Hop foundations which is what I struggle with. Its things like this I need to work on when I leave training to build on my knowledge and vocabulary. It also showed me how much hard work goes into dance and what I need to do to get there. I need to take as much class as possible in all genres of dance.

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In January a casting agent came to studio looking for models who can dance to participate in a fashion to promote golf. The audition was laid back and quite simple. The pressure wasnt that frightening as it consisted of a short routine and a short freestyle at the end. We had to walk most of the time as it would of be a runway fashion show. Although I did not get cast for the job it was still a very good experience and learning curve for me and I will take the experience and learn from it. The training I have had has defiantly built me and prepared me for things like this and I will always take what Ive learnt in my training with me to every single audition.

''Society may predict, but only I can determine my destiny ( Clare Oliver, 2015)

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This class really pushed me. The musicality was so precise I had to make sure I listened to the song properly.

''In dance, musicality is the matching of movement and form to the rhythm, melody, and mood of the music being played. Dancers may demonstrate musicality in a variety of ways.''

( "Musicality", Merriam-Webster.com. 2016)

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Every thursday we have masterclasses from practitioners from various countries. These classess have really helped me progress in my craft by pushing me and making me use my body in ways I never would of before.
We were lucky to work with practioners such as:
- Leeroy Curwood
- Candace Brown
- Dean Lee
- Jason Nguyen
- Rob Rich

My absolute favourite was Dean Lee's. His way of movement and style is what suites my body best. His full out energised choreography compliments my  dance ability.
His style relates back to commercial jazz which is where my strengths lie. And which is what style I want to continue whilst I've graduated.

(Bootylicous -  Destiny Child, Choreography - Dean Lee 2016)

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This really helped me on how to act and prepare myself for future auditions. The audition process is scary for everyone and we need to be mentally prepared for the knockbacks.

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by Nichelle (owner/editor)

The Basics

Ten. Don't embellish the choreography unless you are asked to. If you ARE given this freedom, click here for some tips for making choreography your own.

Next Steps

Remember! You can only be you, so much of the best audition preparation is the everyday work you go through to be the best dancer you can be. Be yourself and enjoy the process!

More Audition Resources

A great article from Charlotte Examiner, Cynthia Beers on How To Audition For A Dance Program

Check out The Ballet Audition Preparation Guide. I don't have first-hand experience, nor am I affiliated with this guide but here's what Ginny, a dance mom, had to say about it: "It has a lot about goal setting, keeping a journal of your progress (not just in preparation for auditions, but all year long), along with practical advice about preparing for an audition, what to wear, eat, etc. If a student really took the time to read it and put into practice the advice given, I think it would be helpful."

Look into this Kindle Edition resource: The Ultimate Guide to Dance/Drill Team Tryout Secrets, 3rd Edition. I've actually read a hard copy of this and it is solid information for youth or teens hoping to make the team from a successful and experienced dance and drill team performer.

Get a copy of A Dancer's Manual: A Motivational Guide to Professional Dancing. I own this one and this 1999 guide is not a large book but it provides a mixture of motivational and practical advice if you are starting out in this tough career. The audition section offers perspective on nerves and attitude, as well as useful information on head shots and your resumé. Other areas covered include contracts, pay, injuries, and dancer fitness.

Filed Under: Tagged With: Blog, anxiety, audition, audition tips, dance audition, expectations, how to, judges, make it your own, mistakes, nerves, pointers, reminders, sell it Career in Dance, College, Dancing, Featured, Performing, Summer Study/Workshops, Training

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by Nichelle (owner/editor) The Basics Ten. Don't embellish the choreography unless you are asked to. If you ARE given this freedom, click here for some tips for making choreography your own. Next Steps Remember! You can only be you, so much of the best audition preparation is the everyday work you go through to be the best dancer you can be.

