Mrs. Linda reflects on: “A letter to my teenage self” by Robbie Fairchild

Several weeks ago, I received my fall 2019 Dance Spirit magazine.  In it I read Robert Fairchild’s, “letter to my teenage self”.  I was moved to share the letter and initiate a conversation with Ballet 7.  The letter brought forward several topics I felt were important, not only for the dance artist, but also for the developing young adult.
The letter speaks to the fact that we are each individuals.  We are all given gifts that are unique.  As a dance educator, I see each dancers’ gifts as differing colors in the artistic pallet.  Each of those colors is important and valuable for the creation process.  This speaks to my next point,  the energy we spend comparing ourselves to others while dismissing what we bring, is energy taken from our potential development.  Rather, I asked the dancers to see the gifts in others as something to be valued and to have gratitude for the gifts given.  This does not take the working process off the hook.  Striving, working hard, challenging oneself is part of the journey to achieving the goal.  Hopefully, there will also be a great deal of joy and happiness along with the curiosity and assessment of the journey.
This extends to my next point, the idea of perfection.  I thought that “Robbie” spoke to it beautifully.  Perfection does not exist.  I am asking the dancers to re-frame their thoughts toward developing the idea of personal excellence.   For me, personal excellence means paying attention to the process in the moment.  In this way, dance becomes a moving meditation.  There are so many details to be addressed at any given moment of a dance class.  This quality attention to the moment generates an innate gift which is time away from other pressures-school, studies, etc.  It then provides clean energy to be given back to those pressing activities.
I would like to conclude my thoughts with Robbie’s quote, “Don’t be afraid to make mistakes.”  Mistakes give your teachers valuable information on how to extend usable feedback your way.  In choreography, sometimes the mistake becomes the” right moment” giving the choreographer  another option to consider.  Rather, I would encourage the dancers to risk making the mistake so that their bodies start to understand where changes are possible.
CLICK HERE to ready Robbie’s letter in full.  I hope the letter sparks a conversation.
I really admire that Robbie has training in Ballet, Tap, Jazz and Contemporary.  The multiplicity of tools gained with such a diverse training regiment has allowed his success not only with New York City Ballet, but also on Broadway.  In addition, we can look forward to watching him perform in the upcoming “Cats” movie slated for release December 20th.
For your viewing pleasure, I have included a link of Robert Fairchild performing Paul Taylors “Airs” with Tiler Peck.

Inspiration for Aspiration – Gelsey Kirkland

If you are regular Blog followers, you may have noticed that we have been presenting videos that have to do with pointe work.  In support of those videos, I wanted to extend a link of Gelsey Kirkland in the Nutcracker Ballet.  For years I have admired her foot articulation in her pointe shoes.  She makes it seem so effortless.  Her footwork is so soft and seamless not to mention her beautiful bourre’s. Inspiration for aspiration.

Enjoy!! Linda

How to Tie Pointe Shoes

Join Ms. Linda as she teaches you one way to tie your pointe shoes.

How to Sew Pointe Shoes

Watch and learn with Ms. Linda as she teaches you how to sew your pointe shoes!


Eating Healthy

 The older I get, the more aware I am of what kind of food I am putting into my body. And as that awareness has grown, I have become increasingly disappointed at what my dancers are putting into their bodies. As dancers, we need to be extra careful of what we eat, because those foods are fueling our moving. If we don’t have the proper fuel, we can’t dance our best.

While there are many ways of labeling food, there are three types of foods; carbohydrates, proteins, and fats. You need all three to keep your body running smoothly. If you were to look at your diet, ideally, 45% – 65% of what you eat should be carbohydrates, 20% – 35% from fats, and 10% – 35% from protein. This breakdown does vary as you get older or with the activity you participate in, but for the average person, these are the proper percentage ranges.

Now that you know how much of each food type you should eat per day, here are some hints as to how to fill those needs. Healthy carbohydrates come from fruits, vegetables, whole grains, etc. Try to avoid refined and over processed grains like in white bread, cereal, crackers, and so on. Healthy fats can be found in fish, nuts, olive oil, butter, and avocado. Make sure to limit your “junk food” intake, as these foods are loaded in saturated fats. Healthy proteins include chicken, fish, beans, lentils, quinoa, and nuts. And, make sure to limit the amount of red and fatty meats you eat.

