An Excerpt From My Journal

As a teacher I find it of great value and interest to keep a journal of my teaching activity. From this source I can follow the students progress in such a way that I can begin to see the direction a student is heading towards. In this way I can arrest some deficiency or give them specific coaching that really accelerates their level of dancing.

Below is an excerpt from my journal. As you will see I include pictures to help me understand the specifics of my students faults and strengths. I recommend this approach with enthusiasm and know that it could be a source of inspiration and value to every teacher.

June 16th
Monday: 10:30 am

I have been looking over the classes that I need to prepare for the next year. My three classes, two which meet 5 days a week and one which meets 3 days a week, have me very busy this summer. I have only 6 weeks before classes get under way and I have a lot to do.

First I'll look at my Level I class (beginners) who will meet with me the first time this year. I have about 16 in the class ranging from 10 years old to 12. I observed them in the audition class and most have had some preliminary training, though the others are talented enough to catch up. I am really excited about this class. There is nothing more satisfying than working with beginning students who are committed to making class 3 times a week. A couple of the more experienced ones, like Tiffany and David, try to take a couple of more classes each week when they can make it... (it seems a lot of my better students have a lot of homework... but I prefer to work with those students who seem to put forth 100% effort in all they do... and they both are A students).

I'll have to find time during the next three weeks to learn all the classes I'll teach the three-day week group (Level I) for the Fall quarter... let me see... there are 6 classes (two major ones), which doesn't include the pointe/men's work and the variations they will begin to learn. Between the two 5-day week classes and the 3-day, I'll need to know at least 18 classes plus the pointe/ men's work and at least 3 sets of variations and two pas's. Well... first things first.

I'll begin by building the principal class (5th class) in each Introductory section of Levels I, III, and V. From there I will develop the Introductory Class (2cd class) for each section and level, and then organize the other classes (class 1, 3, 4, and 6) of each section and level from the material in the main two classes (the 5th and 2cd). That should give me some freedom not to worry about the material I will present to them, knowing that each class is tied to the next one, and pay closer attention to technical and artistic details. It really has helped in the past when I knew the work before hand that the students needed to accomplish for the year.

In Level III I have 18 students (my max is 20, though many are surprised how I can teach that many in class - my secret that I teach to those in the Teacher's Training Program) and the two most advanced dancers are Kimberly and Joseph. Kimberly has been with me for a few years and she is really developing into a beautiful dancer. She's quiet and doesn't say much (one of my pet peeves is communication), but she takes all the coaching like a dry sponge hitting water. Beautiful arabesque and she'll be tall when she finishes growing (5'6" at 14 years old). Joseph started late (as usual with men - hope my recruiting program to get boys in the program early begins to show results over the next couple of years) and his interest can wane every now and then - can't expect it to be different for a young man of 15 who attracts girls like a light does moths. But he is consistent enough that it is beginning to make a difference. I guess you could say he is beginning to "see the light at the end of the tunnel" and is now putting forth greater effort.

Level V is really making an impression on the rest of the program participants. My two best dancers, Eleanor and Jason, both who will be turning 17 soon, are looking at competing at some of the International Ballet Competitions - within the next two years Eleanor will decide either to go to a top university dance program, with hopes of a scholarship, or attempt to gain a good contract with a professional ballet company; and Jason is hoping for a contract (which will be no problem for him) -- both believe that the IBC's can only improve their chances.

For a couple of years Eleanor had a problem about her weight (one which became a little obsessive). I knew it wasn't really her weight she was concerned about, but the way she looked. I knew that over the next couple of years she would gradually come to realize that there was no problem. Now she looks trim and is very healthy, both in mind and body. At 15 she still had what her mom would call 'her baby fat'... that term would throw Eleanor into a very sullen mood and I asked her mom to quit referring to it like that. Eleanor had been born with a generous coating of fat that was distributed evenly across her body. I knew would eventually go away, but what do you say to a 15 year old who's entire focus was ballet - and being in the studio everyday with mirrors all around can make even the best of us a little hard on our ourselves. I explained to Eleanor that as she developed her technique her body would alter to fit the technique.

