Category: business

These posts are related to building and improving your dance business. We talk about how to analyse your situation and how to build a sustainable income with your specific skill set. No silver bullets, but methods that work to find your spot in the dance industry.

Of Clockmakers and Clockworks

The clockwork will not run, without great preparation from the clockmaker.

To finish any given project and make meaningful progress, we apply two different modes of operation. I like metaphors and call them clockmaker mode and clockwork mode. It would also be perfectly fine to label them smart mode and dumb mode or planning mode and execution mode.

The point is that both modes alone are worthless for real progress. Only a combination of both gets essential stuff done.

Clockmaker Mode

The clockmaker mode is about defining goals, asking the right questions, reflecting about your course of action, evaluating outcomes, and, most important, laying out the plan for clockwork mode.

Clockmaker mode is about navigation. It’s about finding out the place where you want to go with whatever you do. Its purpose is to set a course for your destination. 

Clockmaker mode needs time, honesty, and free thought.

Clockwork Mode

Clockwork mode means to take all the necessary steps to get you where you want to be. It is about ticking all the boxes on your to-do list and making all the tiny steps that will lead you to your goal.

In clockwork mode, it’s not about navigation as you already know your course. It is about traveling the distance. 

Clockwork mode needs discipline and the will to push through uncomfortable times because you know where it leads you.

It’s always better to be part of a clockwork that you created or at least helped to create, so you know where you are heading.

The Right Balance

Smart mode and dumb mode need each other. The one provides the plan, and the other provides the action to make it happen.

Each one of them alone makes your whole endeavor and life miserable. People who are in smart mode all the time only talk without ever doing something. The others who are in a permanent dumb mode, work all the time without the feeling of accomplishment and are very likely to burn out.

It would be best if you had a healthy balance of planning and execution to go where you want to go. Define a goal, make a plan, work towards it, check if you are heading in the right direction, and adjust course if necessary.

Examples

If you create a dance piece, clockmaker mode is answering the questions of what the piece is about and why you want to do it. Clockwork mode is creating the choreography, choosing the music, fix all the dates and so on.

In event management, smart mode is defining if you throw a jam or battle, who to invite, what program to plan, what you can offer to sponsors and so on. Dumb mode is contacting all the sponsors, asking the guys if they want to come, booking flights, doing all the things at the event itself. In short: making it happen.

None of the two modes has any worth without the other. Find your balance and start your journey.

Don’t be stupid about taxes and the law – Dance Business Advice

Don't ignore laws and taxes as a dancer

A lot of people start out doing dance-related stuff as a side-hustle besides studying or their regular job. That is a great idea. What is not so great is that most of them don’t care about doing in the right way, which can lead to major problems later on. As soon as your income is above a certain threshold, most countries require you to pay taxes and/or mandatory insurance. I will not go into detail about this as taxes and laws are different from country to country and sometimes even from county to county.

What I want you to be aware of is the fact that the money you save by not registering your freelance activity and therefore not paying taxes is nothing compared to the potential issues you can run into.

What are the potential problems?

  • When you get caught you have to pay the money you saved plus an additional fee, which sets you back money-wise.
  • Depending on the severeness, you might get a criminal record. In some countries, it is legal and easy to check these. If you have a criminal record, a lot of people won’t hire you at all.
  • Dealing with an examination of the tax office is a pain in the ass, that will keep you from doing your work.
  • If you don’t work official, your time does not count towards your pension.

So what shall we do?

Inform yourself about the legal situation for freelance dancers in your country. Start with finding out if there is a lobby or special interest group for dancers. It’s most likely a part of freelance artists or freelance entrepreneurs. Google will tell you.

FOR AUSTRIA: You can find all the relevant info online. You need the “Finanzamt” of your hometown, the “Sozialversischerungsanstalt der gewerblichen Wirtschaft bald Sozialversicherung der Selbständigen” (Dance is a “Freies Gewerbe”) and for potential general questions the “Wirtschaftskammer”.

