DanceArticles.html

Christy (my student) and Chuck (1979) dancing "Le Pritempts" at performance for Heart Foundation

Rod (friend) and Chuck (1998)
performing a loop in Cha Cha
(Rod is leading)

Click on this link for information on ballroom lessons for the lesbian and gay community in Los Angeles.

I was obsessed with classical ballet for more than 25 years of my life. Now that I am retired, I dance ballroom and western many nights each week. Below are articles I wrote and had published on dance. If you want to see my dance resume and other pictures of me dancing (someday I'll get a video clip up an running), click here -- Chuck's Dancing.

I also wrote a series of articles for Gotta Dance!; a regional dance publication of the Charles Stewart Dance Institute in Redding, CA, from 1987 to 1989.

When I was a child in elementary school and junior high, we were instructed in social dancing where the couple touched; usually the waltz, fox trot, and swing. Boys made fun of the activity. We've all seen the scene at school dances: boys lined up along one side of the gymnasium wall; girls lined up and waited along the other side of the room. Only a few mixed-gender and girl-girl couples danced. The non-dancing boys squirmed and said they hated to dance. The girls sat patiently waiting for boys to ask them to dance.

Remember going to your high school reunion or to a wedding? Usually there were only a few couples who danced. A small group of men danced with many of the women and wives while most of the other men and husbands sat complaining that they didn't like to dance. Again, women waited for men to ask them to dance. Only when they played music where couples did not have to touch, would the floor fill up.

As a public school teacher in the 1990s, I observed many more boys now danced at school dances than in my youth. And there is much more group dancing. The freedom of non-touching dance seems to reveal one of the clues as to why boys have historically said they hated to dance and why women were left waiting to dance.

I began to participate in ballroom and western dancing. Although I enjoyed disco and club dancing, my age worked against me and I felt I was being treated like an old troll. A friend suggested I try western dancing. Although I initially disliked the music, I saw the couples touched, laughed, could talk to each other because the music was not too loud, and very few participants smoked. All that appealed to me and I decided to try.

Being a gay male in Los Angeles, I alternately went to the two gay western dance clubs for lessons. The instructor had us line up as "leaders" and "followers" without regard to gender. Not knowing what I was doing, I decided to follow. After a few months, I began to lead. I learned to enjoy both leading and following. I noticed the better dancers both lead and followed, thus, I purposely switch between the two roles every lesson. I also joined a lesbian and gay ballroom dance organization called Shall We Dance. Here, I saw the same phenomenon I had seen in the western dance classes. Most beginners began by following and then, sometime later, progressed to leading.

At the classes I befriended a heterosexual couple. I asked them why they came to our small gay classes when there were hundreds of other places they could go. Their story was revealing.

Michael and Maggie were accomplished ballroom dancers with many years experience, but Maggie wanted to have the opportunity to lead. She was also tired of men manhandling her and she did not want to continue risking being injured. At their straight ballroom classes, if Maggie got into the lead line-up, she and Michael were asked to keep out of rotation or leave. At dances, if Maggie led Michael, they got disapproving looks from the other couples and the men would joke that, obviously, a particular member of Michael's manhood had fallen off. At one particular dance, while Maggie was leading, another man abruptly broke in, gave Michael a verbal rebuke for not leading, and roughly shoved Maggie across the floor. They observed that only at the large dance conventions, did they see women in the lead line-up, but never had they seen a man in the follow line-up.

I decided to ask the newcomers to Shall We Dance why they decided to take-up ballroom dancing. Besides commenting they wanted to dance in same-sex couples, many of the women reported they wanted to have the choice between leading and following instead of being forced to follow. Many of the men said they had matured out of their dislike for dancing and they, too, wanted to have the choice between leading and following.

As a life-long ballet dancer, I did not think in terms of leading and following while dancing. Ballroom and western dancing opened my eyes to the pervasive gender roles in social dancing and the consequences those roles have on the appreciation for dance. I now understand why boys have historically claimed to hate dancing.

Males are expected to lead in our culture. When men engage in couple dancing that involves touching, they are proving their masculinity by leading women. However, everyone is initially a novice and that means that when males first learn how to dance, they will prove themselves incompetent in front of women. This humiliation is too great for many, if not most boys, and they take a defensive role by dismissing and denigrating the activity. Thus, forcing boys to lead touch couple dancing in a lead position is not promoting dance, but rather causing many males to reject dance altogether. Girls, on the other hand, are left waiting. With men being hesitant to lead, the pool of available partners is small. Maggie commented another reason she was interested in leading was because often the number of women far surpassed the number of men at dances and she was tired of waiting for men to ask her to dance.

I now understand the popularity of rock, disco and club music for dancing. Since couples do not have to touch, there is no skill required on the man's part. Anyone can bounce and have fun. I love it myself. But there is a level of communication and intimacy missing when couples do not have to touch and this explains the visceral drive toward touch couple dancing found in ballroom and western dance forms.

Much later in life, men may take up couple dancing; but usually at the insistence of a wife or girlfriend, or as a way to meet women. Recently, I took a single male police officer friend of mine to swing dancing at the clubs to help him meet women. He overcame his shyness and danced a couple of times, but complained of feeling inadequate. At my home, I showed him some basic steps; but I had to pull the blinds so that no one could see him dancing with another man. I took him swing dancing a few more times, but his frustrations overcame him and he responded by saying he really didn't like to danceÅ]and this was from a man who went through college on a sports scholarship.