It’s not just the quantity of food you put into your mouth, it’s the quality. We should be striving to have the highest quality food going into our bellies. Most Americans are over eating but not getting enough nutrients. For example, if you were to go out to eat with your family and get a burger, fries, and a shake, that meal would have a filling portion of food. However, it didn’t have many of the nutrients your body needs to function. In contrast, if you were to have a dinner with a spinach salad, fresh berries, and a portion of baked or grilled meat, your body’s hunger would still be satisfied, and would also get many important nutrients.

Remember moderation is key. Yes, it’s ok to indulge in dessert or special treat every now and then. Just make sure that you pay attention to portion size, the carb/protein/fat amount, and to limit yourself to one “junk” item per day.

If you feel like this is an area where you can improve, set a goal today to eat better! If you need help, apps like My Fitness Pal can help you to start evaluating the quality of what you are eating. I promise that in taking care of your body, your body will take care of you back.

Ms. Jeneca


Summer Conditioning

We all know that when we stop doing something for an extended period of time, we tend to lose some of the skill or knowledge that we have previously developed. While summer is a great time to relax, it is also important to continue your dance training. But, maybe not in a way that you would expect.

So, allow me to help you determine how to help yourself become a better dancer, without taking an actual dance class. Running helps to build endurance and develop good core to legs connectivity. Swimming and water aerobics can help you by providing resistance during movement for a full body workout. Zumba helps with rhythm, timing, and following and learning movement quickly. Biking will allow your joints to go through low impact while still helping to tone and strengthen the legs. Strength training and lifting weights aids your ability in awareness and how to engage muscles.

Even your technology can help your dancing. Apps like Sworkit, Yoga Free, and FitStar will create customized exercises for you, for free! I like to use these apps a couple times a week, and especially when I am traveling because it doesn’t require any equipment.

I have been hearing some great things from the dancers of our studio on what they are doing for summer conditioning. One dancer reported to me that she has been biking all over town. Another mentioned that she has been taking private lessons to improve her tennis skills. Though these new activities have no literal ties to dance they are helping strengthen important muscles and coordination.

Just a few hints for dancers looking to get on pointe next year. Now is the time to be strengthening those legs, ankles, and feet. Grab your theraband and do a series of pointing and flexing the feet, inward/outward circles, and write your ABC’s with your big toe. When you are standing around your kitchen waiting for dinner to start, practice your eleves. Trust me, your feet will be thanking you when you get in those shoes.

The little things you do can go a long way. Choose an activity from the list above, or think of one on your own that will help you develop a needed skill. Once you have tried the activity, repeat it over and over again to really boost your ability in the dance studio. Now that you’ve read this, get out and get moving!

Ms. Jeneca


Dancing in the Summertime

As we all know, summer in Minnesota is a beautiful part of the year. It is finally warm enough to enjoy the great outdoors and activities are plentiful. It truly is a beautiful time. It is also the perfect time of year use free time to hone in on skills that need improving.

We are fortunate that our studio is offering a multitude of classes this summer that can help us to continue to develop our technical and artistic understanding of dance. From the Blitz and Boot camps to Dance Composition, these intensive workshops are specifically designed to provide an impetus to help you improve. I have seen some lovely developments with our dancers in the past year, and to have those advancements be lost through inactivity would be disappointing. I encourage all of the CREO dancers to enroll in as many classes as possible to continue their skill building.

Part of the CREO philosophy states that we are striving to create well rounded dancers. This not only includes dance, we also strive to have students that are well rounded in their personal life through increasing their education, learning new skills, developing their physical capacities, and involvement in community events. I love hearing about our student’s outside involvement and love to cheer them on with other endeavors. It is my hope that this summer our students will take the time to continue their dance education as well as becoming well rounded individuals.

All that being said, this summer I am going to be writing about how to supplement your dance education! I will be giving tips for cross training, hints and what to focus on when you are in workshops, how to find crossovers between other art genres and dance, and so much more.  As always, I will also be answering your questions. Last but not least, I want to know how you are implementing art and dance into your summer fun.  Send me a picture (at of you doing what you love at summer camp, summer trips, or stay at home summer fun!

Happy summer!