If you can not find the Infos you need online, call the office of said institutions and ask for an appointment to talk you through the process of setting you up for legal work in your field.

If there is really no interest group taking care of your work, then just hit up the municipal authorities and they will point you in the right direction.

Get help!

It is possible to do everything on your own but I highly recommend working with an accountant and an attorney.

The accountant will take care of all your tax-related stuff and usually save you more money than he or she costs. Look for a freelance accountant and not one inside a big office. There are people specialized in small businesses. If your company will grow big, you can still change to a bigger office, when you need the additional manpower.

Hopefully, you will never need your attorney but in case you have issues, he can help with settling it. No matter if you need someone to defend you or someone is trying not to pay an invoice. Having legal expense insurance comes in handy if you need the attorney’s help.

With everything regarding taxes and law taken care of, you can focus on doing your work that matters. Do yourself that favour.

How to get more dance jobs in Austria

how to get more dance jobs in asutria title graphic

I already wrote about the topic “how to get more dance jobs” a few months back. I get some feedback on this article (that the stuff in there does not work) and some new requests about how to do it in Austria.

What is different in Austria?

That is the question we have to answer first before we can dive into the specifics. All the points from the general article I already wrote apply to the fullest but it can feel like you don’t get any results by applying them. The main reason is that the business side of the scene and the Austrian dance industry are still in their build-up. What I mean by that is that there are people producing shows, there are agencies taking care of bookings for urban artists and there are dance studios in most major cities but there are not plenty of them.

In countries with a developed dance industry, you have the possibility to audition for jobs that you want to be part of every other week. You have multiple standing companies with a regular cast and stand-ins for most positions. You have multiple people that take care of the production side of things. And you have many agencies with a widespread network that generates opportunities to show your art.

In Austria and many other countries with a dance-scene that is on the rise, we have some of these, but we don’t have an abundance. So you maybe have four to ten auditions per year, for pieces you want to do. There are 2 or 3 agencies that seriously care and know about the capabilities and needs of hip hop dance. And there might be five promoters who manage to do recurring events that have international relevance.

Austria has a dance scene and dance industry on the rise. We need to build the infrastructure first to create the jobs we want to do. Nobody will give them to us. Who should?

That sounds like a bad thing in the first place, but it really isn’t. Because what it does, is leaving a lot of space for everyone who really cares and wants to make it with dance and dance-related work.

How to do it?

First, this is not science. Second, I am writing from my own experience of doing business with dance and dance-related topics since 2007. Third, I believe this is the best way forward for the Austria scene as a whole. Some individual people might be better of alone but looking at the bigger picture from a holistic point of view, these are my recommendations.

As mentioned above, our scene and industry are not yet fully established, we are building it right now. This means that there is a lot of space to be filled.

What we should do, is create the infrastructure that we lack. This also ensures that the infrastructure and businesses hold up the values that we want to represent. That is extra important as the possibility of breaking (that’s the thing you should not call breakdance) becoming Olympic will attract people from outside (sports, finance, and advertisers of all kind) who have the business part down towards our scene and their values will not necessarily align with ours.

What can a single person do?

Everything. That is the point. Through the scarcity in the scene, you can contribute very quickly.

You can organize classes yourself. Everything you need it to find is a room and a mobile sound system. I know people who teach twenty classes a week and are set. All self-sustained.

You can organize events. It’s not impossible to do jams and competitions on a low budget. In fact, we need those to have the inhibition threshold low for the new blood.

You can reach out to potential customers proactively and sell your shows. By doing this you fill the role of an artist agency and might become one if you want to.

You can audition for all pieces around and try to land that spot or you can start your own production. This feels overwhelming in the beginning but if you want to create, you should.

How is this getting more jobs?

The part above isn’t, but it is a prerequisite for our scene to grow and move forward into something that can provide a sustainable life for everyone who wants it. From there we need to start connecting and work together (I already wrote about that too).

