5 Considerations to Find the Right Ballet Studio.
Ballet studios are a dime a dozen. While running errands in my hometown, you can pass 3 studios in less than 15 minutes! It may be convenient to choose training based on central location, reasonable class times, or even a well curated website, but there are safety and technical factors to consider that go deeper than aesthetic pictures and a good reputation. Let’s explore five factors you can use to ensure your dancer’s safety and goals will be honored in the best studio you can find.
5. Syllabus and Curriculum.
Before considering a test run at a new studio, make sure you know the studio’s foundational curriculum. Knowing their curriculum will show you the standard to which they currently hold their dancers, the technical style they teach, and the competitions and awards programs in which they participate. If they claim to teach a specific form of ballet technique, check the developer’s website for a list of accredited studios or ask to see certifying documentation. Once you’ve established the validity of the curriculum, dig deeper into the nuances of their yearly syllabus. If divided into levels, check in which tier your child will be placed and make sure his/her growth goals align with the planned instruction. If the studio does not have a written syllabus or set curriculum, don’t panic! Just schedule a conversation with the head instructor to ascertain if their technical comprehension, plan for student growth, and personal instructional philosophy match your dancer’s goals.
4. Instructor Qualifications
Once a studio reaches a certain number of students, it is impossible for the head instructor or director, whose credentials are most readily available, to personally oversee every class taught. Instead, the prudent director will work hard to hire qualified assistant instructors who are dedicated to the same technical standards as their leadership. A key element of choosing the right studio is knowing its assistant instructors. It is beyond possible to produce technically proficient assistant instructors (like I loved being!) from within one’s own program, and such assistant teaching roles will often be filled with sweet spirited young ladies loyal to their childhood studio. While such dancers are dedicated to their love for dance, they often provide less rigorous technical instruction than teachers who actively sought their position after completing a separate studio or academy’s program. 2 to 13-year-old dancers are often placed under “fun,” instruction which provides great exercise and friendships but does not build lasting technical growth. It is beyond possible to have both fun and good technique! When speaking with your child’s potential instructors, don’t avoid assistant or “primary level” teachers! Instead, ask them their personal dance background and why they chose to teach ballet. Discuss your dancer’s goals and how the instructor can help you achieve them. If their answer is satisfactory and your dancer takes classes under them, ask your dancer their own thoughts. The greatest key to your dancer’s success is nurturing their love for dance. If they feel mentally stifled or unfed, listen!
3. Hidden/Extra Fees
There is nothing worse than getting your dancer into a class that they enjoy and in which they are growing only to be hit with the financial burden of extra fees every time you turn around. Recital fees. Photography fees. Company fees. When budgeting, be aware that some non-tuition payments will likely be necessary for costumes, guest instructors, or pictures throughout the year. When you register at the beginning of the semester, you should be notified of most (if not all) payments you will be required to make. This includes whether or not you are required to buy a costume, if dress code clothing is purchased through the studio, and if tuition is due quarterly, monthly, or class-by-class. If you ever feel “in the dark,” when seemingly new fees are announced mid-term, check back on the paperwork from the beginning of the year before reaching out to the instructor. If the fee is not listed as mandatory, a well-informed conversation will always be a wise way to maintain rapport with the instructor. If the fee in question is truly unprecedented, consider asking long term patrons if hidden fees are a common occurrence. While administration issues can be accidental, a repeated lack of attention to important details can signify a studio’s true priorities.
2. Pointe Requirements
The most universal goal of aspiring ballet dancers is encompassed in one word: pointe. What many civilians do not understand is the extreme danger of giving pointe shoes to a technically undertrained or physically underdeveloped dancer. When a dancer is balancing en pointe, their body weight ought to be distributed on the platform of the shoe where the dancer’s first and second toes are aligned. If a shoe is ill fitting or the dancer’s alignment is incorrect, they risk a variety of injuries as minor as blisters and as severe as rolled or broken ankles. A studio’s top priority must always be their dancers’ safety. When assessing your studio’s pointe protocol, there are several important factors to consider.
Age: Giving pointe training to dancers under 11 years of age is widely considered dangerous to a dancer’s physical wellbeing because her body is still developing. Risking the integrity of her health for recreational dance is both foolish and unnecessary. Gauge a potential studio’s pointe work by attending their spring recital. If girls under the age of 11 are floundering in pointe shoes, it may not be a wise studio to attend.
Technical Standard: If pointe shoes are given to any dancer above a certain age or to anyone who shows loyalty to the studio, there is also an issue. Pointe work requires a rock-solid technical foundation, without which dancers are subject to rudimentary technical mistakes resulting in injury. This technical knowledge is not achieved at the same pace. Some dancers may only require a few years of preparation while others may work diligently for many long hours before they are prepared for the rigor of pointe training. Giving pointe shoes to dancers in a “one size fits all,” manner is a significant error in technical judgement and should be avoided with care.
Don’t be alarmed, parents; there are ways to know standards are being upheld without being technically proficient or knowing every performer’s age! Wise studios hold “pointe tests,” use a technical syllabus with pre-pointe ankle training or extra conditioning classes, or have another method of individually screening candidates based on capability rather than emotion. Familiarizing yourself with the studio’s pointe protocol will help you and your dancer remain safe, informed, and patient as you prepare, begin, and continue the technical journey of pointe work.
1. Flooring
It is possible to dance on carpet, in the grass, on concrete, or on any other solid surface, but that doesn’t mean it is wise. Flooring is without fail the most unknown red flag to watch for when visiting potential studios. If a ballet studio has been established for more than 1 year in a permanent location without proper flooring, there may be an underlying issue. Your dancer’s safety is paramount. There is no financial barrier stopping an established studio from laying down flooring as simple as a raised piece of plywood and a roll of flat PVC. A lack of safety and purchasing good floors can flow from not valuing technical and professional proficiency. Without the necessary flooring, dancers are unable to practice proper technique. They may fall out of turns, damage their joints when jumping, or strain their core to maintain balance. When dancers are not provided the proper flooring, they will incur innumerable injuries, hours of physical therapy, and a foreseeable future in pain.
Good news: this is the easiest pitfall to avoid! Simply ask to see the dance space you are considering. If it is not similar to dance marley or spring-loaded hardwood, consider other studio options. Your dancer deserves so much better than taking classes in fear of falling.