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Ask Rhee Gold
Dance educators seek advice about teaching
issues
Q:
Dear Rhee,
My mom has owned her school for 43 years and I’ve been
teaching for her for more than 20. Yesterday I came to work to
discover her crying in the basement. After prodding her to
tell me what happened, she said that a couple of her teenage
students had just told her that she’s too old to teach them.
They said, “We want to learn real jazz, like hip-hop, not the
old-fashioned jazz!”
My mom is 65, with a reputation for being one of the best jazz
teachers in our state. Her training was with the pioneers of
jazz dance, including Luigi, Gus Giordano, and Matt Mattox. To
this day, she still takes class with Luigi when we travel to
New York! What the kids don’t understand is that her
background is in real jazz and not the latest fad. Her
technique helps our students build a strong center body,
style, and physical fitness.
Before these students told her that she was old-fashioned, I
would have predicted that my mother would be teaching forever,
because I know she loves it. Today my mom told me that she is
thinking of turning the school over to me; she said that she
feels it’s time to turn it over to the next generation. And
she added, “You should get a good hip-hop teacher.”
I don’t want to run this school without my mom—she is the
backbone of all we do and her students are excellent. It would
be a bad move to replace her with a hip-hop teacher because
that teacher isn’t going to offer the students the technique
needed to be a strong dancer.
How can I convince her that what she has to offer our students
is valid and that she is still one of the best teachers out
there? I need help with this and I don’t know where to turn.
Thanks. —Kali
A:
Hello Kali,
How cool that you have so much respect for your mom and that
you know the value of her expertise! Too bad her students
don’t recognize it. But you have to understand that they are
teenagers who probably have never heard the names Luigi,
Giordano, or Mattox. Nor do they know how important those
techniques are to their success as jazz dancers. They’re
influenced by what’s going on now, and a whole lot of dance is
about hip-hop.
Hip-hop has been around for more than 20 years, so I wouldn’t
call it a fad. In fact, today’s commercial dancers should
have some hip-hop training. It may be time to incorporate
some hip-hop classes into your curriculum, while continuing to
offer the students what I would call the “real jazz” base that
your mom has to offer. This doesn’t mean that you and your mom
are selling out. You are simply keeping up with the times.
Your mom needs to understand that her knowledge and background
in jazz dance are things that her students need too. With your
mom’s jazz dance base and a hip-hop class or two, the students
will be getting the training that they need to be a success in
today’s dance world. Solid jazz technique is still important
at most auditions, and it is your mom’s responsibility to pass
that on to her students.
One of the things I thought of while reading your letter is
that you could consider bringing in Luigi to teach some master
classes for your students. While he is there he could talk
with the kids about his history in the world of jazz dance and
how important it is to experience all jazz techniques. He is a
very inspiring man who has the ability to motivate all ages.
I’m pretty sure that your mom’s students will have a new
understanding of what she’s trying to accomplish after they’ve
experienced Luigi’s passion.
Tell your mom to keep taking those classes and to never give
up because we need teachers like her. They are few and far
between in our trendy dance world. I, for one, am glad to know
that there are still some teachers who are passing on real
jazz. All the best to you and your mom.
—Rhee
Q:
Dear Rhee,
I have a problem—a student who “takes over.” This is in the
advanced class, ages 14 to 25, and she is one of the older
girls. I do not intend to let her run things, but how do I
stop her? I do not want to get rid of her because she dances
major roles and it would be a burden on everyone to replace
her.
What does she do? Before class starts she goes in early and
gives the other students stretches when I want them to warm up
first. I should not have to stop speaking with a parent before
class to police what’s going on in the classroom. I always
start the class on time, so I cannot solve it that way. Also,
at our last performances I was surprised to see some soloists
come onstage with a different costume than I had given them.
They said, “But she told me you wanted me to wear
this.” Also I was surprised to find additional props onstage
and even more surprised when she sent me a large bill for
them. Do you have any suggestions, other than just talking
with her? Thanks. —Veronica
A:
Hello Veronica,
Major roles or not, this student needs to be put in her place
without regard to whether or not it will be a burden to
replace her. It’s your class and therefore your responsibility
as a dance educator to offer your students what is best for
them physically. If this student is telling the others to
stretch before they are properly warmed up, you may be risking
injuries among your students—and sacrificing your own
ethics—to avoid a conflict. The issues with the soloists’
costumes, the props, and the bill may be a result of your
reluctance to speak up regarding the stretching issue. This
student may interpret your inaction as an endorsement of her
actions. She may very well think that she is helping you or
that she is going the extra mile to please you.
Obviously you do need to speak with this student to explain
how you feel. But you need to do it with total confidence in
yourself and without any fear that she may leave. The
wellbeing of your students, and yourself, is more important
than the fact that she may be hard to replace. I wish you all
the best. —Rhee
Q:
Hi Rhee,
I’m starting to plan my season for the students in my advanced
level. We always do several competitions and my kids love
them. I know that my students are motivated to take class and
improve their technique as a result of the competition
experience. However, I wonder how much is too much? What’s
your opinion on the number of competitions that’s appropriate
for our students? Also, what are your thoughts on
participating in national final competitions? Any input would
be appreciated. —Diane
A:
Hi Diane,
For studios that compete, I recommend two or three
competitions a year, with at least one of those events
including a class aspect; that is, a convention, workshop, or
competition that also offers master classes. It’s important
that students experience classes with master teachers who will
offer them different styles and approaches. Such exposure
helps to prepare those who aspire to a professional career and
inspires all students in a noncompetitive atmosphere.
I do think that taking students to a national competition can
be a huge motivator for them (and you). The chance to see
other dancers from across the country and sometimes the world
can be exhilarating. It offers teachers as well as students
the opportunity to evaluate where they stand compared to the
rest of the country. I have gone home from national
competitions completely inspired to start classes and try new
things.
One more thought on this topic: When choosing competitions, be
sure that you don’t participate only in events where your
students will score well. Look for some that will offer them a
challenge. Being the big winner all the time may be good for
the ego, but it can create an atmosphere of complacency among
dancers and teachers. It’s good to get your butt kicked once
in a while. I always tell teachers to come up with a nice
balance between events at which their students will score well
and those that will offer them the chance to witness how far
they can go with more work.
Remember, competition is a part of what dancers do, not
all they do. Be sure that your dancers also have the
chance to perform in the community, where the goal is not an
award but simply to entertain. Have a good season. —Rhee
Send your questions and comments to
Dance Studio Life, P.O. Box 2150, Norton, MA 02766 or
gold5678@aol.com.
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