By creating multiple working platforms (this can be crews, dance companies, production companies, agencies, artist collectives, solo freelancers and more) and connecting them, we can provide more work. If I sell shows, you produce pieces and a third guy organizes workshops we can hustle on our own, or connect and everyone has three jobs instead of one.

Of course, that is simplified as nobody can work with everyone and some people are more suited for this job and not the other. But take into consideration how far our scene came in the last ten years. Think about how many talented people are out there hustling. We just need to connect and build together. In a country with a small scene, there is not really a competition as the market is not nearly saturated. There are only missed opportunities.

Don’t stop there

When we established a network that provides enough opportunities for everyone who wants to dance, the inclusion does not stop. Think about all the street fashion designers, dance content creators, music producers, MCs , DJs and so on. These are valuable for us too, as we are to them. Spotting these opportunities and taking them, is what we should cultivate.

It has been done before in Austria. On a smaller scale. And these islands still exist. Where people work together, but most of the time they only extend to crew and friends. Which is fine, but we all could do better.

As this scene and industry are built now, it is us who should it build and make the rules. Or we can let others built it and play by their rules. Easy decision for me, it always has been.

Your Signal/Noise Ratio

Frequency Spectrum showing signal and noise

When we talk about marketing, one of the things we should be aware of is our Signal/Noise ratio. The metaphor refers to a technical issue from analog radio broadcasts. When you communicate via radio, you have to listen on the same frequency as the sender is broadcasting and vice versa. If you are slightly off the frequency, you hear the broadcast but with a lot of hisses. If you are far away from the frequency you receive either only hiss, aka noise, or another signal (that you are not looking for).

What does Signal/Noise ration mean as a metaphor?

In times of social media, we all broadcast continuously with our posts, likes, shares, tweets, and whatever. If we are smart with our marketing strategy, and if we know our goals and artist identity, we aspire to send a lot of signal, while avoiding to add noise. Signal would be everything that aligns with our purposes, the message we want to spread, and the thing we want to be associated with. Noise is everything that has nothing to do with our signal or even distracts from it.

An example: when we want to spread a message about dancing, choreographing, and traveling the world, everything that is about our dancing and seeing exciting places works as a signal. But posting our daily coffee is a distraction, as are videos from our cats. Those two would be adding noise.

Who defines what noise is?

You do. Only you decide what it is that you want to “broadcast” to the world. It’s not essential what you send out if you only have a private channel and want to connect with friends. But as soon as your social media channels are part of your business, defining and sticking to your signal matters. It’s part of your promise to the world.

How much noise is fine?

Again, that is a question that only you can answer. It depends heavily on what strategy you have to connect with your followers. Noise is everywhere on the frequency spectrum, so it might help you to reach people you might not reach without it. But noise also waters down the value of your broadcast for everyone who is looking for your signal. As a rule of thumb: When you want to be perceived as an expert in your field and it is a niche, keep the noise level low. If you want to reach a broad audience, the noise percentage can be higher. If it’s not possible to differentiate between signal and noise, the noise is too high.

As I recently released my first book Dance Smart, I dived a little bit more into marketing and therefore stumbled upon this topic. While I am doing a pretty good job with my Signal/Noise ratio on the blog and Facebook, my Twitter and Instagram Signal/Noise ratios suck. That’s one of my projects for 2020.

Read you all next year.

What promo material do I need as a dancer?

promo material needed in the dance industry aka promotion papers

No matter if you have your own shows or are auditioning to be part of other productions, there will be times when people ask you for promo material. These are the things you should have ready to send at any given time.

