Ballet teachers' pet reeves: what irks teachers and why.

Ask ballet teachers what bothers them about school-age students' behavior in class and you might expect a barrage of complaints. But when Dance Magazine put that question to teachers around the country, the same priority surfaced again and again: that the classroom be a place where they are allowed to teach and their students have the chance to learn. Their concerns have nothing to do with personal preferences and everything to do with creating an environment that maximizes their students' ability to grow as dancers.

JULIE TOBIASON Teacher, Pacific Northwest Ballet School

Ages taught: 10-12

"My biggie is paying attention and trying your best. I need to teach the technique, keep them engaged, and motivate them to work on their own. When the kids aren't paying attention, it seems like they don't care. They don't do what you're asking, don't try to pick up the combinations. You can usually tell if there are issues at home or if they don't want to be there, or it could be an age or maturity thing. I have to be sensitive to why they're behaving the way they are. But as they get older you have to say, 'You need to decide if you want to be here or not.'

"Also, when students compare themselves to others, it can be damaging. Healthy competition is good, but ballet students can get down on themselves. That can stop the process of learning."

DONNA MORGAN Principal, The Academy of Ballet Florida

Ages: 6-18

"Children are very distracted these days. I'm not going to say my students aren't dedicated or concentrating-they are, but they're distracted. It's not only in dance. I hear the same comments from schoolteachers and parents. Students know that cell phones aren't supposed to be on, but I'm getting to the point where I won't allow them in the classroom. They have to hydrate themselves, but I'm on the verge of not letting them bring water bottles into class. It's another distraction. They stop every five minutes to take a sip.

"The lateness problem has solved itself because I refuse to let them in now. A lot of parents yell at me, but I explain that that's life. Nobody likes people who are late. It's part of the discipline of dance and life. When you go to the airport and you're late, what happens? The plane takes off without you."

RICHARD GIBSON Co-director, Academy of Ballet, San Francisco 

Ages: 11-22

"Hanging on the barre is like letting your brain hang. Talented children often have big spirits-they talk a lot, and if that can be controlled, it will be part of their spirit as dancers.

"It's so important that students love to dance. If they're not that interested, I tell them to come to our adult program, which is less intensive. I think everybody should dance, whether or not they have a career, but I still expect them to concentrate and be disciplined."

LYUBOV FOMINICH Teacher, The Kirov Academy of Ballet of Washington, D.C.

Ages: 14-16

"Not paying attention bothers me most. Sometimes I have to repeat things over and over again. Students make the same mistake for too long. They have to remember corrections first before they do something. It's girls between 14 and 16--maybe it's because they are teenagers. They could do much more if they paid attention. It bothers me that we waste the time. Compared to the Russian schools, we have less time. I want to help them learn faster."

FRANCESCA CORKLE Teacher, Joffrey Ballet School

Ages: 13-24

"The first thing that comes to mind is musicality--not just dancing in tempo or in rhythm, but understanding the message, the poetry of it. A dancer must dance as if it is their first time, as if it is the only time they will dance in their life, as if it's the last time they will ever dance. That means dedication, dancing full out.

"I focus on not being a slave to the mirror. For example, ecarte position is very different with the proper eye focus than if the eyes are on the mirror.

"Dancers must have a one-to-one relationship with the teacher and the pianist, plus consideration for their classmates and the ability to learn from them. Students must put themselves like raw clay into the hands of the teacher who is sculpting them."

SHELLY POWER Associate director, Houston Ballet's Ben Stevenson Academy 

Ages: 7-16

"If a student gives a vibe that they're not approachable or interested, then the teacher has to figure out what the problem is, and that takes time away from the class. Not every teacher will do that, and you can't always do it with 25 people in the class.

"Ballet training is a discipline. It's like the military. You've got to get that under control before you can get down to work. When students can walk into class leaving all outside distractions outside, they're three steps ahead.

"Communication and respect are also important. For example, tell the teacher before class that you're working through an injury and may not do jumps. If I have to figure out why someone isn't dancing full out, I can't do what I need to."

LOLA DE AVILA Interim associate director, San Francisco Ballet School

Ages: 8-19

"Sometimes students do too many things. When they come to class they are tired and can't focus because they already are doing hip hop, violin, piano, acting, soccer. It's too much. They need to be exposed to many things, but they need to be related. For example, studying music and dance is very good, or acting and dance.

"Also, it's very hard to keep boys in dress code. They don't care. Maybe they feel they are too neat and want to be more rugged."

EVELYN CISNEROS-LEGATE Academy director, Ballet Pacifica

Ages: 12 and up

"When students don't have a strong ballet background, I feel responsible for keeping them engaged. You have to teach them what's expected for the discipline of the artform. Once they know what's expected and they choose not to do it--they talk in class, don't pay attention, don't try--that makes me crazy. There needs to be respect for the artform."