Ms. Jeneca


Performance Prep

It’s performance week! All your hard work and effort will be worth it as you get to step onto that stage and dance your heart out. What an amazing time this is! Since it is a crucial week, I’ve decided to write out some tips for you on how to optimize your performance.

The first is probably my favorite, get some sleep! With late dress rehearsals and end of year testing, sometimes it is hard to think about resting your body. Try to get a full 8 hours of sleep. If you don’t get enough sleep one night, try taking a 20 minute power nap. Remember that your body needs that time to recharge.

Second, watch what you are eating and drinking. A diet of sweets and junk food will just inhibit your ability to perform, so avoid those foods as much as possible. Make sure you are eating a diet filled with colorful vegetables and fruits, whole grains, lean meats and healthy fats (avocados, nuts, etc). Of course, you should also be drinking plenty of water. Avoid energy drinks, coffee, or sugary sodas that will just slow you down. Proper fuel will help you maximize your body’s ability to function on stage.

Third, take time to mentally go through your dance. Take a few minutes to sit down somewhere quiet, close your eyes, and to think through each movement in the dance. Also make sure to think about the emotions behind the movement. Above all, imagine yourself doing the choreography without flaws and with confidence. Mental imagery is a powerful way to enhance your awareness of details, choreography, and performance.

Good luck!

Ms. Jeneca

Sore and Tired

“I danced really hard yesterday and my muscles are so sore. Should I go to dance class tonight?”

– Sore N. Tired

I’m happy to hear that you are working hard in your dance classes. That is the best way to improve in your dancing. Keep it up! Now, this next thing I write may seem counter-intuitive; going to dance class tonight will actually help your soreness. It seems strange to think that moving will actually aid you getting rid of the stiffness in your body, but it does! Make sure to tell your teacher that you are sore and make sure to take some time after class to do a long cool down with stretching that targets those sore areas.

Sometimes soreness takes a while to go away, and that is just fine. If you are wanting to give your muscles some extra help, try soaking in a bath with Epsom salt dissolved in it. Or if you are really daring, an ice bath! In addition, gently massaging the sore areas will also help relieve some tension. As always, make sure you are drinking lots of water.

Happy Dancing!

Ms. Jeneca


Q: I’m not happy with where I have been placed for next year’s levels. How can I get into the higher level?

– Disappointed

I’m sorry to hear that you are not content with where you have been placed. It is a huge disappointment when you are expecting to be in a higher level. I’ve been in your position before, and it can be frustrating. Just remember there is always a way to move up.

The first thing you should do is set up a meeting with your teacher, school principal, and/or studio director. There is a specific reason why you have been placed in a level, and those people will know why. Make sure you come with lots of questions, a notebook, and an open mind.

During that meeting, your teacher will explain why you haven’t moved up to the next level. Listen closely and write down the things you need to work on. Then, either with your teacher or a parent, create some goals that will help you improve upon the specific skills. Through the next few months, periodically speak with your teacher before or after class about your progress. It also may be helpful to sign up for private lessons to specifically work on those goals.

Remember, the little things you do will alter the outcome; don’t get overwhelmed with the big picture. It is ok to be frustrated initially, but make sure you are using that as an impetus to improve. A good attitude and hard work make a big difference. Good luck with your goals, and keep working hard!

Best Wishes!

Ms. Jeneca

30 Second Rule

Q: How can I better prepare for a performance?

– Onstage Diva

When I was performing on a company, the Artistic Director was adamant that we should be fully prepared physically, emotionally, and mentally to go on stage before we performed. We spent hours going through the pieces, spend much time discussing the emotions we needed to portray, and took special care to not overwhelm ourselves on performance days. Through my time collaborating with that Director, I came to realize that all that work didn’t make a difference to my performance unless I was able to take some time before going on stage to review and internalize all of that information.

It was during my time with that same company, that I created the 30 Second Rule for myself. The rule is simple; during 30 seconds before going on stage, I would take some time to slowly inhale and exhale, think through things in the piece I needed to fix, what character or emotion I was portraying, and to go through any movement I needed to. During those mere 30 seconds, I was able to center myself, and physically, emotionally, and mentally prepare for the performance.

I have started teaching this rule to my dancers because I know how much it helped me. However, this is something that can be modified from person to person. You don’t have to use 30 seconds; you can use 10 seconds, 5 minutes, etc. You don’t even have to do the things I did. You can choose to just sit there and breathe, or stretch some tight muscles, or focus on a memory that will help your performance. The thing that matters, is that you are ready to go on stage.

