In the studio.

ON PARTNERING:

* When the male-to-female ratio is low, have boys double or triple up, going across the floor with each group, rather than resting between combos. The extra practice builds stamina and teachers boys how to partner different dancers.

* Lise la Cour, director of Ballet San Jose Silicon Valley School, California, recommends pairing first-time girls with more advanced boys to provide a sense of security and help the girls to relax and embrace the movement.

* Explain that falling is normal--even beneficial--when attempting a new step. Always make sure that first-time lifts are spotted by a capable dancer. With sit lifts, have an experienced boy stand in back of the couple: If either partner leans back, both will topple.

* Leslie Browne, partnering instructor, The School at Steps, New York, suggests that partnering classes be co-taught by a male and female instructor to make adjustments and corrections from both perspectives. If only one teacher is available, use an advanced dancer or couple to assist with demonstrating steps and combinations.

Solo Turn

Instead of awarding a solo to your most outwardly talented dancer, consider giving all dancers a short solo moment during a small group piece. It gives the shy students a chance to express their strengths and individuality. "I find this always adds to the dance as well as brings out the true performers in the kids you would have never thought had it in them."

--Cricket Keller

Fusion Dance Studio

Torrance, California

Boys Will Be Boys

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Class attire and costuming can make or break a boy's dance experience. "So what if they're not wearing tights?" says Deborah Damast, artistic advisor, New York University, Steinhardt School of Education. Instead, allow beginning boys to wear sweatpants and a tank top or t-shirt.

Once your boys join a stricter ballet track, says Christopher Hird of Boston Ballet School, teach them that tights are like a male dancer's uniform. If they balk, you can point to football players or other athletes who wear skintight bottoms on the field.

Dealing with Disruption

Be direct and respond right away to back-talking teens. Stop class, address the negative behavior, then move on, but don't dwell on it. If the behavior persists, offer a choice: "You're clearly not ready to be here. You can either go sit until you're ready, or you can choose to join the rest of the class now and act respectfully." In extreme situations, you may have to ask disruptive students to leave. But let them know that they will be welcome back at the next class. As the teacher, you need to show forgiveness, and not hold grudges.

--Dena Landon

Teacher

St. Paul, Minnesota

WELCOMING THE NEW KID

Assign new students a partner to work with. This can also break up cliques that may have formed among dancers who've been studying together longer.

--Laura Lynn, Laura Lynn School of Dance, Pittsburgh, Pennsylvania 

Avoid saying anything negative about a former teacher or studio. It's hard not to respond defensively to comments like, "But Miss So-and-So didn't call it that!" You might, for example, explain that many steps may have more than one name, and praise the student for remembering the other name. Take the opportunity to validate the former teacher by commenting that the teacher would be thrilled to know that the student remembers what was taught.

--Maygan Wurzer

All That Dance

Seattle, WA

Students may have come into your studio expecting something completely different from what you had to offer. When class ends, don't let them walk out the door without talking to them and addressing any confusion they may have: "After just one class, you can't know, so we're asking you to keep coming and see if this class fits you."

--Maggie Mitchell-Wagner

Gotta Dance!

Redmond, Washington 

TEACHING TURNOUT

The use of turnout at too young an age puts the body at risk of undue tension in order to hold turned-out positions--rolling onto the insides of the feet, twisting the supporting knee, spine, or supporting side away from the barre, and using the wrong muscle groups. Young children have neither the strength to control or maintain turnout, nor the body awareness and cognitive ability to understand where it comes from.

Ages 5-7 may use a natural first, where they are able to maintain stability in the hip.

Beginning level ballet students (around the age of 7) may begin to work in a turned out position. It is best to begin turnout exercises on the floor (not in a weight-bearing position).

Use of third, fourth, and fifth positions should not begin until students are well-aligned in turned out first and second positions.

--Kathleen McCormick, Director

Preparatory Dance Program, Cornish College of the Arts, Seattle, Washington 

Working with Guest Artists

Select the cast beforehand to save time and money. Jim Viera, artistic director of Boston Youth Moves, selects dancers most appropriate for the piece and then double casts it so everyone has a chance to perform. Some choreographers will prefer this, so they don't have to spend rehearsal time learning your dancers' abilities.

ADVANCEMENT

A student should move to a higher level only when she has acquired the basic technique. If she does not have solid placement of the body in various exercises, she can never catch up; the basic fundamental learning that she missed will always be a problem to overcome.

--Oleg Briansky

Artistic Director Emeritus

Pennsylvania Youth Ballet