Eleanor had a difficult time believing this, and so over a period of a few weekends I had her study some material on human physiology - specifically how muscles tissue deals with stress, and its ability to change its structure in order to handle the stress. Once she had done this we had a conversation about how the curriculum (syllabus) I designed and teach impacts the body. When a system of training is homogeneous and has been well thought out you can control which area of the body, and how much of that area, is broken down and then built up again. I showed her pictures of great dancers and what their physique looks like. Eleanor said she wondered if her body would ever look like that, and pointed out physical differences between the dancer in the photo and herself. I said that there are differences in bone structure, but basically we all have the same muscle structure... and muscle can be built to look like the dancer in the photo. Eleanor knew that her body had changed some already, but wanted to learn more about how this qualitative shift in physique is made.

I explained that this shift in physical appearance is going on all the time, though you cannot see it. I used a tree's growth for example: you may one year see a tree as a sapling, and during that year notice how the leaves change size; then the next year in the spring you all of a sudden noticed that the tree is larger and is producing larger leaves. This goes on until the tree is full grown. But you can't 'see' the tree grow - you just noticed the difference after the fact. I said it is the same with physical appearance - it is an illusion. We laughed at this because we both really know that dance is an illusion also... that is the artistry behind dance - creating illusions that inspire people.

This qualitative shift does happen I told her (and for most it seems as if it happened overnight), and the physical appearance of the body seems to magically transform. I know that where the muscles are most stressed they will break down and build new and stronger tissue to meet the demands of the stress. This not only redevelops the muscle to assume greater demands made on the body, but changes the outward appearance of the muscle. That is why it is important to not only to have technique classes prepared in advanced, but to have a comprehensive system of work that can accurately control where and how the body matures. One exercise, one class, one level of work, each go hand-in-hand to help the dancer transform their physique and technique.

After this conversation Eleanor became more assured of her progress, though there were still many lapses into the "old" conversation of weight, and she had greater confidence in the possibility of her body and technique improving dramatically. Since then, when she was 15, she has truly transformed... lean and in great health.

July 13
Sunday: 3:00 PM

Over the last couple of weeks I've learned Level I, III and V's Introductory Classes. I have worked with Level III and V for 2 years now. I am happy about the progress both have made, though some students are advancing quicker than others, they are all within the same range. Level I class is new and I plan on approaching them gently with an eye on generating excitement about the year's work.

I find my focus for the first classes for the year is generating the student's excitement about what is possible for them to accomplish this year. I take the time on weekends to have a couple of hours free in the studio to show videos of some of the pas de deux's and variations they'll be learning and invite any of the students who wish to come and join me. I do this for about a month, and when they realize the level of work they will get to tackle most of them become very enthusiastic. The program offers them an opportunity to perform the variations and pas's in the middle of the year and at the end of the year.

I tape each student's performance at the middle of the year and we take time on the weekends to study them together. This has two very positive points - 1: it helps them understand how important the work they do in class is to their technique, and I point out how many of the exercises in their classes directly affect their performance; 2: I am always pointing out where they have improved and congratulate them on their improvement. The most difficult part of training a dancer is in how to assist them about their development of their thoughts about themselves. Being focused on your body as a vehicle to accomplishment can lead many dancer's to an unhealthy view of themselves.

When Eleanor was mentioning how much weight she was losing, and other referrals to her body's appearance, and I began to pay closer attention to her attitude and interaction with the other students in the class. It was at this time I thought I should develop some form of coaching project where I could find out where my students stood in regards to the thoughts they have about themselves and their commitment to training as a ballet dancer.