I know that this method has helped me time and time again, and will definitely aid my student’s performance. After all, dancing may seem like it is only physical movement, but it requires much emotional and mental action, as well.

Good luck with your performance!

Ms. Jeneca

No Bugs in the Cheesecake

Q: I heard someone say “no bugs in the cheesecake” in class the other day. What does that mean?

– Grossed Out

What started out as a funny fictional story meant to remind my students to finish their sequences the best they can has now turned into a funny saying my students love to quote. The story goes like this, “One night I went out to a nice restaurant. While there I had an array of delicious foods that I thoroughly enjoyed. When I was done with my meal, I still had room for dessert, so I ordered cheesecake. It turned out to be the best cheesecake I’d ever had. But, as I was about to take the last bite, I noticed a big grasshopper sticking out of the cheesecake.”

At this point in the story, most students get a disgusted or sickened look on their face. Why is that? Because the something that was so good, just came to a rather off-putting end. It is the same way with our dancing, whether at an audition, performance, or in class. If you were to do an amazingly beautiful pirouette, only to sloppily land it and casually walk off, it ruins the whole effect of the turn. Another example is at the barre. If a sequence is done articulately well, but then the dancer forgets to finish in the proper ending position, a sour taste is left in the observer’s mouth.

All that said, complete your sequences to the fullest extent possible; end your barre sequences engaged and in the proper position, get all the way off stage before relaxing, or if anything, end with a smile and with confidence. The last impression in the minds of the audience make a big difference in how they recall the entire performance. As silly as it may seem, my “no bugs in the cheesecake” saying may not be so ridiculous.

Happy Dancing!

Ms. Jeneca

A Difference of Opinion

Q: What do I do when I get different answers to the same question?

– Puzzled

This is a common occurrence in dance. Not because your teachers are giving you incorrect information, but because of the variety of techniques there are in the dance world. Although dance genres may have started in one geographical location, they have since spread out through the world. Along the way, things are added, personal dance philosophies are mixed in, and alterations to traditional techniques are made.

Depending on where your teachers grew up, and the type of training they received, their knowledge of technique and execution of steps can be different. For instance, let’s say that Teacher #1 was trained on the East Coast, while Teacher #2 was trained on the West Coast. Both Teacher #1 and Teacher #2 were taught according to their school’s method of dance. However, since they come from different places, and they didn’t receive the exact same dance education, thus their understanding of dance and certain movements can differ.

In addition, even schools in the same geographical location can vary. For example, when I was growing up, my ballet teachers always had me execute grande plies in fourth position, due to the traditional methods of barre. However, when I was studying at a university, many of my professors would avoid doing grande plies in fourth because of the strain it puts on the knees early in class. Because of that varying training, I have had to decide how I want to teach grande plies in fourth, thus my method on that particular movement is different from many other teachers.

Now, how to deal with this situation. It is smart to listen to all of the information your teachers give you. They are telling you what they believe to be correct, and most of the time it is. As a rule of thumb, unless what you’ve been told is causing pain or injury, do what the teacher tells you to do in their class. It can get confusing, but it will help you make decisions for your personal dance philosophy. It also helps to do some research on your own. The more you know, the easier it is to make an educated decision.

Above all, don’t get frustrated. Your teachers have experienced the same thing during their trainings, like I mentioned above. If you have concerns, talk to them about your confusion. Chances are, they have a very good reason for why they teach a certain way. They are there to help you develop and are willing spend a little time to help you progress. If you are still having trouble after talking, ask your teacher for a private lesson to give you a better understanding of what to do.

Best of luck!

Ms. Jeneca

Cross Training

Q: What are some good exercises to do at home that can help with my dancing?

When you start getting serious about your dancing, it is important to do some “homework”. Thankfully, this “homework” doesn’t include textbooks or writing papers. Instead, it is adding on to the daily exercise that you should already be doing.

Since dancers spend much of their time doing anaerobic work because of the stop and go nature of the traditional class, try getting some aerobic exercise. Aerobic exercise will help you with your endurance, heart health, and help you maintain good breathing practices while dancing. Whether it be swimming, biking, running, or zumba, find an exercise you like and do it for at least 20 minutes, three times a week.