I believe a nurturing environment can help men relearn the pleasures of touch couple dancing. Even then, some men are not good leaders and become frustrated by the experience and turn off to dance. Ultimately, some men should follow and, similarly, some women should lead. So how do we solve the problems gender roles impose upon the enjoyment of dance?

Both women and men should have the choice to either lead or follow in touch dancing. Most beginning ballroom dancers should initially follow and more skilled dancers should lead; regardless of gender. This makes sense. Those more experienced should be teaching those who are less experienced. But now we are faced with having same-sex couples dancing together. Thus, people would also need to overcome their opposition to same-sex couples dancing. However, we live in a heterosexist culture and businesses and schools could face a severe backlash from students and parents if same-sex coupling were encouraged.

I have a number of solutions that apply equally for children and adults. For large dance groups, separate students between leaders and followers (let them choose), and then by gender to accommodate the sensitivities of heterosexuals (the lesbian and gay members are more accommodating and are mostly indifferent to dancing in same-sex, or opposite-sex couples). In smaller groups, those who do not want to conform to heterosexual standard should not be excluded, but they need to be kept out of rotation. Ballroom instructors need to be aware of students who are unduly struggling with their lead or follow position. Perhaps these students would dance better and have greater fun if they took the other role. In a neutral gender role environment, instructors could gently suggest to these students to switch roles; and students would feel safe to try.

One last phenomenon I have observed concerns people (mostly men) who insist on leading. Without exception, I have found these people to be poor leaders and often resort to shoving their partners around the floor. From comments I hear from other dancers and from my direct experience, I believe these people are leading because it is part of their identity to control; and for the men, it is part of their ÅgmasculineÅh identity. They are leading to prove themselves and not for the pleasure of dancing with another person. Thus, they are insensitive to the needs of their followers.

My perspective allows me to dance with Lois, or Bob, or Tim, or Judy-sometimes leading and sometimes following- and they are unique individuals each with something enjoyable to share. Most boys don't touch couple dance because of gender roles. Most girls are restricted in touch couple dancing because of gender roles. Dance is for everyone. Let's not alienate or exclude people by conforming to gender roles.

Chuck Stewart danced and taught ballet for many years. He is now an academic writer on education and gender issues and has recently completed the book, Sexually Stigmatized Communities: Reducing Heterosexism and Homophobia, An Awareness Training Manual for SAGE Publications. Visit him at http://members.aol.com/ckstewar/CStewart.html.

My Original Article. Dancing USA needed to trim the word count by about 400 words.

The Impact of Gender Roles on Social Dance: Why Boys Hate to Dance and Girls are Left Waiting.

I began dancing ballet when I was eleven years old. That was the early 1960s and the boys at school mercilessly called me "sissy," "twinkle toes," or worse. I did not understand their attacks. I wondered how it was that boys were supposed to be physically inclined, yet they demeaned ballet; a physical activity I found to be more demanding than any sport I ever played? I ignored their comments and continued to dance. I was fortunate to win scholarships and dance professionally with many companies until I retired from ballet 27 years later.

In my forties, I turned my attention toward ballroom and western dancing. There are a number of social phenomena surrounding dance and gender that I have only recently gained an understanding. Let me share my observations.

Every child loves to dance. But something happens. When I was a child in elementary school and junior high, we were instructed in social dancing where the couple touched; usually the waltz, fox trox, and swing. Boys made fun of the activity. We've all seen the scene at school dances: boys lined up along one side of the gymnasium wall, whereas girls lined up and waited along the other side of the room. Only a few mixed-gender and girl-girl couples danced. The non-dancing boys squirmed and said they hated to dance. The girls sat patiently waiting for boys to ask them to dance.

In mine and earlier generations, this phenomenon became more pronounced as the years went by. Remember going to your high school reunion or to a wedding? Usually there were only a few couples who danced. A small group of men danced with many of the women and wives while most of the other men and husbands sat complaining that they didn't like to dance. Again, women waited for men to ask them to dance. Only when they played music where couples did not have to touch, would the floor fill up.

Before the late 1950s, ballroom, western, square dancing, and other forms of couple dancing dominated the social dance scene. Males had to know how to lead women, and women needed to know how to follow men in order to participate in social dancing. But things changed. Rock-n-roll, the hippie counter-culture, disco, and club music allowed other forms of couple dancing that included non-touching styles.

I observed as a public school teacher in the 1990s that many more boys now danced at school dances than in my youth. And there is much more group dancing. The freedom of non-touching dance seems to reveal one of the clues as to why boys have historically said they hated to dance and why women were left waiting to dance.

A second clue to the puzzle came to me as I began to participate in ballroom and western dancing. Although I enjoyed disco and club dancing, my age worked against me and I felt that I was being treated like an old troll. A friend suggested for me to try western dancing. Although I initially disliked the music, I saw that the couples touched, laughed, could talk to each other because the music was not too loud, and very few participants smoked. All that appealed to me and I decided to try.

Being a gay male in Los Angeles, I alternately went to the two gay western dance clubs to attend lessons. The instructor had us line up as "leaders" and "followers" without regard to gender. Not knowing what I was doing, I decided to follow. After a few months, I began to lead. I learned to enjoy both leading and following. I noticed that the better dancers both lead and followed, thus, I purposely switch between the two roles every lesson.

At the same time, I joined a lesbian and gay ballroom dancing organization called Shall We Dance. Here, I saw the same phenomenon I had seen in the western dance classes. Most beginners began by following and then, sometime later, progressed to leading.

