Guest Blog Contributor JoAna Marie Henigan

I have spent the past two weeks at Modern Motion Dance School as an intern guest teaching
classes, observing other teachers teach, and helping with other tasks around the studio. I had
no idea what to expect before my internship began. I received very few details from my
application and a few general instructions from Ginger, the studio’s Executive Director. I came in
on my first day with a few short choreography combinations in my back pocket and hope that I
would learn more as the two weeks continued. My expectations were exceeded.

When I walked into Modern Motion Dance School I was welcomed with open arms. I would easily call
it the healthiest studio environment that I had ever walked into. While observing classes, it was
instantly clear that the teachers’ mission was to make the dancers feel confident and love their
craft, no matter what that looks like. There was no judgment, only encouragement. I soon
realized it was a place where everyone and anyone was welcomed to dance.
For my first task, I was told I would be teaching a combination for a teen contemporary class.
So, I loosely prepared a combination the day of and headed over to the studio. When I arrived
the teacher of the contemporary class asked if I wanted to teach the entire class or just the
combination. Frozen in fear I panicked and explained that I had only prepared a combination. I
know that this wasn’t necessarily a bad thing- it was what I was told to do. But from then on, I
learned it’s better to be over prepared.

I experimented with different ways to prepare to teach dance classes. I have taught dance
before at my hometown studio. However, all of the kids I thought knew me and I generally knew
their abilities and how to work with them. It was new to me to work with totally new children that I
didn’t know or without knowing their limitations. I knew I had to keep a range of abilities in mind
for the next classes I was asked to instruct. So, I prepared full classes for each time I was told to
come in. I became familiar with the studio’s schedule and the age range of the dancers I would
be teaching. With that in mind, whenever I were to teach a class I wanted to come in with
options so modifications were available to fit the needs of each dancer. Instead of loosely
preparing a combination, I began to prepare combinations with modification options, so I could
teach a version of the choreography that the children felt comfortable dancing. Additionally,
when a teacher asked me to teach the entire class, I would have a general class prepared, but I
would ask the teacher what they would do in a typical class to have a feel for their abilities and I
could adjust my plans if needed.

I learned so many things within my two weeks of teaching at Modern Motion. I
will admit- I panicked a bit with such little information in the beginning. However, I now
appreciate being completely thrown into the job. I was able to develop my own way of preparing
and teaching classes, so I appreciated the little guidance and instruction given to me. I now
know how to effectively prepare to teach dance classes for a range of ages and abilities.

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You can learn more about JoAna and what its like being a dance major at Mason Gross School of the Arts in her recent interview on Chat. Dance. Love.

Seeing a ballerina glide effortlessly across the stage while balancing perfectly on the tips of her toes in a tutu and satin pointe shoes is magical. It is no wonder many young dancers are eager to receive their first pair of pointe shoes, but there are many factors that determine whether a dancer is ready to safely begin pointe work including age, technical strength, experience, and maturity. 

​The journey to dancing on pointe is highly personal, but as a  general rule dancers should not begin pointe earlier than age 12. This is because the bones in our feet do not fully develop until age 12-15. Beginning pointe too early can cause injuries, stunt foot growth, or even lead to deformities. 

Age is not the only factor to determine readiness for pointe shoes. Remember: being on pointe means holding up your entire body weight on the tips of your toes. Regardless of age, if a dancer does not have the strength in their feet and ankles, pointe is not only dangerous but painful. Students should be able to complete sixteen consecutive releves on each foot with a straight knee before they are allowed on pointe. They should also have enough strength to balance on demi-pointe on one leg in a variety of ballet positions. 

In addition to physical strength, students should have at least two years of consistent ballet training and a good understanding of ballet technique and alignment. Dancing in pointe shoes requires the foot and ankle to be pointed straight up and down without sickling and the hips and shoulders stacked directly over the toes with the core muscles engaged and the knees pulled up and straight. 

Many people think of pointe as its own genre of dance, but this is not the case. Pointe should be thought of as advanced ballet. It is for dancers who are serious about and committed to their training. Good attendance, exemplary class etiquette, and a willingness to work hard are essential to succeeding in pointe work. The decision to put a dancer on pointe is for your teacher to make. For dancers who are ready to pursue pointe, it will be gratifying, extremely fun, and yes, magical! There is nothing like the feeling of setting a goal and working hard to achieve it. 

By Hallie Rumsey-Lasersohn, professional dancer and teacher