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In January this year I had my first professional dance audition to be a male dancer on Costa cruise line. The audition was one of the most nerve racking experiences to date because I knew that this is what I've been training for. The audition was a mix of boys and girls and I knew I just had to give everything I had. I needed to link what I have learnt since studying at Shockout. All the technique, retention and performance skills I have acquired. I was in shock that I got through every round and actually got the job. This was such an amazing achievement for me having no technical training previous to coming to Shockout. This will potentially be my first professional job and made me more confident in myself and about going to other auditions.

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Whilst researching for different methods of How the rehearsal process develops the dancer, I found this article which was very interesting. Reading this has given me more of an insight on how to act during a rehearsal and how the feelings an artists gets before performance is a mutual feeling.

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Rehearsals for Move It were very intense with Jamie as he is very strict and likes things done a certain way and to a very high standard. I needed to know what I was doing at all times, and also have a very professional approach as I needed to set an example to the first and second years.
I realised during this rehearsal that I learn alot from my peers and really respect the people I get to work with. Everyone is so talented and learning from them and observing has heavily contributed to me as a dancer today. I will always try and learn from people working with in the future and hopefully it will build my progression in dance.

There were some sections I struggled with but I was determined to work my hardest and stay in the piece. I just to go home and practise in my room until I had it. Thats another learning aspect ive gained being here. Nothing comes straight away, you need to take it home and rehearse it to get the best result possible.

Due to unforeseen circumstances I was unable to participate in the actual performance. This was very hard for me as I was looking forward to the performance a lot.

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Vogue Ball!
Assistant Choreographer

the lead up to the vogue ball I was stressed. We only had 3 rehearsals to get the set done! This meant I needed to focus 100% and not get side tracked which I tend to do sometimes. From this I learnt that I work better under pressure and prefer working in an intense focussed environment rather than a long spaced out rehearsal.  As vogue and whacking is something I'm strong at Darren asked me to choreograph some of the routine and also have my input on what I think would work and what wouldn't. I recommended speeding up the music as I felt the original track was to slow. This improved the routine immensely and made the dance feel a lot more enjoyable.

Performance:
This performance was the best performance I have ever done in my life. The atmosphere was amazing and I felt electric on stage. Its times like this I really realise why I'm putting myself through this training which is very intense and difficult most days.

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Britain's got talent finalists. Very fortunate to have been assistant choreographer with these talented children.

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I was lucky to be assistant choreographer to the finalists 'Groove Thing' on Britains Got Talent. This was a very intense experience as this was a very popular televised TV show. This is where I first ever felt intense pressure on delivering my best work. The rehearsals were long as because the children are young it was hard to keep them engaged. This is where I learnt to stop and play a game or give them a ten minute break to help them focus.

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I have been apart of TDM's dance academy  since I was 9 years old. The dance school taught me all the fundamental steps needed and how to perform. I started doing basic jazz and street and then I found a passion for commercial. This is when I knew I wanted to be a dancer and started to explore more into the commercial dance world. I was in an award winning Hip Hop/Commercial team named 'Tornado'. We travelled to Poland, Austria, Germany and Barcelona competing in various competitions.  At the age of 14 I had my first teaching job at TDM and ever since then i've done the odd job but as of January 2016 I became a resident commercial teacher at TDM's. Having a close relationship with the kids makes my job so much easier as I know the abilities so can choreograph around them.

Learning Outcomes:
From being able to teach at Tdm's for a long time its given me the confidence and experience to teach dance anywhere I want. I have had requests from other schools to teach workshops and open classes which is an honour and makes me feel like my hard work has paid off. I now know how to act in a teaching environment and how  to deal with children in different scenarios.

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Notorious are our under 18's advanced competition Group. The girls from the group appeared on Got To Dance 2013, and received a standing ovation from all 3 celebrity judges.

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This team i have taught since they were under 10 years old and have watched the grow into mature young women . By observing how the girls bodies move and work I was able to create a piece that compliments the girls, In this competition they placed 1st which was an amazing achievement for myself and the girls.

