Three Cheers For Carisa!

There are so many avenues in which to take after being a trained dancer. You can go to New York and audition for a new contemporary company. You can move to Los Angeles and be a back up dancer for some of the world’s biggest stars. You can become a teacher. You can transition into choreography. You can even be a dancer and root on professional athlete’s. 

I feel that unfortunately, some professional teams aren’t taken seriously. They are seen more as cheerleaders or meat for the fans to look at, etc. But I know first hand, that these girls on these teams work just as hard as any other professional dancer. I was recently followed by Carisa McMilan and quickly made contact with her because she is a retired Dallas Cowboys Cheerleaders. The Dallas Cowboys Cheerleaders is one of America’s biggest and most respected professional dance teams so I jumped at the chance to interview her and shed some light on the professional team environment and what it takes to make their roster!

Without further ado, here is my interview with Carisa!
  
DanceTchrProbs: Hi, Carisa! Thank you so much for taking some time out of your schedule to interview with me! I know my readers and I appreciate it! Give us a little bit of background on your training as a student.

Carisa McMilan: I started taking ballet, tap, and jazz classes at the age of three. My childhood dream was to become a principal dancer for the New York City Ballet. I received my first pair of pointe shoes at the early age of nine. When I was 10, my family moved to Kentucky. I continued my training in all three styles, with a strong focus in ballet at the Louisville Ballet School. There, I was cast in the Nutcracker and Alice in Wonderland for the Louisville Ballet Company. After one year, my family relocated to Apex, North Carolina. During my first year there, I was cast as Clara in the Carolina Ballet Company’s first Nutcracker. This was a dream come true! I continued to perform in the Nutcracker with them for the next two years. During my middle school years, I also received a scholarship to attend the Pacific Northwest Ballet’s summer intensive program in Seattle. 

Once I started high school, I fell in love with dance team. I enjoyed the sporting event atmosphere and the unique jazz style, as well the camaraderie that came along with it. I stopped tapping, lessened my focus on ballet, and became the captain and choreographer of the team my senior year. From there, I went on to Appalachian State University to get my BFA in Dance. I joined the dance team my sophomore year and was the head captain and choreographer for both my junior and senior year. During one of my summers of college, I interned at Broadway Dance Center in New York City.

DTP: I love all of the ballet training you received as a student! It is so important regardless of what we want to do as dancers. Were you a competitive dancer as well? Where did you receive your training? What was one of the most valuable lessons you learned as a pre-professional student?

CM: I trained at traditional dance studios growing up, so I did not compete. I did the bulk of my dance training at Carolina Dance Center in Raleigh, North Carolina. 

One of the most valuable lessons I learned as a pre professional student is that it’s okay to walk away if you feel burned out. What I didn’t share in my previous response is that I actually quit dance after my spring recital 8th grade year. It was a difficult decision to make. I felt so guilty because I didn’t want to let anyone down, but I wasn’t passionate about dance anymore. I dreaded going to class, and struggled to push myself when I was at the studio.

Although it was hard for my parents and teachers to accept, I’m glad that in the end they supported my decision. I didn’t attend any classes the whole summer. I enjoyed my time off at first, but then found myself frequently dancing in my room late at night. That’s when I realized that I did truly love dance. I enrolled back into classes starting the Fall of my freshman year.

During this time off, I finally had time to reflect on what dance meant to me. I realized that just because I didn’t want to be a ballerina anymore, didn’t mean that I wasn’t supposed to dance at all. There were other avenues, I just needed to figure out which path was right for me.

I hold this lesson close to my heart not only because it gave me reassurance that I was meant to dance, but it helps me tremendously with my students. They feel comfortable talking to me when they are experiencing the same struggles. They don’t have to feel guilty about letting me down because I’ve been through it and know that it’s not personal. 

I’ve talked to several teachers about this who have never doubted their dedication to the art. For some of them, it’s hard to understand that just because a student’s passion waivers, doesn’t mean they don’t love it. Personally, I would rather a student take some time off to think things through than come to class and be miserable. As many already know, there is no off-season in dance. Sometimes you have to make one. Making a student feel guilty is doing a disservice to both the student and the teacher. If their heart is truly in it, they’ll come back and have a deeper appreciation.
  
DTP: Those are some very valid points. Sometimes we don’t know how much we love something until it is taken from us. So, what made you want you audition for the Dallas Cowboys Cheerleaders?

CM: When it came time to graduate from App State, I wasn’t ready to end my dance team experience. I realized that this was where my passion truly lied, and being a head dance team coach at a university was my ultimate goal. At the young age of twenty-one though, I wasn’t ready to give up my performing career just yet. This led me to my decision to tryout for the ultimate dance team, the Dallas Cowboys Cheerleaders.

DTP: I love that your training led you to a love for dance team. It is such a difference from the tradional conservatory life you were exposed to primarily. So give us a little bit of insight about the DCC audition process.

CM: The preliminary and semi-final round for the DCC fell right in between my last week of classes and exam week. I flew out of Charlotte to Dallas the Friday before the first round. The preliminary round is very intimidating and overwhelming. Somewhere between 200-300 girls show up, and you have about a minute and a half to impress them. You go on to the floor in groups of six with 8-10 judges in front of you. You introduce your name, age, where you are from, and one interesting fact about yourself. They turn on a song for about 45 seconds to a minute and you have to freestyle. This is your only chance to catch their eye. 

After making some cuts, the following day is semi-finals. They teach you a 45-second routine and a short version of their famous kick line. They teach both routines fairly quick, and then you audition in groups of six again. What I wasn’t aware of was they make you take a written test after everyone’s performed! This written test covered everything under the sun and it was timed! It asked questions on nutrition, Cowboys and DCC history, Texas history and politics, current events, EVERYTHING! I thought this was going to be given at Finals, so I was not prepared. They announced who made it to the third round, and I flew back to North Carolina to finish my senior exams.