At the ballroom classes I befriended a heterosexual couple. I asked them why they came to our small gay classes when there were hundreds of other places they could go. Their story was revealing. Michael and Maggie were accomplished ballroom dancers with many years experience, but Maggie wanted to have the opportunity to lead. She was also tired men manhandling her and she did not want to continue risking being injured.

At their straight ballroom classes, if Maggie got into the lead line-up, she and Michael were asked to keep out of rotation or leave. At dances, if Maggie led Michael, they got disapproving looks from the other couples and the men would joke that, obviously, a particular member of Michael's manhood had fallen off. At one particular dance, while Maggie was leading, another man abruptly broke in, gave Michael a verbal rebuke for not leading, and roughly shoved Maggie across the floor. They observed that only at the large dance conventions, such as those held at Catalina Island, did they see women in the lead line-up, but never had they seen a man in the follow line-up.

The final clue to the puzzle came while in discussion with the newcomers to Shall We Dance. I asked these men and women why they decided to take-up ballroom dancing. Besides commenting that they wanted to dance in same-sex couples, many of the women reported that they wanted to have the choice between leading and following instead of being forced to follow. Many of the men said that they had matured out of their dislike for dancing and that they, too, wanted to have the choice between leading and following.

I now understand why boys have historically claimed to hate dancing. Males are expected to lead in our culture. When men engage in couple dancing that involves touching, they are proving their masculinity by leading women. However, everyone is initially a novice and that means that when males first learn how to dance, they will prove themselves incompetent in front of women. This humiliation is too great for many, if not most boys, and they take a defensive role by dismissing and denigrating the activity. Thus, forcing boys to learn touch couple dancing in a lead position is not promoting dance, but rather causing many males to reject dance altogether.

Girls, on the other hand, are left waiting. With men being hesitant to lead, the pool of available partners is small. Maggie commented that another reason she was interested in leading was because often the number of women far surpassed the number of men at dances and she was tired of waiting for men to ask her to dance.

I now also understand the popularity of rock, disco, and club music for dancing. Since couples do not have to touch, there is no skill required on the part of men. Anyone can bounce and have fun. I love the fun myself. But there is a level of communication and intimacy missing when couples do not have to touch and this explains the visceral drive toward touch couple dancing found in ballroom and western dance forms.

Much later in life, men may take up couple dancing; but usually at the insistence of a wife or girlfriend, or as a way to meet women. Recently, I took a friend of mine, who was a single male police officer, to swing dancing at the clubs to help him meet women. He overcame his shyness and danced a couple of times, but complained of feeling inadequate. At my home, I showed him some basic steps; but I had to pull the blinds so that no one could see him dancing with another man. I took him swing dancing a few more times, but his frustrations overcame him and he responded by saying that he really didn't like to danceÅ] and this was from a man who went through college on a sports scholarship.

I believe that a nurturing environment can help men relearn the pleasures of touch couple dancing. But even then, some men are not good leaders and become frustrated by the experience and eventually turn off to dance. Ultimately, some men should follow and, similarly, some women should lead.

So how do we solve the problems gender roles impose upon the enjoyment of dance? The most direct action would be to eliminate gender roles. Both women and men should have the choice to either lead or follow in touch dancing. Most beginning ballroom dancers should initially follow and more skilled dancers should lead; regardless of gender. This makes sense. Those more experienced should be teaching those who are less experienced. But now we are faced with having same-sex couples dancing together. Thus, people would also need to overcome their opposition to same-sex couples dancing. However, we live in a heterosexist culture and businesses and schools could face a severe backlash from students and parents if same-sex coupling were encourage.

Ironically, the stereotype of heterosexual men in our culture being strong and unemotional crumbles when they are faced with dancing with another man. It is heterosexual men who complain and resist the most to changes in dance roles. Of course, if people could get over their heterosexual hang-ups, then the problems of rotation would become mute and everyone would enjoy their chosen role.

Ballroom instructors need to be aware of students who are unduly struggling with their lead or follow position. Perhaps these students would dance better and have greater fun if they took the other role. In a neutral gender role environment, instructors could gently suggest to these students to switch roles; and students would feel safe to try.

One last phenomenon I have observed concerns people (mostly men) who insist on leading. Without exception, I have found these people to be poor leaders and often resort to shoving their partners around the floor. From the comments I hear from the other dancers and from my direct experience, I believe these people are leading because it is part of their identity to control; and for the men, it is part of their ÅgmasculineÅh identity. They are leading to prove themselves and not for the pleasure of dancing with another person. Thus, they are insensitive to the needs of their followers. This is another example of gender roles interfering with the pleasure of dance.

I gained a new perspective on the impact gender has on dance through my participation in lesbian and gay ballroom and western dancing. I found that the gender of the person I danced with was unimportant. Instead, I now dance with Lois, or Bob, or Tim, or Judy- sometimes leading and sometimes following- and they are unique individuals each with something enjoyable to share. Most boys don't touch couple dance because of gender roles. Most girls are restricted in touch couple dancing because of gender roles. Dance is for everyone. Let's not alienate or exclude people by conforming to gender roles.

Chuck Stewart danced and taught ballet for many years. He is now an academic writer on education and gender issues and has recently completed the book- Sexually Stigmatized Communities: Reducing Heterosexism and Homophobia, An Awareness Training Manual - for SAGE Publications. Visit him at http://members.aol.com/ckstewar/CStewart.html.

Directing a Dance Troupe
By Chuck Stewart, Ph.D.
April 2003

This paper discuses many of the decisions used to direct a dance troupe, the selection of music and choice of choreography. It is based on years of experience and choreographic theory.