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This class was the open class on a saturday which I teach on a regular basis. This class is kids age 14 - 20 and are at an advanced level. The choreography I created for this class was at an intermediate level and the class were able to pick it up and perform it very well. For next time I know I to make the choreography more complex to challenge the students a little more.

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A short snippet of one of my teams I teach at TDM's dance academy. The improvement on these kids since I have started has been phenomenal. This was a competition and they placed 1st.

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I read this whilst doing the Easter camp and it really helped with my teaching methods with the younger students.

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Managing, engaging, and interacting with young children in an active setting like a dance class can be extremely challenging.

I have found that classes for dancers under six or seven require the most preparation, the most energy, and the most patience.

A young assistant once stated, "I had this big idea of how the kids would act and how the class would be, and this is more hard work than what I thought."

She is very right. It is a lot of hard work and a teacher that does it well may seem to know magic the rest of us don't. But really, it's all about problem solving.

Below are strategies for dealing with the short attention spans and behavioral challenges typical of the preschool (3-6 years) age group - and maybe even older!

1. Add layers to the movement

When teaching basic dance skills, repetition is important. Keep skill practice interesting by layering your instruction with imagery. Find occasions to play pretend that will also enhance their understanding.

For port de bras exercise, you can ask children to pretend that the wind is blowing their arms out (for demi second), or encourage them to become pancakes and "flip" as they practice three-step turns.

Bringing their attention to a special quality within the movement can improve their focus as well. For example, encourage them to "eat up the space" with large movement in leaps, make their whole body sharp like a knife during marches, or point out the level changes in jumps/sauté and have them try to make their highest level higher each time.

2. Keep the class moving

A common mistake in teaching classes with young children is to spend too much time on a single activity.

For students under six, five minutes on any one thing is usually the maximum. Generally, I try not to spend longer than 10 or 15 minutes in any one formation or on any one portion of the class (in a circle, across the floor, standing in lines, etc.). Children are easily distracted and their attention wanes quickly.

Always plan more activities than you have time to include. If you see that you are "losing them," do the kids and yourself a favor by wrapping it up and moving on to the next activity.

3. Light up the room

Young kids enrolled in a dance class are there to have fun. It is not yet truly satisfying to "work hard" at something even if they think it will please you.

If it doesn't feel like playing, they're far more likely to be inattentive.

Therefore, it is imperative that your energy level be high throughout the class, that you vary the tone of your voice, and that you aren't afraid to be a bit goofy or over-the-top. You should be the most interesting thing in the room!

Bonus tip on vocal volume: I sometimes like to whisper when students are getting too noisy because it adds an element of surprise and because they have to quiet down to hear me.

4. Participate and model behavior

With older children it is sometimes necessary to limit your demonstration or participation in the actual moving/dancing portions of class.

Young children, however, take all of their cues from you.

If you are asking them to pretend they are in a dark forest as they creep around the room, then you must be in that forest with them at least part of the time.

If you want them to perform with 100 percent of their energy, then you have to give 150 percent.

Modeling behavior is also important for showing children how to behave. Ask the students what is the proper way to sit or stand while waiting on their spot or number, then show them, and then have them practice it with you.

5. Offer "Dancer's Choice"

The freedom to choose is empowering, particularly for children who are learning to become independent in their thoughts and decisions.

Try to include a chance for your dancers to make a choice at least once in each lesson.

However, be careful about offering unlimited possibilities. Children do best when they have an "either/or" alternative. This can be as simple as occasionally allowing children to choose if they'd like a blue spot or a red spot to stand upon (just make sure when offering these types of choices, you have enough of each so that no child gets "stuck" with something).

Every so often allow the class to vote for doing échappé or balancé for this lesson, practicing the other next week. You can also offer opportunities for children to make decisions in their movement. For instance they may choose between dancing sharply or smoothly (quickly/slowly, happily/sadly) around the room. They may choose to make a round shape or an angled shape (balanced/off-balanced, big/small) when they finish their exercise across the floor.

In fact, this ability to choose is what makes creative dance a powerful introduction to movement and dance for children (and, in fact, all people).