  1. Your CV (Curriculum Vitae) or vita is a list of your education, your employment, and the freelance jobs you did. If it does not include the education part, some people call it references. If someone asks for an artist vita, include only the things relevant to dance, for a complete vita send one that provides for everything. The CV usually has one portrait picture included somewhere at the top.
  2. A Bio or Biography is a text that tells people who you are. This might be used to introduce you on a website or program booklet or anywhere else where people would be interested in who you are. Make it interesting to read and full of relevant things.
  3. When asked for your data, you should be able to provide a one-page document that contains your name, birth date, country of origin, current residence, phone number, email address, passport number, height, weight, clothing, and shoe sizes. If your numbers are good on social media, include views and followers. Your popularity can influence a decision, especially when you audition for shows, as all of your fans are potential customers.
  4. High-quality photographs. Sometimes people decide on your looks. You need a good selection of photos to send along. In auditions, often, the picture is on top of the other papers when handed out to directors or choreographers. You don’t want to waste that first impression. I recommend having three different good portraits and three or more appealing action shots. It is an advantage if you have both from different distances (face only, including shoulders, half body, full body). If possible, make sure they align with your artist identity.
  5. Videos. Potential customers want to see you dance. You should have at least one full show and a demo reel with multiple appearances online, that you can send if someone asks. You can either host them on your own website or pick a hoster like Youtube or Vimeo.
  6. Your online presence. People will check your homepage. So be sure it is up-to-date.
  7. A scan of your passport. This is not part of your regular promo material, but as soon as you are booked for a job abroad, most agencies will ask for a copy of the passport to arrange flights and hotels.

Prepare everything in pdf format and have it ready at any time. Response time is crucial. You will be fast when you have everything prepared to pull into an email and hit send. That gives you an edge over the competition that has to start looking for everything first.

Red Flags to watch out for when signing an artist agency contract

A red flag that warns you about signing the contract.

You are ready to launch into the dance industry and found an agency that is eager to sign you? That’s amazing. But be careful and take the time to read your contract to avoid signing with a scammy agency. Sadly they are out there. Here are some points you should look out for. All of them in isolation might be fine, but when more of them come together, you might rethink if you can trust that agency.

Membership Fees

Real agencies know they earn money with every job you dance. Therefore they don’t ask for any fee to include you in their catalog. Some real agencies have this as well to prevent people who are not serious from applying. But if you want to ignore it, make sure that none of the other points is a match as well.

An exhaustive catalog that lacks definition

If the agency has a million different artists without a clear direction or categorization, this is a problem. Especially if it comes together with membership fees. Do the math yourself. If you take the membership fee, they asked for and multiply it with the artist in the catalog, is there an additional need for the agency to sell any jobs or are they already set?

No active promotion

If they don’t offer any other promotion besides the catalog on their website, they probably don’t put in any work. Ignore this for agencies that are big in their respective industries.

No detail interest in you or your work

If the agency is asking for no or very little detail or reference material, you should ask yourself how are they going to sell you. The same goes if they never ask for updates of your work or references.

When your agency contract has multiple of the issues mentioned reconsider, don't sign it.

Automated registration

If you can sign up online and pop up on their homepage without ever talking (or writing) with an actual human, it does not look like there is an interest in providing quality as obviously nobody reviewed your application.

You need to use their photographer or videographer

When your material is good, and they still want you to create new things with their photographer or camera guys, and you need to pay for it. If they cover the costs, it should be fine.

They don’t require a written contract

A contract is there to secure both parties in your working relationship. Only forgo this if you know that guys personally and you trust them.

Sign Now

If they use a time-constraint to put pressure on you to sign the contract. If they see your work as a benefit for their agency and not only your money, there is no reason to make a fast deal but a good one.

You know nobody

If the agency is active in your area, it is improbable that you know nobody in their catalog. Check with your circle if anyone knows the other dancers to find out if they are real or fake.

Not every agency is a scam, and there is no need for paranoia. But when you encounter multiple of the points above, it is probably wise to continue your search instead of signing.

Booking Agency vs Self Booking – a comparison

Booking Agency vs Self Booking

Having enough shows to dance is one of the central points of setting up your dance business when you choose performances as part of your portfolio. There are two general approaches to it: having one or more agents taking care of it or doing it yourself. Both ways have their advantages that we will look into right now.

Working with an agent or agency.