Many of the examples are based upon the development of Out Dancing Ballroom.

Defining the Purpose of the Dance Troupe

Every organization, business, or dance troupe has a mission. Out Dancing Ballroom (here within referred to as ODB) has as its mission to bring the delights of same-sex couple dancing to the attention of the lesbian and gay community. The medium is public performances.

The ballroom repertoire includes many forms of dance—Latin (Cha Cha, Salsa, Tango, Meringue, Samba, Paso Doubles, and more), Swing (East Coast, West Coast, and more), Waltz (American, Viennese, and others), Country (2-Step, Shadow, Shuffle, Waltz), and other dances (Hustle, Quick Step, and more).

Since our vehicle is public performances, we strive to make our performance entertaining and enjoyable. Thus, much consideration is given to the needs of the audience. We go to great length to decide what music is chosen to exemplify the dance we present.

Choreographic Setting and General Rules

Setting actual dance steps is the last effort in the choreographic process.

First, we must be aware of the performance setting. With ODB, the setting is a stage area with the audience typically being 15 feet or more away. This influences how the dance is choreographed. Small nuances are not seen by people at this distance. Choreographing for TV or movies is different than for live cabaret with is different than for large stage.

Similarly, the steps used in performance are different than those used for dancers. For example, choreographing a line dance has the focus on the needs and desires of the dancers, not the audience. It needs to flow and feel good to the dancer in order for it to have staying power. However, for the stage, the choreography is designed to convey a story, feeling, or context, not necessarily feel good to the dancer.

Here are some rules of good choreography and company management:

1. The larger the audience or venue, the larger and simpler the steps.
2. If an intricate pattern is desired, use fewer dancers on stage. Solo work is the best place for intricate dance steps.
3. Be sure to use the stage, i.e., the dance must move about and use the stage. Standing in place is the atheists of dance—which is movement.
4. Audiences mostly watch arms, chests, and faces. They often ignore feet.
5. If you want the audience to look at something in particular, you must indicate it directly. For example, in ODB west coast swing number, we use a fall at the end. We hold position before and after the event. This frames the event and gives the audience time to process what they just saw. Likewise, when we are holding our partner down, the leaders are instructed to look at the follower instead of the audience. This way, the audience is directed to look at the followers who perform high kicks.
6. Plan the order of dances like a good plot. Also take into consideration time for costume changes.
7. Some dances should have more or fewer people in them than other dances.
8. Give yourself some flexibility in casts. You will not be able to count on every dancer for every show (especially in all volunteer groups). Have back ups.
9. In a company, have more than one choreographer. In ODB, Chuck choreographed 2 numbers, Jeremy choreographed 2 numbers, Arley choreographed 1 number, and we all collaborated on another number. We all have strengths and weaknesses. Chuck knows how to plot dances and use the stage but he is not an expert on many of the dance forms. Jeremy was a ballroom teacher for 25 years and performed around the world. He is inventive yet recognizes the skill limitations of many of the dancers. Arley is an ex-jazz Vegas dancer who has great style. Together we support each other’s effort. Chuck makes the count sheet and plots the dance. Then the three of us put together the steps. The best dance companies in the world use multiple choreographers and collaborative efforts.

There are many basic rules. You are welcome to take a college class on chorography.

Choice of Program

ODB is not just dancing particular dances. Instead, each number is chosen for how it fits into an overall performance program. A basic rule is to begin the show with a bang and end with a bang, i.e., big production numbers. In between, there is a definite pace of numbers.

For a half-hour show, we begin with our West Coast Swing number because it is hard hitting with many over-the-top steps. Then we quiet down with our Waltz, going to our medium speed but flashy Cha Cha, then our quiet and cerebral Tango and ending with a full stage of East Swing enthusiasm.

Choice of Dance Content

Each dance must have a reason to exist. Otherwise, it is just a series of steps and the audience will know this and treat it accordingly— forgettable and expendable. For each number, ODB is careful about portraying a particular emotional content or simple story. Here was our reasoning for some of our choices:

1. West Coast Swing— Hard hitting; as though guys came into the bar after a long day at work and wanted to dance something sexy, suggestive, and pushing.
2. Waltz— Smooth and debonair. Audiences have great expectation about the waltz. They have seen them in hundreds of movies. We chose to wear long-tail tux jackets, top hats, canes, and music that captured the era. Dancers are playful and flirtatious. The steps are not difficult and designed to flow. Audiences want to see us spin. We have followers change partners and flirt with a kiss at the end.
3. Cha Cha— Very stylized. Costuming included calypso jackets—again, meeting the expectations of our audience.
4. Hustle— Homage to Disco. This is our comedy routine. We have a Drag Queen who is over-accessorized by men dressed as Village People characters.

Choice of Music

The choice of music is limitless. But, to narrow our choice and convey our message, we follow a couple of guidelines.

1. Is the music identifiable to this particular dance? For example, Waltz seems to go hand-in-hand with big band sounds of the 30s and 40s. The music we chose is by Mandy Patinkin and has a scratchy, old record sound at the beginning that changes into a grand waltz.
2. Is the music identifiable by our audience and/or has particular meaning to them? For example, in our Hustle number, we chose “I Will Survive” because it has been the national anthem of the gay community since the disco period. Our West Coast number uses “Man I Feel Like a Woman.” The lyrics are a tongue-in-cheek recognition of gender roles. Our upcoming Meringue number will use the most popular pro-gay song currently played in the Latin gay clubs — A quien le importa.
3. Does the music have staying power? For our Cha Cha, we use Ricky Martin’s “Jezebel.” We wanted a contemporary feeling yet not a big hit that may seem over-used and age poorly. This particular piece of music begins like a tango that switches into cha cha. We did not want a cha cha that audiences may associate with their parents.