Strength training is a great way to cross train and focus in on the muscles that you use in dance class. Though using a weight set or machine may come to mind, there are many ways to do strength training. Pilates helps with finding the core, breathing, and connecting with the limbs. Yoga develops flexibility and builds muscle at the same time. Using therabands on feet and ankles (as well as in other exercises in place of weights) creates resistance and develops muscle tone. There are many other methods of strength training, many of which can be found in free videos or tutorials online.

After your exercises, make sure that you take time to cool down and stretch the muscles used during the exercise. If you are going to focus on deep stretching, make sure the body is really warm and is ready to be stretched. Be especially aware of the knees to not over stretch and hyperextend them.

Once done finish the workout by drinking lots of water and getting a snack with some healthy proteins and carbs.  Some great and simple snacks can be whole wheat toast with peanut butter, yogurt and berries, and hummus and pita/carrot sticks. Just make sure you don’t go straight for the chips or candy.

Enjoy your exercise!

Ms. Jeneca

Practicing at Home

Q: I want to practice dancing at home, but I don’t know what to practice! I am also scared that I might mess up and get my body in a rhythm of doing something incorrectly. What should I practice, and how do I make sure I’m doing it right without a mirror?

– Hard Worker

I am happy that you are thinking about doing some out of class practicing. Yes, when you practice out of class you run the risk of not rehearsing the correct way. However, there are ways of ensuring you dance just as well at home as when you are in class at the studio.

It actually all starts in the studio. Through class, try not looking in the mirror, and instead, feel the movement. How does it feel when you are in correct alignment? What does it feel like when you do a certain movement? That ability to sense what is going on in your body may take some time to learn, but it will eventually come. And as a bonus, this will not only help your class work, and out of class practice, it will also help you when it comes time to perform.

Always make sure that you are warmed up and ready to dance before actually beginning anything. Run in place, do jumping jacks, and articulate through all of your joint’s range of motion before you begin dancing. As for what to practice, you can practice anything you would like as long as you have enough space. Think about what you are struggling with in class, feel the movement while at the studio, then repeat at home. Some things that are simple to work on at home include: flexibility, balance, rotation, cardio, and strength building. I will focus another post on specifics for these, later.

In general, unless you have a large area with a wood floor and is free of sharp furniture edges, I don’t suggest practicing turns, leaps, or other big traveling steps. However there are things that you can do at home to help with those movements. To help your turns, try finding your balance, en releve with a foot in retire, and see how long you can hold. Once you can hold for a significant amount of time, you can try balancing on a pile of pillows or some other object that is slightly unsteady. For leaps, lay on your back and practice battement devant with your legs kicking as sharp and strong as you can.

Don’t forget that mental practice is also extremely important. If you are struggling with remembering choreography or being able to execute a step, take some time to think them through. Find a quiet place, close your eyes, and articulate the steps in your mind. Repeat as many times as you need. You will find that being able to practice in your mind will get rid of your mistakes, and help define and solidify what it is actually supposed to look and feel like.

Good luck, Hard Worker! With some outside of class practice and some good focusing you will be able to develop your dance technique.

Happy Dancing!

Ms. Jeneca

Nice Buns

Q: I want to have really nice looking buns, but they never seem to stay in.  I have medium length, thin hair and I use a bun holder.  Can you help me?

– Wanna (B.A.) Bun Head

Great question, Wanna (B.A) Bun Head! Learning how to do a bun can be frustrating. Trust me, I’ve been there. Just don’t give up; you will get the hang of it. In the meantime, let me give you a few tips:

  • Clean hair usually has a hard time saying in a bun because it slips out of the pins. To counter this, before starting, try spritzing hairspray or running a small dollop of gel on the ends of your hair. This will give your hair some texture, dirties it up, and makes it slightly sticky for the bobby pins. Wetting the hair can help, as well.
  • You can also try spraying your bobby pins with hairspray and then letting them sit for a minute before putting them in your hair. This adds more texture to the pins which helps them cling to the hair
  • Use a comb to pull the hair into a ponytail. This will get all the flyaway hairs. You may run a comb over the hair again, once in the ponytail, to slick back the hairs again. (For classroom use only: if you dislike the slicked back look, after you put the hair in a ponytail, you can pinch small sections of hair and lift them gently a half inch off the head so they slightly loosen from the ponytail holder. Repeat until you achieve the look you want. Please do not do this for a performance.)
  • Once in a ponytail, divide hair into multiple sections (2 – 4 depending on the thickness and length of your hair). Twist or braid the first section then wrap it around the ponytail as if it is the only section you are using for your bun. Secure with bobby pins as you wrap. After that section is secure, repeat with the next sections. Make sure that they are continuously moving away from the center rather that getting higher off your head to create a cone. No one wants to be a cone head.
  • The bobby pins you use make a huge difference. Though the standard size of pin will work for day to day wear, dancers need pins that can hold up to rigorous dancing. Try using long bobby pins or bun pins, which are about 3 inches long. You can find them at beauty supply stores and are slightly more expensive but will last longer, help your bun stay in, and you will use less of them because they help the hair stay more secure.
  • Personally, I don’t like using bun holders because they tend to fall out easily when spotting. If the bun holder isn’t working for you, try not using it and see how that goes.  However, if you choose to use one, make sure you are placing the bobby pins in a secure way. Do not just push the bobby pins into the bun and expect them to hold. Open up the pin so it makes an acute angle. Insert just one side of the pin into the bun and the other side in the hair outside of the bun. Then push the pin into the bun. (Bun pins hold better if you put both ends into the edge of the bun, grab the hair underneath and then slide them in).
  • Last of all, don’t forget to clean it up! Crisscross bobby pins to hold flyaway hair, add a hairnet, and use your hairspray to lock everything in.
  • There are some great tutorials online that can help you get nice buns. I think this YouTube Video gives a great description of how to work with your hair.

Just remember that learning how to do your hair for class is just like learning a new skill. It takes time, practice, and sometimes a little frustration. Don’t give up! If you need some one on one help, come see me before of after class and I will be happy to show you what to do.

Happy Dancing!

Ms. Jeneca

New Year, New Goals

One thing I love about starting the new year, is the sense of a clean start. I love knowing that I have a fresh starting point from which I can set new goals. I’ll let you in on a little secret, this year, one of my goals is to find a bit of time each class to work one-on-one with each student.  Yes, it seems like it will take a lot of effort, but I know it will be worth it. For me, I will gain a better perspective on what my students need, and my students will (hopefully) develop in their technical dancing ability.

Just as I have set my goals, I encourage each of my students to set goals. They are a great motivator and can really aid in developing into a better dancer. If you need a place to start, think about the level requirements for your class. What skills do you need to work on? Once you have that in mind, take a moment and write down how you are going to work on that skill; in class, at home, or both! Then continue to work on that skill until you can check it off.

The amount of effort that you put into achieving something, is greatly reflected in the result you get. Try setting a goal today and see the results you get! Good luck!

Happy Dancing!

Ms. Jeneca

En Pointe

Q: What do I need to do to get on pointe?

This is a question that I get asked often. Let it be known that going on pointe is a challenging experience. In order to make sure our dancers are really ready for that, we have made certain requirements. In order to begin pointe training dancers must:

  • Be at least 12 years old
  • Hold releve on one leg for 8+ counts
  • Hold rotation in static and dynamic movement
  • Maintain correct alignment through the full body, throughout the entire dance class
  • Double pirouette in flat shoes
  • Demi-pointe articulation (be able to show a high releve)
  • Display appropriate strength through feet, ankles, and legs to support pointe work

If you are interested in doing pointe, and you are near to or older than 12, talk to your teacher, and let them know that you are interested in doing pointe. Your teacher will then watch you during classes to make sure that you can achieve all the requirements. When you have performed adequately, the teacher will hand you a pointe certificate and other information at the end of class.

Happy Dancing!

Ms. Jeneca

Evaluation Time Begins Next Week

Q: What can I expect from this year’s evaluations?

Like last year, this year we are updating our system to evaluate our students. This is not something to be scared of, it is simply a list of requirements that we are setting for each level. This way, specific things will be taught and achieved in each level, resulting in well rounded and well educated students.

This is how it works: from now until the first week of March, our teachers of leveled classes will be watching their students during class, if the student achieves a skill for their level, it will be checked off on their end of year evaluation form. It is meant to be a continuous process, evaluating each student daily for their achievements.