The two main benefits of having an agent are that you can focus on your dance and shows without getting distracted and that the agent probably has a much bigger network of potential customers than you. These two points alone are reason enough for most artists to work with an agent. In fact, I recommend working with an agent if you can. When making performances a central part of your dance business, you should always have new shows and skills ready. It helps when you can put the hours you would need for booking into your abilities and appearances.

The downsides of the work with an agent are that a part of the fee that the customer pays goes to the agent and that in some cases, you don’t have complete control about how your act is presented. Both things can be countered. The fee thing by putting in the contract with the agency that their fee goes on top of yours and the presentation issue by providing high-quality material on your own. This means you already have good photos, a visually pleasing description of your act, a trailer, and a fully recorded show available. The agent will then work with what you provide.

It is crucial to set up a contract with your agency that regulates precisely how the partnership works, so both parties can benefit from it. Here are the points to cover:

  • What do you have to provide?
  • What does the agent do to acquire shows for you? Does he only sell your existing shows or also send you to auditions for other productions? Does the agency provide additional advertising material? If yes, do you have the last word regarding the content?
  • How much is the agent’s fee, and is it on top or part of your payment?
  • Can you book shows on your own or with another agent? An exclusive contract would mean that all the shows you dance have to be booked via that agency. A non-exclusive agreement allows you to do work without that agency, as well. I recommend not to sign an exclusive deal, except the agent guarantees a volume of work that is sufficient for you, as part of the written contract.
  • Reaction times. Both parties need to get a quick response from the other one. You need to confirm availability or fees quickly. The agent needs to bring all the necessary info for the shows and should take care of customer questions. More often than not, he will need answers from you for that.
  • Payment conditions. Do you invoice the customer, and the agent invoices you for their fee, or does he invoice the customer, and you invoice the agent? In both cases, you should be fast and know how to write a proper invoice.

One thing about good manners: when you are booked via an agency, you also represent them to a certain degree. Be professional and don’t hand out private business cards. When you are there via an agency, they usually provide business cards that you can hand out to people who are looking for a show. Even if your contract is non-exclusive, it is not ok to bypass the agency with follow up jobs. If they don’t provide cards, ask them what contact you should give away if asked.

Doing it on your own.

The advantage of being a self-booker is total control. But this control also comes with sole responsibility. You will keep all the money, but if you sweat aspects of the business, your show numbers will be low.

You should set up a website, promo material that you can send out, be fast to reply to customer inquiries, and be good with networking. Obviously, you don’t need a contract with yourself, but you think about having contracts with your customers. It is not necessary in every case, but when there are disagreements, a contract helps to solve them fast.

When you work without an agent, it is also easier to experiment with the price of your shows as you can change it on the fly to cope with the customer situation.

Here are the essential points to have in mind:

  • Be reachable. Reply to your emails every workday and answer your phone. Not responding fast enough might equal a missed show opportunity.
  • Be able to send promo material fast. This means you have it collected in a folder that you can send as an email attachment, and you also have it online where you only need to send a link. Be able to send that link from your smartphone for faster response time.
  • If you dance together with others, make it clear that they need to be able to confirm availability fast as well. You can not confirm a show before you know you have the dancers available.
  • Be proactive, approach potential customers with show offers that fit their needs.
  • Do your homework. When you approach customers, research what they are doing and on what scale. A small society will have another budget than a multi-million dollar company. Don’t be the guy who knows nothing about the people he talks to.
  • Know your worth. Your show has a price. Be sure about the starting point for your negotiations before picking up the phone or writing an email. You can adapt along the way. Talk about the price early in your negotiations. Don’t fix details, book hotels, or flights before you agreed on your fee. It’s a negotiation tactic to agree on many parts, so you are already in the mood of saying yes, and save the weak spot for the end. Don’t fall into that trap, especially when you are not used to negotiations.  
  • Know your needs. Customers need to know what are the prerequisites for your show. How many space do you need? Floor conditions? How many people are traveling and performing? Do you bring the sound digital or a CD? Do you need separate dressing rooms, or is one enough? Wam Up space? If you are far away from home, consider hotel and food. Travel costs, if you go by car. Depending on your show, not everything might be applicable, or there might be additional points. You have to know those.