Before class began for the year we had an 'orientation' seminar for the dancers. It was required and most of the dancers attended. I had developed a series of questions that each would respond to, and these questions allowed me a closer look at their motivations, hopes and dreams, thoughts about their physical appearance, and even simple things like their favorite color, food, games, and activities. The latter was intended for a more personal approach to them when birthday's and other special events occurred in their life. (For instance, Kimberly likes roses but really loves orchids, white orchids... on her birthday I had the pianist play her favorite classical music -- which was one of the questions I asked on the survey -- and presented her with 6 white orchids. I work the students very hard and demand much from them, and little things like the flowers on her birthday lets the dancer know that I care about them beyond the studio environs). The most powerful questions from the survey, like their commitments, dreams, motivation, etc., allow me to know how to coach them effectively. At the end of the the orientation I pass out a sheet to each dancer with my responses to the survey. In this way they come to know what my commitments are and many other personal information. This teaches them that we are in this together, all our hopes and dreams, commitments and motivations. From this point I can build great relationships with all my students - trust is the key to unlocking the door to extraordinary results.

August
Sunday, 3:00 PM

Tomorrow will a great day... the first day of classes. The technique classes I've already worked out. For the Level I, the beginning level, I'll be focusing on their their ankles and related balance coordination. I noticed a few of dancers at the audition who really roll their ankles forward... part of this comes from weaknesses in the abductor hallucis and tendon-tibialis anterior; the other part comes from weaknesses in the hip area. For beginners it is more important to get the ankle handled well before anything else. If the foot is unstable all other body work will suffer. The dancer must have a firm grip on the floor without wobbling.

When Tiffany first started I remember I had a big job straightening out this area for her. She had a difficult time keeping the arch of the foot off the floor. She learn to press her toe pad firmly on the floor through her first metatarsal, and eventually gained strength in her abductor hallucis and tibialis anterior. It takes constant attention from me in this area for beginners to get the gist of it. Tiffany now has very strong feet that are quick, and give her great balance for tours and promenades.

The intermediate level, Level III, class I will focus more the hip and lower torso area during the first week. Using the work from this week I can build the dancer's ability to connect this area with the upper torso, especially the upper back. I'll be introducing pirouettes in à la seconde, more sustained adagios and larger jumps than they were accustomed to last year.

I will introduce more double tendus to strengthen the abductor longus and semitendinosus, and teaching them how to use the outside of the upper leg (vastus externus) only as a support. Most dancers rely too much on this muscle, and the large thigh muscle (rectus femoris), for their jumps. These muscle tend to deplete the dancers oxygen too quickly, and slows the dancer down. We'll be doing a lot of small jumps to train their feet and calves to assume more of the work for jumps.

Level V, my most advanced class, will begin to work on combined areas. Jason is going to be surprise how much this Level, and Level VI, will develop the pyro-techics that he is interested in. He has great double tour en l'air's now and has been making stabs at double tours to the knee. He doesn't suspect it, but by the time he finishes this year he will be doing tour en l'air to 1st arabesque, tour en l'air en dedans to the inside knee, and learning how to dynamically hook the tours as a finish to many pirouettes.

All the students at this level will begin polishing of their technique. Of crucial importance will be how I deliver the classes in regard to their upper back work. It will be in this area where they will gain the control for all their large jumps, turns, and master the art of partnering. This is where Eleanor and Jason are really excited. They will begin to learn Don Quixote Pas, which is very dynamic bit of partnering as well as variations, and it will test their skill level.

Jason has been having problems controlling turns past four or five. He hasn't got the trick of using his lower back (sacrospinalis) in conjunction with his gluteus medius and maximus. He'll learn how the control in this area will allow him to adjust his turns as he is turning. Eleanor has been having trouble with her supported adagio work (sometimes blaming it on her partner, Jason - not so! Jason does very well), and she'll learn how to control her promenades with Jason through her teres major and trapezius.

I am really looking forward to this next month's classes. I expect it to be an exciting and exploratory time. The new kids in Level I look to be a great group of kids, and the students in the other levels, which I've worked with for a couple of years now, are showing great promise...

Well... I guess I should go now and finish studying the videos for the variations and pas I'll be teaching the kids this year.

Anthony answers some of your questions in this special section. You may email him at coach@danceart.com