Dance Literacy and age level expectations

Learning a style of dance is a lot like learning a language.  It comes much more easily to some people than others, and there are very different expectations for dancers of different ages.  A high school English class is structured nothing like a kindergarten reading lesson.  Thus, a pre-ballet class is very dissimilar to advanced pre-professional ballet.

Young children must learn the alphabet before they learn to read, and their young minds learn best through repetition and fun activities.  They are not expected to memorize complex sequences or execute movements with precision.  Dance steps are often taught in the context of games and imagination exercises.  The main goal is to set a base of fundamental knowledge of dance movements that can be expanded with further education.

Older elementary aged children who have the basics of reading begin to work on comprehension.  School lessons heavily feature activities for identifying and retelling parts of stories.  In dance, these students usually know their basic steps and are now learning to put them together and memorize them in new combinations.  Just as school children read longer and more complicated stories as they age, dance students learn more difficult, faster, and longer chains of steps as well.

When students reach high school, they are able to fluently read long and challenging passages like Shakespeare's plays.  The focus of English class is no longer getting through the text, but analyzing the meaning behind it.  Dance students in their teens with many years of training behind them usually spend their class time developing artistry.  They have already learned their steps, so they work on tiny aspects of technique that allow them to emulate a choreographer's vision or a character's emotion.

For adults beginning a new style of dance, the process is more like a person who is already fluent in reading and speaking English choosing to learn a new language, like Japanese.  The student already understands the way alphabet builds language, but they still need to learn the letters and sounds before they can begin to read.  Adult minds can handle structured lessons that require memorization, so even though beginning adult ballet students learn the same steps as little children, their classes are set up differently (often more like older elementary age level classes).  Just as there is no expectation for a native English speaker to know any Japanese at the beginning of a language course, there isn't an expectation for a new adult dancer to know any of the basics.  However, adult dancers are able to remember and execute steps with more precision than young children, and their classes often move quickly.

Regarding prodigies and extremely talented child dancers (such as young Misty Copeland and Maddie Ziegler), they are very similar to children gifted in academic areas.  Some kids read fluently at age 4, and some 5th graders easily understand college-level physics.  It's pretty uncommon, but sometimes children excel far beyond what's expected for their age.  All child prodigies should work at the upper limit of their abilities some of the time.  It's acceptable and good for an amazingly talented 10-year-old to dance in the same class with high school seniors if she can perform at that level.  It's also a good thing for such children to work with others their age sometimes.  Even a prodigy needs to wait until her feet are strong and developed enough before starting pointe.  Always working at such a high level can be exhausting for children, and sometimes there's a disparity between what the body and mind are capable of.  Balancing time among ability-appropriate and age-appropriate classes helps build a well-rounded dancer.

No-Fuss Healthy Meals

When you're first learning to cook for yourself, meal planning can be tricky.  It your schedule is too hectic to prepare in-depth recipes, there's nothing wrong with falling back on quick and easy choices as long as they're healthy.

For a breakfast before you run out the door, cereal is just fine as long as you dress it up to meet your nutritional needs.  Choose a whole grain option without added sugar and eat it with milk (dairy or nut based) and fresh fruit, plus a protein boost like hemp seeds.

Sandwiches make great on-the-go lunches.  Assemble yours with whole-grain bread, quality organic meat and cheese, natural peanut butter and sugar-free fruit spread, or avocado with hommus and veggies.  Add a side of fresh fruit or veggies or something denser like trail mix.

For dinner, a handful of greens with dressing makes a nice simple salad.  Pair it with a protein, like chicken, scrambled eggs, or beans for optimal nutrition after a long day.  Sliced fresh fruit with nuts and honey is a perfect dessert.

You don't have to out of your way to prepare intricate meals when following a healthy eating plan.  As long as your ingredients are high-quality, simple combinations are wonderful choices.

Developing a character for performance

When performing in a dance production, it can be challenging to really understand your role, especially if you are not in the lead.  Corps parts rarely have individual names, let alone personalities.  It can be a lot of work to develop your character, but it's great chance to be creative, and it will help you give a more enthusiastic performance.
Four corps parts I've done in the past couple of years are Sea Snake in Little Mermaid, Snow in Nutcracker, Garland Girl in Coppelia, and a corps dancer in Gypsies of Esmerelda.  I've approached the roles differently, but I did come up with an individual story for each, and the ways in which I developed my characters illustrate the four main ways in which this can be done.