My general recommendation is to go with an agent who offers you a non-exclusive deal. It saves you so much time that you can invest in honing your craft, which will ultimately keep on top of your game. The non-exclusive agreement allows you to join a dance company that books their own gigs and also take show requests that come directly to you.

How to get more dance jobs?

a list of important factors to book more shows

A central question for everyone who dances shows for money is: “How do I get to dance more shows?” Today we talk about the general points you have to consider, without going into detail. The execution of every aspect can differ a lot from dancer to dancer, and we will look at those details at a later time.

Here are 6 points to consider to maximize your amount of shows:

  1. Reach out to people proactively. There are a lot of potential clients out there that don’t know about you, or even about hip hop dance. If you get the word out, the chances are good that additional work comes in. You can either do this yourself or with an agent. A post about this is coming up next week.
  2. Don’t do wack shows. Every show that you put out is a testament to your work and your work ethics. Always assume that the people who matter to your business and can take it to the next level, see the difference if you put in the work to make it great or sweat it because you think nobody will recognize it. We all have been there, where we think: “we can just freestyle it”. Probably we can, but there might be the guy who danced himself before who sees that you did not put any effort into the show. And he might be the one who is looking for an act for his own company, that is ten times the size of the job you freestyled.
  3. Network and be present. If it’s not part of your job to disappear after the show, stay awhile and network. There will be people who want to talk to you. Use this opportunity to acquire new contacts that might turn into clients later. A little bit of people skills help a lot in this one. If you have someone in your team who is outstanding at it, send him or her. 
  4. Be easy to find. If people are looking for shows, make sure that your website or social media profiles are easy to find and make clear that you offer what they look for.
  5. Have the promotion material for your work. If someone asks where he can see some of your work, you should be immediately able to point him to an online resource where he can find videos and images.
  6. Don’t gamble with your reputation. People talk. When you leave a lousy impression somewhere, it will spread.

How to make it as a dancer by performing?

A dancer doing a freeze and the headline

After covering the most reliable possibility of dance income, teaching, we will take a closer look at performances as a work field. Here is an overview of what you will need to be successful as a dancer on stage.

Performing is the one thing that comes to mind for most people when they think about making a living from dancing. It also a prestigious way as dancing on stage suggests a high-level and therefore a high status. Sadly these expectations and reality do not align all the time. People who pay for dance are not always able to tell the difference between a skilled dancer and someone who is not yet there. But it is a serious mistake to assume you don’t have to do your best.

We want to be part of the guys who 1) live up to the expectations that are out there and 2) stand out from the mass of people who present their dance, before being ready. It will allow us to demand higher fees without even raising the question of why we are more expensive than the breaking crew from the youth center around the corner.

Here is what I think we need to stand out:

  1. Dance skills. No need to go into detail, you need to be able to dance well.
  2. Remembering Choreography. You can get away without being able to do that if you are a freestyle dancer from the scene, but there is no way you get around it when you are looking into performance. Some people would consider this as part of dance skills, but there are a lot of people who dance amazing but can’t remember their choreography. When you do a lot of auditions, it is also a significant advantage if you can pick up choreography fast.
  3. Stage Presence. A particular quality of looking good on stage. It is the sum of multiple factors that we can sum up as confidence, control, and projection (sending out your experience to the audience). I am working on a tag-team publication with Da Bürgermasta on this topic.
  4. Discipline. Not only on the floor and in the training sessions. Every show demands a different mindset and preparation. It is easy to fall into the “we can freestyle that” trap. Probably you can freestyle it and get away with it often, but you will give away the opportunity to max your impact and impressing that one lady that might have booked you for the next gig.
  5. A way to get your jobs. This can be an agent. It can be yourself checking the internet all the time. It can be being in a dance company that takes care of it or even has its own stage. Often people who try to make it in the dance industry overlook that acquiring gigs is part of the work you do. All your other skills don’t matter if no one books you.
  6. The show. Depending on how you get your jobs, having a show ready might be on you or not. If you are self-organized, you also have to make sure there is something you can perform. All aspects of show production will be a topic on the blog, as soon as we finished with the performance topic.
  7. The ability to handle the business side of things. As soon as you are doing jobs that pay, you will need to be able to provide invoices. With invoices come taxes and insurance – basic accounting. If you can’t write a valid invoice, business partners will not pay you.
  8. The professional spirit. Even though professional means you do something for a living, there are much more things that are attached to that label. Being on time, having all of the stuff above down, the ability to understand the reason why your show is booked and adapting it to the needs of the customer (not valid in every situation). People also expect you to be dressed appropriately for the occasion of your show and to be able to handle basic conversation before and after the show. 