So, the choice of music is not just what the director or choreographer likes. It has to meld well with the over-all performance. ODB holds quarterly meetings where these issues are presented and voted on.

Choreography

So, the dance content and music are set. Now is the time to choreograph the piece.

Again, setting particular steps is the last process.

Here is the basic outline.

1. Make a count sheet.
2. On the count sheet, certain musical passages will suggest particular movement to reflect the content, i.e., the choreographer will see a line of dancers, a particular fall or lift, a series of arm movements, a particular movement, a circle of dancers, and more. This is where the content is outlined to the music. A plot arch helps guide this effort.
3. Decide on entrances and exits and the overall movement on the stage.
4. Decide how many dancers are needed.
5. Finally, finally, steps are conceived to connect the pieces mentioned in the previous steps. Some choreographers write these down while others work directly on the dancers. Most professionals write it down before teaching it to the dancers because it saves time (and money) rather than have dancers stand around while the choreographer creates on the spot.
6. Adjustments are made to the choreography once it is placed on the bodies.

Choreography is 90% craft and 10% inspiration. The craft can be learned. Learning how to approach and execute choreography will raise the level of any performance group above the majority of dance troupes.

Thank you for your time.

Chuck Stewart, Ph.D., Founder
Out Dancing Ballroom
ckstewar@sbcglobal.net
310-838-6247

Chuck Stewart was a professional classical ballet dancer and choreographer for more than 25 years and director of two ballet companies.
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The day of "Ballet is Woman," as once said by Balanchine, is gone forever. The stellar roles of Nureyev, Baryshnikov and Godunov and their phenomenal success and breath taking virtuosity have opened vast possibilities for the male dancer. They reflect the growing need for new training techniques to enable male dancers to realize their full potential.

To reflect those new training techniques, classical dance is best taught to boys and girls in separate classes.

In the first two years, from ages nine to eleven, this difference is not very noticeable, but later is becomes quite marked. Girls, especially teenagers from twelve to sixteen, already show a desire to be graceful and elegant, the boys of the same age show a certain boyishness and awkwardness.

At the age of seventeen to nineteen, the young boy begins to acquire a certain masculinity and coordination while girls at the same age are already much more independent, assured and active. While the grace of the girls is most appreciated, the male pupil must move in a way natural to his age, while not being hindered in his technical development. During the lesson, the teacher must direct each one of them, the uncouth as well as the elegant, to avoid that gracefulness to welcome in the girls and so unwelcome in males.

Boys and girls in all classes must be reared in good taste, musicality, nobility of movement, artistry, etc., but in accordance with their age group. Since the basis for the male performing style is laid in those early years, the appearance of effeminate mannerisms may be the result of wrong teaching at this early stage.

It must be remembered that a too refined performing style that copies the grace of women contradicts the nature of the male dance and only gives rise to effort and falseness , which is contrary to the realistic school of Soviet classical ballet.

With boys, the movements may be the same but it has more resolve, physical force, simplicity, terseness and vigor in performance. This translates into training for lighter jumps, more turns and beats.

The days when a foreign named dancer could open a school of dance and be guaranteed success are over. Today's teachers are better educated and are in many cases credentialed.

There is no one right way to evaluate a potential dance teacher. The items to consider are -- you and your child's expectations and the teacher's background as a teacher, performer and student.

If your interest in dance is casual, then a teacher who has rudimentary dance knowledge would suffice. If you have professional objectives, then the teacher must have a mastery of the required skills and must have been recently involved in the dance scene. Teachers who have not danced or taught professionally within the past few years would be out-of-touch with what is being sought of the new crop of dancers.

Besides professional experience as a performer and teacher, most all universities have programs for the credentialling of dance teachers. A credential guarantees a certain level of technical proficiency.

Another consideration is whether your child is a boy or girl. Boys should train predominantly with a male teacher. Girls should train equally with male and female teachers. Generally, male teachers ask for greater effort in jumps, turns and batterie since the male repertoire requires such skill. This strength is of equal importance to female dancers.

It should be emphasized that all advanced students should study simultaneously with a number of qualified teachers. This will prepare them for the crucial auditioning process during their late teens and early twenties.

The final consideration is simply how well the teacher communicates to the student. Each of us has learned dance through our own bodies. Thus, different angles or approaches work better for different people. Try out a teacher. No credential or past laurels of a teacher will insure a good working relationship with all students. If the class does not work for you, try another teacher. It is to your best interest to find what works for you.

To succeed at dance, a dancer must have a coincidence of three contributing factors -- skill, timing and opportunity.

In the world of classical ballet, most female professional dancers started their training at the early age of 8 or 9 years old. At that age, they usually take 2 or 3 classes per week. By age 11 or 12, they increase their class schedule to 5 or 6 times per week, culminating with at least 1, usually 2 classes each day around age 15.

At the age of 15, girls should have started attempting major dance company and company school auditions. It is also the time to start taking classes from more than one teacher. If the student has trained with only one teacher, the chances of success are diminished since they will probably be awkward during an audition.

Most professionals obtain their first dancing contracts around age 17 or 18. Balanchine once said that a girl is an "old woman" by the age of 22. It may seem unfair that dance is so youth-oriented, but that is how it is.

It is important to realize that daily training is the norm for professionals from age 15 through their entire careers. Remember, if you are unwilling to make the same commitments, thousands of others will. You are in charge of developing your skills.

