"Did you see that five year old doing fouetté turns?"
It sounds ridiculous, doesn’t it? But I have seen it. In the rush to build the bionic dance student, some schools subscribe to the theory that the harder and younger you push them, the stronger they become.
"If Suzie can do that now imagine how good she will be in five years!"
This simply does not work. Dance training takes patience and perseverance. Proper dance training follows a natural order of
progression.
Look at gymnastics and figure skating. They push their bodies to extremes at young ages, only to find that after the teen years, they decline. That works great for the Olympics, but dancers look toward a life long career not a gold medal. Fouetté turns, switch leaps, and pointe work are best reserved for the dancer who has been properly
trained.
"Suzie turns 10 tomorrow, should we go get her pointe shoes?"
This is a commonly debated question. Some schools stick hard and fast to a 12 years of age rule while others may start pointe work at age 5. While being dogmatic about a certain age is unnecessary, there are many considerations to be made before a student is physically and mentally prepared for pointe work.
The wrung of pointe work comes far up the ladder of technique. Rushing to this point sharply increases the risk that one will slip, fall, or even incur
injury.
Responsible teachers take their time and only put students en pointe when their bodies are properly prepared.
Let’s face it. Parents of young ballerinas dream of seeing them in a tutu and pointe shoes. It has become common for dance teachers to succumb to parental and financial pressures, causing them to advance students before they are ready. These practices are both irresponsible and dangerous. Remember that you shouldn’t put up the wallpaper before the walls are
finished.
"But most dancers aren’t going for a career they are just having fun!"
That is wonderful. Nonetheless, it is not an excuse to give them poor training. Proper training teaches the recreational student respect and appreciation for dance. After all, they are the core of the dance audience of the future. Besides, how do you know that one of your students is not going to go on to a career? They may surprise you.
What age is appropriate for sexy choreography? Ah, round two of the debate. Let me start by asking a question. If Mr. Kramer, the local high school science teacher, dressed your daughter up in spandex shorts, a revealing half top, taught her to do pelvic thrusts and to run her hand along her body would you be upset? Now imagine that he makes her do this in front of an audience and asks that you pay him for his services? My guess is, you would be upset. But remarkably, there is little difference between what happens in many dance studios and what I described.
"Oh don’t be prude teenagers are not naive."
I agree. Teens deal with sexuality daily. However, they do it on their own, without the help of the dance teacher. That is how it should be. It is neither the dance teacher’s realm of expertise nor right to teach them about
it.
"If they're going to go professional, they have to learn that style now."
That ‘style’ makes up only a very small percentage of the professional dance jobs. Besides, it's just a style. Technique is something you need to have for a career. If they are good enough to be professional then they can pick up the style on their own and at their own
pace.
"But they teach sexy choreography at competition workshops."
The focus at these workshop classes is entertainment. They are less concerned with the student’s education. They deal to the lowest common denominator, which means doing the sexually suggestive steps seen in music
videos.
"You shouldn't limit the choreographer’s freedom of expression by ruling out suggestive movements."
I don’t propose limiting his or her freedom of expression just who he can express it through. There are adult dancers and audiences to fit any expression one feels necessary. However, the freedom of expression runs out when you encroach on the freedom of others. I cannot help but question the judgment of a teacher who choreographs a dance with a sexual theme for minors and then has them perform it in front of a large crowd of
children.
| SO WHAT CAN WE DO ABOUT IT? |
Whether you are talking fouetté turns or pelvic thrusts, we must be responsible:
- COMPETITION DIRECTORS
Create and adhere to decency guidelines. You may lose a patron or two, but no one is in a better position to make a more dramatic shift in the current situation.
- JUDGES
Encourage studios to search out more creative dance topics. Keep to your convictions and award age appropriate concepts and
movements.
- TEACHERS
Hold yourselves responsible for giving your students the best education you can. Understand that with the many hours you spend with your students they learn more than just dance technique from you. Insist that the competitions you attend are responsible and have integrity. Finally, find creative choices for dances.
- PARENTS
Insist that your child’s dance education be age appropriate. Whether they are just having fun or have aspirations to be professional, you want to find a teacher who is more concerned with your child’s welfare than they are with emptying your
wallet.
- DANCERS
Express yourselves creatively. Enjoy your freedom of expression but learn to discern what is truly within you and what has been taught to you by
others.
You are bound to run into some obstacles while adhering to these convictions. Just remember that the students are the bottom line and not our egos. 
It is our responsibility to do what is best for them both technically and thematically.