So in short, there is a lot of stuff that improves your chances of being successful as a performer. Think about the point above. Which ones do you have down? Which ones do you lack? Are there any you were not aware of?

Next week we start to go into detail with the ways to get your jobs.

The Dance Teacher’s Toolbox

A toolbox with the headline attached

Today I will cover the arsenal and tools that I use when teaching. There are, of course, more techniques out there that you can use to teach dance, but these are the ones that I think are the most important ones. They suffice in most regular classes. Later, I will cover more sophisticated techniques, but I want to dive into the other primary work fields as well, before going so much into the depths of teaching.

Show & Tell

Show & Tell is the basic principle of teaching other people anything related to dance. The technique is self-explanatory, as it is what it sounds like. The visual information of seeing and the added information about where to look for the details and intricacy of the material can be enough for people to understand what you want them to teach. This is your bread and butter. The go-to tool in teaching.

Feedback

Corrections can be done in many ways. You can address general problems or give individual feedback. You should do both like a lot of topics will be relevant for everyone, and some students might need a unique problem addressed. Don’t fall into the habit of not giving feedback. This is one of the essential differences between someone who teaches people and someone who entertains with dance. That would be a viable business approach as well, but this time we talk all about teaching.

Drills

Give your students exercises that make them practice new material in a structured way. Drills are like dance push-ups. They are needed to build muscle memory and elevate movement quality. You might have a lot of drills from your teachers, or you can create your own.

Games

Primarily if you teach a lot of kids, the idea of drilling something might not be the best approach to sell. Package the things your students need to work on in games. B-Boy Catch, Chinese Whispers with Dance Moves and similar ideas work well.

Peer Learning

Let your students teach and correct each other. Trying to explain something to other students leads to a better understanding of the material. This can be done when experienced students teach the new ones or when a group of the same level feedbacks each other.

Progressions

Teaching material in a sequence that makes sense is first and foremost a matter of planning in your curriculum, but you can also use it to lead people to more complex moves. Go back to the basics of a movement if the students struggle with it and rebuild it from the foundation. In many cases, they did not yet master the previous motions you taught them.

Handouts and Teaching Material

Sadly, this one is not very widespread in the dance scene world. You can really support the progress of your interested students when you provide material that helps them to dive deeper into the matter. This can be additional background information, self-made video tutorials to remind them about the technique or links to tutorials from others or documentaries. Make it easy for them to go far with research if they are willing to.

Homework

Give them something to do or think about in between classes. You can’t force them to do it, but those who are willing to learn will do it and therefore progress faster.

Rhythm Exercises

Have some exercises ready that help them understand how music works. These can be taken from music theory, body percussion, or they can be created with simple dance steps.

Notes

Take notes. You, the teacher, not the students. They can do it as well, of course. Write down what you did in class, so you know what repeat next time. Write down if some students had issues with a specific topic and get back to it to help them out. Notes help to stay on track with everything, keep an overview of what you did in which in class and give you an excellent tool to evaluate the progress of the course.

These are my most used tools for teaching dance, and of course, there are many more of them. Let me know which ones you use and if there are any basic ones that I missed.

If you want to see some of those in action, I teach at breaking class at Streetdance Center Salzburg, together with my colleague Gü.