In Part I of this series, the need for daily training with a variety of teachers for the serious student of dance was presented. This need for at least one daily class is the normal regimen for the professional dancer. Tens of thousands of dancers are willing to make this effort, thus to seriously pursue this goal, you must make a similar effort.

The student has absolute control over his or her training. But in obtaining jobs, this is not as direct. Other persons are making the decisions thus a coincidence of your being at right place at the right time is paramount.

The first step in developing opportunities is to expose yourself. Go to auditions, many, many auditions. Psychologically this can be tough since you will surely experience rejection. Try thinking of the audition simply as a free class. If you get the job, great, but if you don't, you lost nothing and you got a free class from a top-notch professional. Also remember that when a company auditions, it is looking for particular people, not necessarily the best dancer. This may seem strange but if you need a corps dancer of particular height, build and style to fit an existing role and costume, the unique superior dancer would stand out and you would not hire him.

Most ballet and modern companies have schools associated with them. A good way of maximizing your chances at those jobs is to: (1) find out when the audition is going to held, (2) find out who is going to conduct the audition and make the decisions, and (3) take daily classes from this person for a 3 to 4 week period before the audition. This will make yourself known, give you better insight as to what the auditioner is looking for and indicate what your chances are.

For TV, Broadway, Las Vegas, etc. a similar approach is possible. Again, find out when the audition is to be held and by whom. Most choreographers also teach at local rehearsal facilities. Find out where they are teaching and go take many classes before the audition. A special note concerning these types of shows. Many of them do not hold auditions but instead the choreographers pull from their students or friends. Find out who the working choreographers are and take many classes from them.

Some good sources of audition dates are the guilds--Equity, SAG, AFTRA, AGMA telephone hot-lines, the professional papers-- Variety, Drama Log, Dance Magazine, the large professional schools, and of course other dancers.

Remember, being a great dancer is not enough. Those who hire must know you exist. Go out and audition, take class from these important people. Be seen.

In Part I of this series, the need for daily training with a variety of teachers for the serious student of dance was presented. Part II reviewed ways to create job opportunities by getting out there and being seen at auditions and classes taught by those who are in the position to hire dancers.

Historically, the number of female dancers has far exceeded the number of male dancers by a factor 20:1. This is still true today. Consequently, it is far more difficult for a woman than for a man to get a dancing job. Similarly, at the corps level, the expertise expected for men is much lower than that for women.

Principal dancers comprise a select few within any company. Since principal dancers perform together, both sexes must have equally high skill. Particularly for dancing teams, if either dancer is significantly lower in skill than the other, many jobs will be lost.

With the advent of the male superstar such as Baryshnikov, Bujones, Nureyev, more and more has been expected of the male dancer. No longer is the male dancers just there to support the female. The male soloist and star must have impeccable technique and dazzling bravura. Male superstars have far greater incomes and opportunities to perform, but more is expected of them.

Balanchine once said that a female dancer is "an old woman" by the age of 22. Dance has always been an art form practiced by the young. Combine this societal predication towards youth and that there are an excess of females in dance, women must start their initial ballet training around age 7, many years before that of most males. Also their careers are usually shorter than males because of the crippling pain from wearing toe shoes daily.

Women dancers have more competition and must start training earlier than men and will have harder times finding work, but to truly excel, both sexes must dedicate themselves equally to their art.

In Part I of this series, the need for daily training for the serious student of dance was presented. Part II reviewed ways to create job opportunities by getting out there and being seen at auditions and classes taught by those who are in the position to hire dancers. Corps female dancers must train earlier and longer than for males as discussed in Part III, although all great dancers are of equal ability.

Jazz dancing, like jazz music is the art form that could be considered uniquely American. The evolution of the musical theatre from opera to Broadway and finally musical reviews such as seen in Las Vegas or TV, shows a continual shift from strict formalism to a more natural human expression. To fill this need, dance adapted ballet and social dancing to a highly skilled, yet natural form of dance called Jazz.

The key to being a professional jazz dancer is skill and naturalness. Most successful jazz dancers have trained a relatively short 3 to 4 years, taking an equal number of ballet classes as they do jazz classes. This is sufficient time to gain the skills required yet they retain their natural style. A dancer over-trained in ballet will be more accomplished at turns, balance, strength and other skills, but their style will be less natural. As a result, they will have less likelihood of obtaining jazz jobs. But, do not neglect your ballet training as jazz by itself does not give you much skill.

As with any form of dance, you must still get out there and be seen. Take classes from working jazz choreographers and from a variety of teachers. Audition every chance you can.

A tense upper back is a serious problem for the ballet dancer. It is common for male dancers to strain or rip these muscles during partnering. Most of the exercises we perform emphasize an extremely straight back, only aggravating the problem. Before going to the barre to start your plies, a few short exercises should be performed to relax the upper back.

(1) Roll the head slowly to the right 4 times, then to the left 4 times. Repeat, but twice as fast. (2) Drop the head and bend at the waist until your hands touch the floor. Hang there for 20 seconds. Slowly rise. (3) Reach slowly with the right hand over the head 4 times, always letting the upper shoulder move up with it. Repeat left, then right and left again. (4) Extend the right arm to the side and stretch the arm socket out and in 4 times. Repeat left arm. Repeat with both arms at the same time. (5) Roll both shoulders together 4 times forward, then 4 times back. (6) Reach the right hand overhead, bend at the waist and touch it to the left foot. Straighten up, reach the left hand overhead, bend at the waist and touch it to the right foot. Repeat 6 times.