At the end of the year, if all of the requirements are met for the level, the student will be able to move on to the next level. If the student has not achieved all the requirements, they may not be able to move to the next level. However, this is a continuous process. If the requirements seem to hard for a level, we will evaluate what needs to be done in placing students into levels.

Starting next Monday there will be a list of all required skills posted in the CREO front room bulletin board. If you have questions or concerns, see the above email address and send me a note. I will be happy to talk it through with you.

Happy dancing!

Ms. Jeneca

In The Bag

Q:  What kind of things do I need to keep in my dance bag?

A dancer’s bag says a lot about him or her. It can show what genre of dance they are practicing. It can display how prepared, or unprepared they may be for the class that day. And, that bag can also contain the “secret weapons” that help them make it through a long class or rehearsal.

As dancers, we need to come to the studio prepared for whatever the class may bring. Though it may differ from genre to genre, there are many items that should be a staple in every dancer’s bag. I have compiled a list of items that I think are essential for dancers to keep in their bag.

  • Shoes – This is pretty obvious, but a dancer needs good shoes. Make sure that you are properly caring for your shoes to make them last as long as possible.
  • Water – Staying hydrated is extremely important. Keeping a bottle or two of water in your bag will ensure that you don’t get dehydrated.
  • Snacks – You can’t expect your body to run on empty. After school, or dancing, your body needs to be refueled. Keeping snacks like dried fruit, granola bars, trail mix, and nuts in your bag is an easy way to always have fuel on hand.
  • Band-aids and Antibacterial Ointment – Injuries happen. Don’t rely on other people to be prepared for you.
  • Cover-Ups – Before getting warmed up in class, having a jacket, a pair of pants, and socks can help prepare your muscles to get warm before actually dancing.
  • Deodorant – Even if you don’t think you need deodorant, you probably do. Keep it in your bag, and put it on right before you go into class.
  • Hair Accessories – Dancer’s can’t dance at their best if their hair is falling in their face. Make sure to keep hair elastics, bobby pins, a headband, and some hairspray in your bag.
  • Tennis Ball – Strange as it may seem, a tennis ball is a great way to massage sore muscles and arches.

From this basic list, it is important to add items that pertain to your genre. Ballerinas can get extra strengthening time in before or after class by keeping a theraband in their bag. If you are dancing en pointe, make sure that you have athletic tape, baby powder, and moleskin. Hip Hop dancers can keep accessories to help them get into the class choreography. And, Modern dancers bring some foot lotion to help relax those tired feet after dancing without shoes.

Overall, no matter what kind of dance you are doing, remember that how prepared you come to class can make or break your day. So, go pack those bags, and get working!

Happy Dancing!

Ms. Jeneca

How Can I Show My Director I’m Ready For a Bigger Role?

Q:  I have performed in several performances with my dance studio.  While I love performing and I love the dancers I work with, I am dying to have a lead part.  I just can’t seem to get out of the group dances.  What can I do to get the director to see that I can handle a lead?

Prima Ballerina Wanna Be

A: Thanks for your question.  You are not alone.  Most dancers have aspirations of performing captivating lead roles as soloists.  Unfortunately, there are more dancers than there are solos.  Therefore, if you want to be a soloist you need to show the director that you can bring something special to the performance.
1. Treat every performance like an audition.  Show your director that you know the material you have been given, that you are willing to invest in your character, and shine on stage.

2. Never, ever complain about your role.  Show the director that you are invested in the role.  Make he or she think you adore the role.

3. Be willing to learn other dancer’s parts.  Productions always need understudies.  Ask your director if he or she would be willing to let you come in and learn the soloist roles along with the soloist.  Let the director know that you can take more on.

4. Take class.  Directors are fully aware of who is growing as a dancer in both technique and performance.  They often check who is going to class.  Those who are consistent often get better roles.

5. Develop a signature move.  Now days, audiences are looking to be wowed by dancer flexibility and virtuosity.  Try to develop an impressive multiple pirouette, amazing new leap, or tumbling move.  If asked to improvise in performance, class, or audition, use the move to impress the director.

6. Let the director know that you want to have a lead role.  Ask him or her what you need to do in order to show him or her that you are right for the part.

Happy Dancing,

Ms. Jeneca