6. Enlist and recruit a misbehaving child

A chronically misbehaving child can be like a little thorn in your side. If you're familiar with the advice to keep your enemies closer than your friends, this tip is similar.

Instead of constantly reprimanding the child, enlist his/her help in some way. Ask her to be your helper when handing out props, or recruit him to make the check marks in the attendance roster. Sometimes your faith in the student as you offer them this responsibility is all the incentive they need to behave better.

If you can identify the portions of class which are most difficult for this student (during recital practice, across the floor, etc.), these may be your best opportunities for recruitment.

7. Avoid making promises you can't keep (line leader problem-solving)

Children are a lot like elephants - they never forget!

Therefore, I've found it best not to make too many promises that I can't (or won't remember) to keep. When there is turmoil over who gets to be line leader, it may seem a grand solution to promise a child that "next week" they'll be the leader. The problem is that you'll rarely remember that appeasing promise.

Instead, the victim of your faulty memory will remind you after you've already broken your promise and then more promises will need to be made.

Some teachers use a detailed chart or system for choosing line leaders. My solution may not be perfect but I typically choose (at will) a line leader during the warm-up circle. When the decision is made long before the moment of actual leading, it seems to lessen the disappointment of not being chosen.

I make it clear in our classroom rules/procedures that this is a privilege they can lose due to poor behavior. Should this occur, they must choose the new line leader that will take their place. I try to be fair, but my selection process is typically rather arbitrary. When met with discontent, I reply kindly but firmly "I know it is disappointing not to be chosen this time but you'll get a turn another day!" (Notice I didn't say "next time.")

8. Offer positive feedback at every opportunity

Children respond well to positive feedback.

Continually be on the look out for things that are being done well. This gives the class a chance to model the appropriate behavior.

If the majority of the class is messing around, look for that one child who is doing SOMETHING (anything) right and single them out rather than reprimanding the whole class. You'll definitely get more mileage out of saying something positive ( "beautiful arms, Suzie" "that's a high jump, Becca!") than overstating negatives.

Try to be specific. "Good job" doesn't have much power all on its own so really keep your eyes open for specific things that are being done properly.

9. Limit negative attention

A child will eventually stop responding to his/her name if it is said over and over in a negative way. In fact, if a student receives negative responses a lot at home they may already be well-practiced at the skill of "tuning you out."

Interestingly, you may need to hone your own skills in this area because it is often better to ignore bad or distracting behavior (if no one is getting hurt) than to draw attention to it. Negative words like "No," "Stop," and "Don't" should be used sparingly - usually only when there is risk of danger or injury.

For some children, negative attention is preferable to no attention at all, in other words, they will look for ways of getting your attention if you don't first give it in a positive manner.

10. Say what you want to see, even if you don't really see it

For instance, let's say no one is pointing their toes. Instead of saying "Point your toes!" say "Thank you for pointing your toes!" or "I see beautiful, pointed toes!" and you may be surprised that suddenly the children all point their toes (even if they wouldn't have if you had specifically asked or told them to).

Use the same method for all kinds of behaviors, including waiting quietly, keeping hands to oneself, quickly changing shoes, etc.

This tip transformed my teaching. The concept may seem obvious, or perhaps just a silly matter of semantics, but it is powerful. I can't take credit for the "Say and see" wording or concept, however. It comes from one of my favorite resources, Creative Dance for All Ages by Anne Green Gilbert. In fact, many of her ideas have worked their way into my teaching and are likely to show up elsewhere within this list.

11. Assign objectives that heighten anticipation

Repetition and routine are extremely important in a class for children, however, if the same skills are done the same way each week, the children are bound to get bored.

Even if you work on the same skills each week, you can still give the kids creative objective that will increase their anticipation toward participating, As in layering, these "assignments" are easy to change from week to week.

For instance, if you practice gallops across the floor, tell the class they must gallop a special dessert to their friend on the other side. When taking turns, ask each child what kind of dessert they are offering.

