Why Having Multiple Teachers Can Be a Good Thing

            “No one’s education is every complete.” 
                                                                  – John Marks Templeton

            When dance students first begin taking dance classes, they are, more than likely, introduced to one dance teacher who will begin to expose them to the world of dance. This teacher can provide the disciplined routine upon which to build a strong dance education. Having one teacher helps foster a student’s basic understanding of dance and establishes a strong foundation from which the student can begin to branch out and grow.     

            As dancers grow serious about their training, they will begin to realize that different dance educators have different ways of teaching. While the format for a dance class is standard, the material that is presented and how it is presented can differ greatly, depending upon the dance educator’s background. Some dance educators have been performers, some have earned degrees in dance, some have experience in many techniques, and others may have focused in depth on one technique. Some may approach dance from a traditional perspective while others may combine dance science with dance technique to formulate their classes. All of these dance educators have something valuable to offer their students.

            Everyone learns differently. Some of us are visual learners and will have great success with a dance educator who demonstrates every combination, some are auditory learners and will excel with teachers who emphasize dance terminology and counts, and others are kinesthetic learners and will perform best with teachers who use a hands on approach and encourage them to boldly try new movement.

            While all dance educators must incorporate dance technique, presentational and performing skills, musicality, and proper anatomical instruction in their classes, each individual educator may focus upon one of these categories more than the others. Those with extensive performing experience may emphasize the presentational and performing skills. Educators with a dance science background may spend a good deal of time speaking about how the body works. Teachers who also have a background in music may insist on paying careful attention to musicality throughout the entire class.

            Additionally, some dance educators may focus more upon alignment, some may focus more upon turns, some may focus more on jumps, some may focus more upon the technique of the upper body, and some may focus more upon lower body technique. Some teachers may use imagery in class to explain how to perform a step while others may use technical terminology or movement quality descriptions.

            It is for these reasons that students who are pursuing advanced dance training should have the opportunity to study with more than one teacher.  In doing so, students may develop a more well-rounded approach to dancing. A particular exercise that may have always been a struggle can become clearer when it is approached or described in a new way. Becoming the strongest dancer possible is dependent upon the students’ opportunity to seek out other dance educators and glean as much from each of them as possible.

            Dance educators should not feel threatened when their students seek supplementary training but should instead encourage it. When students begin to explore the bigger world of dance, they do so because they are passionate about the artform. The original dance educators get to claim credit for instilling this passion and providing these students with a lifelong gift that is more important than any technical training could ever be.

The Psychology of the Injured Dancer

"A setback is a setup for a comeback" - T.D. Jakes

          Dancers spend so much time taking class, rehearsing and performing that experiencing an injury at some point in their training or their careers is almost inevitable.

          Injury rates among dancers have been reported to be as high as 97%, yet less than 50% of those injuries are treated by medical professionals.  Dancers tend to dance through any pain they feel because they worry about missing class and losing technique, losing their roles to other dancers and losing pay due to missed rehearsals and performances.

          However, injuries do occur, and there are times when dancers may be forced to stop dancing for a period of time. It is important for everyone in the dance field to know and understand that there are some psychological effects a dancer may likely experience when injured.


          A dancer may feel shocked and frustrated to discover that this body that he/she has spent year's training has betrayed him/her. If the injury forces the dancer to take time off, the frustration may soon turn to depression as the dancer begins to miss classes and/or rehearsals. It is important to note that this depression may not only be psychological but may have some of its roots in the fact that when we dance our bodies naturally release endorphins which promote a sense of euphoria. When dancers are forced to stop, the endorphins are not released, and they will not experience the sense of euphoria which is a normal state for them.

          Standard practice within the dance community is that injured dancers should attend classes and rehearsal when injured and observe. Although dancers can certainly learn by observing (see my post, about mental rehearsal), a 1996 study determined that watching class was related to an increase in  the injured dancer's feelings of guilt, anger and distress over being injured.

          As the injury begins to heal, the dancer will grow optimistic but may soon become pessimistic as he/she grows impatient with the amount of time necessary for the body to heal.

          Dance directors, educators and parents can help dancers cope with injuries in several ways. Very few dancers have enough anatomical knowledge to understand the nature of an injury and the body's recovery process. By educating dancers before injuries occur, we can eliminate the fear that often accompanies an injury.

          Dancers need to be reassured by everyone around them that injuries are temporary and that they will eventually be able to return to the technical level at which they were performing prior to the injury.

          It is equally important for an injured dancer to see a medical professional who understands the mentality of dancers. The doctor or physical therapist should understand that the primary goal is to get the dancer back in the studio as soon as possible and provide realistic rehabilitation exercises. Quite often, the rehabilitation exercises that are prescribed are less challenging than the exercises dancers do on a daily basis.

          Lastly, it is important that injured dancers who sit through class or rehearsals feel they have a purpose. A dancer with a leg injury can sit in a chair and perform all of the upper body movements, or the dancer may be asked to take notes for the teacher or rehearsal director so that he/she feels valued.

          While it is inevitable that injuries will occur in dance, psychological feelings of depression, fear, and anxiety may be avoidable or alleviated by the approaches of those surrounding the dancer. Their reassurances and kind gestures can help keep the injured dancer in a healthy psychological state while the body is given the chance to heal.

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Bowling, A.  (1989) Injuries to dancers:  prevalence, treatment and perceptions of causes. BMJ. 298:731-34.

Kerr, G., Krasnow, D., Mainwaring, L.  (1992) The nature of dance injuries. Medical Problems of Performing Artists. 7:25-9.

Macchi R, Crossman J. (1996). After the Fall: Reflections of injured classical ballet dancers, Journal of Sport Behavior. 19(3): 221-234.