THE HIGHER ED VOICE

The Next Dance Generation

By Tom Ralabate

Approaching education from a generational point of view

“Today’s kids are on track to become a powerhouse generation, full of technology planners, community shapers, institution builders, and world leaders, perhaps destined to dominate the 21st century like today’s fading and ennobled G.I. Generation dominated the 20th. Millennials have a solid chance to become America’s next great generation.”

 —Neil Howe and William Strauss, Millennials Rising: The Next Great Generation

What does this prediction by Howe and Strauss mean for educators in both the private and higher educational dance sectors? How well do we know and understand the Millennial (Mil) dance student (born post-1980)? Are we ready for the Oh-Ohs or the Homelanders, born post-9/11, who are now flooding dance schools at the preschool and primary grade levels? How will older, established teachers compete with the young Mil owner of a new dance studio who is just entering the work force?

Howe and Strauss’ research points out that each generation is unique and brings with it a different perspective about life and the classroom experience. In their book Millennials Rising: The Next Great Generation, they define a generation as a grouping of people (typically by birth years) that is defined by shared historical and sociological experiences. According to these two historians, whether one is at play, war, or simply coexisting in peace, four generations influence the world of learning:

• Silent Generation—born from 1925 to 1942

• Millennial Generation—born post-1980

In their book Millennials Go to College, Howe and Strauss identify seven core traits of this generation:

1. Special

7. Achieving

This article discusses the first three traits from a dance learning perspective and environment. Following each trait are three questions for dance school owners to answer that will help them tailor their programs to the needs of Millennium Generation dancers. In the November issue we will explore the remaining four traits and offer some final thoughts. Interested readers can go to the Howe and Strauss LifeCourse Associate website (www.millennialsrising.com) for more information about the authors’ works and research data.

Trait One: Special

Working in both the private studio and higher educational sectors of dance, I have become keenly aware of the Mil core traits in dealing with students and their parents. As a Boomer, I remember leaving for my audition at The Juilliard School. My Silent Generation parents escorted me to a plane and I flew to the Big Apple alone. Today, when we hold dance auditions at University at Buffalo (UB), if 60 students attend the audition, there might be 60 sets of parents in attendance. Sometimes even grandmothers and aunts tag along and hover with the parents in support of these “special, high-achieving, pressured” Mils. Today’s parents are more directly involved in the educational and leisure activities of their children. Attend a dance competition today and you will witness an entourage of family support not only for the 6-year-old but also for the 20-yearold competitor as they confidently strive for the platinum or gold medal award.

Over the years the UB dance department staff has changed the format of the dance audition to address this new market of Mils. We now evaluate the students in smaller groupings, scheduling two complete sessions on each audition date instead of one. Besides being evaluated in technique classes with smaller numbers, students attend a workshop on general education requirements and a Q&A with dance directors about the department, the greater UB community, and the surrounding Western New York community. Even though the audition process is a shared competitive experience, the smaller groupings make it unique to each individual. In addition, solo improvisational exercises are conducted in both modern and jazz to allow the student freedom of expression, which gives the faculty insight into the student’s dance identity. Throughout the entire process the students feel that they are noticed and thoroughly evaluated and that their questions are answered.

Questions:

Trait Two: Sheltered

The Gen-Xers found themselves growing up on their own as two working parents and a high divorce rate led to the prevalence of “latchkey” kids, who came home after school to an empty house. In the 1990s we saw a shift in focus back to children and the family, which is continuing in the first decade of the 21st century. Even Las Vegas went family friendly in the early ’90s, a change that is still very apparent there. Statistics show that more fathers are taking part in the births and social activities of their children. In some studios more fathers are present in the waiting rooms, helping their children change their shoes and get ready for dance class. The events of 9/11 and the establishment of Homeland Security solidified the need for security in homes, schools, and abroad. The hovering “helicopter parents” of today want to make sure that a dance establishment meets their standards for safety and security, from the flooring to the location, and most important, to the qualified and certified dance instructors. Acknowledging that trend, in promoting the UB dance program during a talkback session with parents, directors stress the studios’ and stages’ sprung dance floors, and the published fact that UB’s home base, Amherst, is one of the safest communities in the country. Parents can easily access instructor credentials on the UB website. All these factors are strong selling points for the program.

Trait Three: Confident

According to Howe and Strauss, three out of five Mil children believe they could become president of the United States, which in the arts means they also believe they can be the next American Idol or grand prizewinner on the hit show So You Think You Can Dance. Watching reality TV provides excitement and strengthens an optimistic view of life and the future for young teens. Most students who participate in competition dance classes feel that they are the “chosen ones,” talented enough to be the highlighted soloist and lead the group to the platinum award. Rarely does one see a bronze medal given at competitions, and receiving a silver medal is becoming unacceptable to competitors. Even gold no longer matters; “high” gold or platinum awards now set the standard. I find that giving a grade of A- or B+ in technique dance courses today needs more justification because students increasingly believe they deserve an A for their hard work and talent without regard to artistic merit.

Questions:

3. Are you prepared to support and justify your artistic decisions to both parents and students?

Howe and Strauss’ research offers great insights that help dance educators make a comparative study of the generations and translate the results into their dance studio or educational setting. These adjustments will empower dance school owners to meet the educational and emotional needs of a new generation.

Reference:

Neil Howe and Strauss, William. Millennials Rising: The Next Generation. New York: Vintage Original, a division of Random House, Inc., 2000.