For Sea Snake, I was dancing the part of an animal.  From my time in rehearsal, I knew my choreography and how my character fit in the overall story.  However, I didn't receive a ton of direction on the personality I should exude on stage.  For that, I turned to YouTube.  I looked up videos (such as the Crocodile Hunter) that showed sea snakes in the wild.  I watched how the animals moved and tried to incorporate that into the way I moved on stage.

For all animal roles, I recommend doing some research and trying to see that animal (in a video or in real life).  Go to the pet store, go to the zoo, or look up a video clip.  It sounds silly, but finding real animal inspiration is really helpful in tying up the loose ends with an animal character.  After watching the snake videos, I was able to perform with situations playing in my head like "I am a snake protecting my den" or "I am a snake investigating something new."   (Note: For pure animal parts, your character development can stop here.  For more anthropomorphic parts, combine this with the next section.)

When I danced as a Garland Girl (my director and friends often called my specific part "purple girl") in Coppelia, my part was one of many different types of townspeople that made up the corps de ballet.  Again, while the steps were provided, individual personality was left up to me.

Since I knew the basics of the story (19th century Germany, rural town, everyone knows everyone), I wrote myself a character that fit in.  I started with a name (Alice, pronounced Elise) and came up with a sort of Facebook profile to provide a simple personality.  Alice is 15 years old, likes flowers and dolls, and dislikes arguing and relationship drama.  Having this little profile as guidance helped me pantomime happiness during the dancing doll scenes and show an angry reaction when characters are fighting.

For Snow in Nutcracker, I was dancing the representation of an inanimate object.  With roles like this, there is no person for which to create a personality.  There's the thing, its essence, and the way it plays into the ballet's story.  In Nutcracker, Snow is a transitional scene, and most of the time it's joyous.  My body language needed to be happy as I performed the choreography.  This is where it helped to have a developed character.

Inanimate objects are tricky because, well, they don't have personalities.  I started thinking about different ways I'd seen snow before, and most of what I came up with was from movies and TV.  Snow is beautifully animated in the movie The Polar Express, and it plays a big part in Game of Thrones.  When I danced, I imagined myself as a little ice crystal in the snow blowing around a train, or falling around fantasy characters' galloping horses.  It helped me stay full of energy through the long and challenging section of fast-moving choreography, and it was pleasant to think about (helped me keep my smile).  If you're portraying a part like a jewel or a flower, think of a representation of that object and how you could apply that to your dancing.

When I danced in the corps of Gypsies of Esmerelda, the director frequently reminded the cast that this ballet is sassy and sexy.  The choreography was a combination of technical/classical and character steps, and some sections involved interacting with other dancers and the audience.  Since I'm naturally a rather shy and quiet person, it was a lot harder to think up a character for this part than it was for Coppelia.  I started thinking about different characters from books and movies in search of a strong, sexy, uninhibited person I could use as inspiration.  I chose Harley Quinn from Suicide Squad.

I didn't want to exactly emulate Harley's mannerisms, but I did use her as a reference.  How would Harley hold her head when watching others dance?  What kind of energy would she exude when running across the stage?  Since the sassy, sexy persona is very different to me, it was extremely helpful to have a fully formed character to pull from when performing my choreography with energy and personality.

To review, the four major methods I use for developing characters are (for animals) look at how the animal actually behaves and apply it to your dancing, (for inanimate objects) look at how that object is portrayed in real life or in media and apply it to your dancing, and (for people) either write your own character or use an established character as a reference.  Regardless of what character you are dancing and how much time you have on stage, an informed and deliberate character will add a lot to the quality of your performance.

Match your trunks to your costume

If you perform a lot, you're probably familiar with dance trunks or briefs.  (If not, they're the high-waisted, full coverage underwear many female dancers wear under skirts to avoid flashing the audience.)
It's often easiest to match the color of your trunks to the color of your tights to create a seamless line (pink trunks go with pink tights, nude with nude, etc.)  This works really well with pale costumes like white romantic tutus.

However, if you have a colorful costume, neutral trunks can actually make you look more naked.  If the audience gets a glimpse up your red skirt and sees nude trunks, they may wonder if you're really covered.  In cases like this, it's best to find trunks that match the color of your costume.  Most brands produce dance briefs in red, blue, and black, and, time and resources permitting, a white pair can always be dyed to match a unique costume.

Matching your trunks to your costume isn't a necessity if time or funds are tight, but finding a pair the same color as your skirt is a sure-fire way to make your costume look spiffy and well-done from the audience's view.