Have you ever had a dance class where the more you struggled, the worse you danced? The harder and harder you pull up during pirouettes the more you fall. These problems are related to relaxation.

Relaxation is not just confined to non-working hours spent sitting in front of the TV or lying down sleeping. The most important times to learn to relax are when you are under stress, when you are exerting great physical effort.

The two aspects of dance most affected by relaxation are balance and stamina. The human body is a dynamic system--that is, it is in constant motion, with varying centers of gravity. While we are balancing, it may seem that there is no motion, but even the pumping of the heart requires small weight adjustments to be made. Thus, to pull up rigid is the opposite action you need while balancing. Relax, let the ankles and feet make the necessary adjustments but keep the adjustments out of the torso to prevent the need for large motions requiring even greater adjustments.

Do you ever wonder how a person is able to hold an extended leg for such a long period without cramping. Most dancers do not think of the effort required to hold the leg out; instead they blank out the mind and listen to the music. In effect, they let the music hold the leg up. This is a perfect example of relaxation. While holding any extended position, think of your center, think of the music; don't muscle it. You will balance better, hold it longer and have more control when you relax.

[This article originated because I saw so many under-age girls being sent to my Capezio store for toe shoes by their dance teachers. I felt this needed to stop. These teachers were doing harm to their students.]

"Most dancers do not go on point until about twelve years of age," Capezio's publication Everything We Know And You Should Know About Fitting Dance & Fitness Footwear.

"The proper age for starting on toe is 12 years old," Edith D'Addario director for the Joffrey Ballet School. "ABT does not accept students under the age of 12. The girl must be on toe but usually not more than a few months prior," Kelly Ryan publicist with American Ballet Theatre.

"Only after a student has reached Level 3 may she go on toe. This is usually at 12 years of age with rare exceptions," Diane Kounalakis publicist with San Francisco Ballet School.

"A child starting with our school at age 8 may audition to go on toe after the 4th year. A child starting with our school at a later age of 10 or 11 may audition to go on toe after the 3rd year. Never would a child go on toe before 11 1/2 years or age. It shocks us to see so many students coming to us who were put on toe at the age of 9 ,10 or 11," Madame Gleboff, Director School of American Ballet (NYC Ballet).

The general consensus is that a student should be about 12 years of age before going on toe and must have had a number of years of ballet training before hand and must have developed strong, flexible feet.

The age criteria is the result of physiological considerations. Bone development is far too incomplete before the age of 12 to be subjected to the unnatural forces of dancing on toe. Permanent damage can occur, including a halt in bone growth. Adult toe dancers experience a multitude of physical problems including shin splints, tendonitis, bone spurs and fractures. Starting at too early of an age intensifies these problems-problems that will last a lifetime.

Even though youngsters under the age of 12 may plead to go on toe, both parents and teachers should not capitulate. Similarly, if a teacher does let their students go on toe too early, parents should consider removing their child from that teacher's care since it is reasonable to assume that the teacher is making other major errors in the rest of their teaching methods.

CAPEZIO'S- Everything we know and you should know about fitting dance and fitness footwear.

A toe shoe is an extension of a dancer's body. If it is fitted properly, it gives her greater mastery, comfort and confidence. Most dancers do not go on pointe until about twelve years of age. Dancers on a student level require different features in a shoe as contrasted with professionals. To sum up, each pair of feet must be regarded as a challenge for which there is a solution.

Before we start: there is no left or right in toe shoes. A shank is the back bone of the shoe and is shaped like a foot without toes. A shank is inserted underneath the sock liner and ranges from very light to very strong. For instance, a student needs more support or a stronger shank. Dancers who tend to go backwards also require a very strong shank. However, professionals usually prefer a light shank and very often a 3/4 shank, because their feet are stronger.

The vamp, the part of the toe shoe upper that covers the toe, also gives support. The same rule usually applies here: harder and longer for the less trained foot, softer and shorter for the trained foot. The quarters or sides differ too. Higher or lower depending on preference.

1. Dancer should sit on the edge of a straight chair, feet firmly on the ground.

3. To determine the length needed, begin by using a Ritz Stick. The dancer should put her foot on it while seated. The small number indicates the pointe shoe size.

4. Soften box with heel of your hand; then with thumbs, press sole in at point of arch before the shoe is put on. Push shoe toe into heel of your hand and work until the dancer's toes are at the very front of the shoe.

5. Make sure the back fits snugly, and there is no space in toe. Vamp also should be snug when dancer stands flat.

6. Help dancer rise on pointe on a wooden floor. If the shoe gaps, go still wider and shorter until gap is eliminated.

1. Duro Toe® and Pavlowa® (suggested shoes for beginners) are made with a # 3 shank and reinforced box.

2. Nicolini®, with a tapered box, Contempora®, with a broad box and Ultimo®, with a moderate box are made with a #2 shank.

5. Perfetta® is the professional pointe shoe with a 3/4 shank and is also a lighter constructed shoe.

Martha Graham has been one of the major influences on the development of modern dance. Over the years, she and her company have created many classic pieces. This tape presents three of her better-known works. Before each piece, Martha Graham herself gives a brief description of the work and its development.

Conquering fear, particularly undefined fear! was Martha's focus on Errand into the Maze. On tour in Iran, a plane carrying her company had severe weather difficulties and almost crashed. Before the plane landed safely, she danced the piece 3 times in her mind. This gave her the strength to address her fears and bear the stress of the trip. Such is the power of this piece.

