For the 12-15 year-old dancers who remain in their area for the summer but still want a different dance experience, check online for all the local studios. Look at what they offer for their summer programs. Some studios offer valuable Master Classes during the summer. There is generally a biography about the teachers. If you are unfamiliar with a dance instructor - whether a regular teacher or a Master Class instructor - do an internet search on their name to find out about their experience. The only way to tell if a teacher is good for your dancer is to take a class.
For older dancers, purchase your leotards like you do your street clothes: try on lots of different ones and buy the ones that look best. There are usually many different styles and once you find which features are most flattering to your body, it becomes easier to purchase through online outlets. If you cannot find anything at your local dance store that is any different than what you have always had, go to a different store in a different place - perhaps when you are on vacation or visiting a relative.
I would like to answer your questions. Please email me and see your answer in the next Tip (in addition to a personal return email).
It is a fact that a good summer program is indispensible to an intermediate/advanced dancer, but what should the expectation be? The reason for a summer program is to have something significant on your resume, to see where your dancer stands compared to other dancers, and to assess the reaction of an unknown - and hopefully renown - dance instructor. Do not expect to have your dancer asked to stay. While that does happen sometimes, it is not common. Sometimes it seems like no progress was made in the dancer's ability, but how much difference would you have seen had they not gone? So it's an opportunity to be seen and take a dose of reality. The best summer experience will be found after much work on the internet looking at the instructor's credentials and the overall status of the school.
Theoretically, just one audition would suffice, but how will you and your dancer react should that company decline to accept your dancer? The best answer is as many as possible. Auditioning for only the few programs your dancer is willing to attend may leave them without a summer program. It is also an advantage to attend various auditions to see how the instructors handle the dancers. While that particular instructor may not teach during the summer, they are still reflective of the overall attitude of the company/school. The same is true for professional auditions: Attend as many as possible and always do your best, even if it is not a company you particularly want to attend.
Because it is not possible to attend every professional audition, choosing which to attend is extremely important. Look at the company online and see how stable they are by looking at the longevity of their staff and dancers. Check the newspaper articles about them and see if they are well-funded and their performances well-attended. Whenever possible, attend an audition at the beginning of the tour because the later ones tend to have more dancers, making it more difficult to be seen. While it is not reasonable to travel to every company's location, it is best to be able to assess the physical site. This will offer the dancer an opportunity to see the condition of the studio.
Some summer intensives are available to dancers who remain within the age range, but are already professional. For a dancer desiring to become a member of a particular company, a summer intensive after having time to perfect your dance can be desireable. Professional dancers should try to attend the scheduled auditions or send a video audition. I recommend taking a company class as an entry into the company, not to a summer intensive. Professional dancers should feel free to wear any solid color leotard, but should stick with traditional pink tights under the leo. Do not wear a skirt or other warm-up garments.
It will inevitably happen that your dancer will be dissatisfied with the part or parts they are given in a production. Often the dancer will stick it out, but lose complete interest in performing well. This happens in professional companies as well as amateur productions.
It is important to remember the constant scrutiny under which a dancer performs. Even though the dancer may not care what the director may think, it is still part of the reputation the dancer is building. The dancer should attempt to concentrate on the parts of dance that they value and try to put to the back of their mind the particular bits they dislike. When the production is complete, evaluate the dancer's committment and interest in continuing with that company and dance in general.
It is important to remember the constant scrutiny under which a dancer performs. Even though the dancer may not care what the director may think, it is still part of the reputation the dancer is building. The dancer should attempt to concentrate on the parts of dance that they value and try to put to the back of their mind the particular bits they dislike. When the production is complete, evaluate the dancer's committment and interest in continuing with that company and dance in general.
The ideal foot has the "widest" part of the point just below the ankle. Although not everyone has the naturally beautiful foot, there are some things everyone can do to have a perfectly acceptable point.
First: GET YOUR LEGS STRAIGHT! When the leg is straight, all of the foot's arch can be seen. One thing that often keeps the legs from straightening is not having the back straight. Be sure to keep the hips tucked so the back will be straight, then the legs can also be straight.
Second: Stretch your pointe. Being extremely careful to not allow the foot to scicle either to the left or to the right, apply pressure on the top of the foot where the arch ends. Hold the pressure for at least 3 minutes to trigger muscle memory.
Some dancers have a nice pointe, but don't always point their toes. Be sure to not just point the foot, but the toes as well. Also called articulating the toes, getting the toes down will improve the appearance of the foot's arch.
First: GET YOUR LEGS STRAIGHT! When the leg is straight, all of the foot's arch can be seen. One thing that often keeps the legs from straightening is not having the back straight. Be sure to keep the hips tucked so the back will be straight, then the legs can also be straight.
Second: Stretch your pointe. Being extremely careful to not allow the foot to scicle either to the left or to the right, apply pressure on the top of the foot where the arch ends. Hold the pressure for at least 3 minutes to trigger muscle memory.
Some dancers have a nice pointe, but don't always point their toes. Be sure to not just point the foot, but the toes as well. Also called articulating the toes, getting the toes down will improve the appearance of the foot's arch.