Next week, perhaps they'll take a special balloon to the other side. Just make sure you inform the class of what you're going to ask and what you expect of them before the exercise. Something to the effect of, "Now we're going to do brush walks. When it is your turn, I'm going to ask you your favorite color. Keep it a secret until it's your turn! After you tell me, you can do your walks across the floor and pretend to paint that color with your feet."

This method gives the children something to look forward to and think about as they wait for their turn.

12. Use distraction and redirection

When children begin to get bored, are tired of waiting, or are seeking attention, they often complain, ask to do something else (like visit the restroom or get water), or fidget.

During moments in which it is important to finish an exercise or task, refocusing your students' attention, or distracting them is key.

If a student is hounding you for a water break during arabesques be clear and firm that "Right now we're dancing." Then, in an energetic tone, swoop in with something that will refocus their attention like, " In fact, I'm pretending to be a beautiful bird while I do my arabesque! What kind of bird are you?"

Waiting for a turn can be difficult, sometimes just having something to hold while standing by can be calming for a child who is forced to sit tight. When asking large classes to take turns crossing the floor, I have offered the next children in line something sensory like scarves (or a stuffed animal) to hold until it is their turn, at which time they pass the object to the person behind them who is waiting.

In a class which has an especially hard time waiting, each child could keep a scarf and you could suggest different ways of using it as they practice a skill.

BONUS TIP!!!
Keep a few things in your "back pocket"
It can be hard even for experienced teachers to phrase things in the clearest way possible, make up creative suggestions or distractions on the spot, or switch gears when needed.

Therefore, think about the skills you practice in class and come up with a few images for each that you can whip out at appropriate moments.

Try to anticipate problems or situations that may arise and rehearse your manner of giving instructions just as you would rehearse the combination that you are giving the class.

Always have a few "crowd pleasers" handy to gather scattered attentions or revive a spiritless mood.
Keep these things in your "back pocket" so that they are there when you need them.
Practicing Magic

Improving skills for working with preschool children is not a magic trick. It comes down to thoughtful practice and assessment of what works and what does not.
Watching a child enjoy dance and get excited about movement - now that is magical!
Whether you are an assistant or a professional, I hope you have found these tips useful in your classes.

Tell me what you think of these 12 tips! Other teachers reading the blog will welcome your thoughts, and so will I!

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Managing, engaging, and interacting with young children in an active setting like a dance class can be extremely challenging. I have found that classes for dancers under six or seven require the most preparation, the most energy, and the most patience.

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Choreographing this piece really challenged me as the dancers are at an advanced level so I had to be very conscience of the making the choreography dynamic and complex.

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This opportunity was offered to me last summer after I was head commercial choreographer for the Dani's summer camp. It was a 9.00am - 5.00am tuesday until saturday teaching two separate teams. A younger team and an older team. The kids will perform these pieces at a platform called 'Who's Up'. The event is to showcase the dance scene in South Wales. As a commercial teacher I had to be specific on what I was choreographing.

Rehearsal Process:
With the older team I felt the ability was very mixed which actually proved more difficult than I expected. With my routine already choreographed I felt I had to back track and simplify the movements and re-choreograph sections. Towards the end of the week my patience was starting to wear thin, which is something I have to work on. Some of the students had been there a lot longer than the ones struggling so I needed to fair and give everyone a chance. The end result I was happy with but it obviously needs a lot of cleaning before the performance.

The younger team were so fun to work with. Even though I did have to raise my voice a few times because of chatting and people loosing their focus it was a pleasant experience. The  ability was also mixed in this class but the choreography wasnt so complex which made it easier for the students with less experience to pick up.

Learning outcomes:
I learnt from this that I need to choreograph to the student I'm teaching and have more time and patience with students who are struggling. I have to remember that everyone starts somewhere and I was once in their shoes.

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Photograph with all the Dani Dee Students at the Easter Camp.

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Some of my choreography of the older class at Dani Dee Easter Camp.

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