Cave of the Heart "...is a passion we all understand and possess, this impulse in ourselves--it's envy, it's covetous, it's maliciousness, it's the untamable thing of fire; it dominates when the law s of the heart and the body are interested." This is the ancient story of Medea and Jason and their curse of jealously.

The third and final piece, Acts of Light, evolved from a Carl Nielsen musical composition celebrating the coming of spring light to northern Denmark.

Anyone interested in dance should consider this tape for their collection. Without question, this is one of the best examples of modern dance that is commercially available.

It's an unforgettable image: young children, aged 9 to 12 being critically appraised by the admissions board of the Vanganova Choreographic Institute, the school of the Kirov Ballet. Wearing simple shorts and T-shirts, they're asked to turn out their feet and jump and they're examined to see if they meet exacting physical proportions. Out of thousands of applicants from all over the Soviet Union, less than 20 are accepted yearly to start the rigorous 9-year ballet training.

The daily regimen is presented through the lives of two of the children - a boy and a girl. Shorts excepts of their classes, dormitory life and competitiveness of the school are shown. Older teenagers are shown in rehearsal and their first performing efforts.

Of special interest is the differences in training for boys as compared to girls. Big jumps and turns highlight the boy's classes. The girls, of course, develop strong feet during point work.

Finally, the students graduate and give a commencement performance. Those who successfully complete the training are virtually guaranteed a job with the Kirov Ballet and effortlessly demonstrate why the Vanganova school produces the world's best classical ballet dancers.

Margot Fonteyn & Rudolf Nureyev . . . perhaps the greatest partnership in the history of ballet. For the first time, their most acclaimed performances, which have thrilled audiences worldwide, have been captured together on one videocassette. The program traces their partnership from its glorious inception in 1962 (in "Giselle" at Covet Garden), to its grand finale some 17 years later. It is unique in that it includes rare, behind-the-scenes footage of both dancers.

Marguerite & Armand, their showcase ballet (specifically written for Fonteyn & Nureyev by Sir Frederick Ashton), is based on Alexander Dumas' famous novel "La Dame aux Camelias," Fonteyn is the young Lady of Camelias, dying of consumption. Nureyev is her adoring and adored lover in this romantic and emotionally charged ballet. This performance, which is "tailor-made" to fit their individual talents, is one that every admirer should have in their private collection to be enjoyed again and again.

In one of their most highly praised performances, as the ill-fated lovers in Romeo & Juliet, Fonteyn and Nureyev dance the death scene with more emotion and intensity than ever before seen. This very touching and beautifully performed scene has literally mesmerized audiences everywhere. This is the very same production that has prompted theater audiences to rise to their feet and applaud for as long as 40 minutes. It is indeed, one of the most magical ballet performances of all time.

Robert Powell narrates and ballet personalities such as dame Ninette de Valois, founder of The Royal Ballet, provide their thoughts and memories on the lives of Fonteyn, Nureyev and their association. The synergy of their partnership was electrifying, and their impact on the world of ballet remains unmatched. This collector item is an intriguing visual biography of the greatest ballet partnership of all time.

Mikhail Baryshnikov has been an elusive superstar, despite his prominence in the public eye. As narrator Shirley MacLaine says, Baryshnikov "has captured the imagination of people who had never before been interested in dance." This is the first intimate profile he has allowed.

Filmed in 1983 by London Weekend Television under the direction of Tony Cash, the tape opens with Baryshnikov performing a virtuoso solo from his commissioned ballet "Configurations" choreographed by Choo San Goh to the music of Samuel Barber. We see that same solo two more times--in rehearsal with the choreographer and again within the context of the ballet filmed at its premiere at Brooklyn Academy of Music. Baryshnikov admits in one of the many interview segments that "theater is a wonderful gamble, but much more fun than playing money." As we witness the rehearsals, hear the dancers' comments, and learn from pianist John Browing the complexities of the score, we gain an insider's perspective of the world of ballet.

It's a dense tape, not only revealing the many sides of Baryshnikov, but also the secrets of success for any artist. There are moments of reflection on his early training in Russia and stunning excepts are shown from "Corsaire" and other Baryshnikov performances. His hunger for experience of all kinds, as exemplified by his roles in the films The Turning Point, White Nights and his television special Baryshnikov on Broadway with Liza Minnelli, is strongly evident in the way he approaches his role as dance, coach and artistic director of American Ballet Theatre. At the peak of his form, Baryshnikov, as Antoinette Sibley from the Royal Ballet says, "uses the air the way most of us use the ground."

Natalia Makarova is universally acknowledged as one of the greatest ballerinas of our age. Hailed as a peerless interpreter of such traditional roles as Giselle and Odette/Odile in Swan Lake, Makarova has also triumphed in the modern repertory. Among her most acclaimed interpretations are Natalya Petrovna in Sir Frederick Ashton's A Month in the Country and the title roles of Sir Kenneth MacMillan's Manon and Romeo and Juliet, all featured in this program in a celebrated partnership with Anthony Dowell. Three years ago she created a sensation when she appeared on Broadway in the musical comedy On Your Toes and her performance as the eccentric ballerina Vera Baronova won her no less than seven awards.

As a complete contrast, Makarova is also seen in a number especially created for her and Gary Chryst in New York by Peter Gennero to Begin the Beguine. As a finale, Norman Maen has devised a Showcase with which Makarova closes this self-portrait in dance.

The program is linked by Madame Makarova herself and her charming personality, fascinating life and love of dance shine through to create an intriguing visual biography of the greatest female dancer of our time.