During the two weeks in between Semi-Finals and Finals, I finished my exams, graduated, studied for the DCC panel interview, practiced the tryout routine and kick line, and choreographed my solo. At Finals, you interview in a groups of four. Just like the written test, you never knew what they were going to ask you. The following day, you get a number first thing in the morning. That number determined the order of solos, as well as the groups you would be placed in to perform the tryout routine and kick line. This was a very LONG day! You don’t realize how truly exhausted you are until they leave to deliberate. It was the longest wait of my life. 

After deliberation, they announced each number that made it into training camp! I had two weeks to move out of my college apartment, drive my car down, and find a place to live to start this new chapter. Training camp was every week, Monday through Friday, until mid-August. Every day was overwhelming and stressful. You could get cut at any point and the routines continued to pile up. By the time we went into the season, we were responsible for knowing around forty-five dances!
  
DTP: I knew it would be a lengthy process but wow, that is a lot! It has to be such a great feeling knowing you made the team after the entire process! Once you made the team, how long were you a member of the DCC? Do you have any favorite moments from your experiences on the team?

CM: I was a DCC for two years. I had so many fun experiences, it’s hard to narrow it down! Two of my favorite memories though would be them finally announcing that we had made the squad my first year, and the USO tour my second year. There is nothing better than working as hard as you can for something and fulfilling your goals. The USO tour was amazing because we got to interact with so many soldiers in South Korea, and see a different part of the world. I also really enjoyed getting to perform at the opening of the Cowboys training camp in Oxnard, California, as well as going to Canada for the Edmonton Rush events.

DTP: That is awesome that you were able to see the some of the world with the organization! Through all of those amazing experiences, what did you learn from being a Cowboys Cheerleader?

CM: What I learned from being a member of the DCC is to always keep an open mind, and to put yourself out there. To be honest, even though I had trained extensively as a dancer my whole life, their unique style was hard for me to grasp. I felt really vulnerable and defeated at times, but I’m proud of myself for not letting it get the best of me and always trying to be better. I’m also glad that I found the courage to try out. Failure is my biggest fear and always has been. There are times I look back on my experience, and realize how many amazing opportunities I would’ve missed out on if I hadn’t tried out. Since then, when that fear and doubt creeps back in my head, I tell myself that if I don’t try, I will never know what cool experience could’ve come out of it. Every experience is a lesson to be learned.

DTP: That is such an important lesson to be taught and is so valuable in every aspect of life. NOw that you have moved on from the DCC, what are you up to?

CM: After retiring last Spring, I got really involved with the dance studio I teach at in Dallas. I became the competitive Ensemble Director, and choreographed a large amount of solos for the following competition season. I’ve been able to travel back to North Carolina to teach several master classes around the Raleigh area, as well as to help out and choreograph basketball routines for the North Carolina State University Dance Team. I even had the opportunity to choreograph a NDA Nationals routine for a local Raleigh High School. The plan was to move down to Dallas for the DCC and return to NC after I retired. I’m so glad I stayed in Dallas for another year and experienced so many choreography and teaching opportunities, but I’m ready to return to North Carolina to be closer to family. I will be moving back to the Raleigh area in the Summer of 2015. It will definitely be a bittersweet move as I have fallen in love with the city of Dallas and my sweet students

DTP: Studio teaching is so rewarding, but sometimes it is just time to go home. I understand completely! If you could sum your entire DCC experience into oe word, what would that be? 

CM: It would have to be surreal. I never thought I would have the courage to pursue something so big, let alone achieve it. The Dallas Cowboys Cheerleaders organization is so iconic and an honor to be apart of. It was very stressful, exhausting, and difficult at times, but that’s what made the once in a lifetime opportunities mean so much more! I’m forever thankful for the woman the organization has shaped me into becoming. Being a part of it gave me the push I needed to become the choreographer and teacher that I needed to be to pursue my dreams in the next chapter. Sometimes, it feels like I dreamed the whole experience, but I’m so grateful that it was real life. 🙂 

  
DTP: Love that. We never know what our life experiences are gearing us up for. Do you have any words of advice to those who may want to try out for professional sports dance teams? 

CM: The greatest advice I have to offer is don’t give yourself any excuses for failure. Do everything in your power to reach your goal so that you can look back with no regrets. Whether it’s making yourself stretch or going to dance classes every day, you will feel more confident going into this process if you know you did everything you could to make your goal achievable.

DTP: So incredibly true. Okay, last but certainly not least, give us five random facts about yourself!

CM: 1. I’m still scared of the dark and have not overcome my fear of the boogieman (no matter how hot it is, I MUST have my feet under the covers so he can’t grab me while I’m sleeping).

2. During my Broadway Dance Center internship in NYC, I had the opportunity to be in a photo shoot, and appeared in Dance Spirit Magazine.

3. I’m addicted to sriracha popcorn.
4. I have a hard time getting rid of things because I find sentimental value in EVERYTHING!
5. Up until DCC, I calmed my nerves before performances with naps. When I was younger, I would literally sleep in the backseat of my parents’ car the whole way to the shows.
Thank you again for spending some times with me and my readers! I really appreciate it! For more information on the Dallas Cowboys Cheerleaders, check out their DCC and follow them on Twitter!

We’re the Lucky Ones.

You know…

We are pretty damn lucky to be dancers. I don’t ever think how much my life would be changed or effected by dance when I was to be the age I am now. Back in 1988 until 2001, dance was class. It was something I knew I loved and couldn’t live without and something I looked forward to every single day.

I did not at the time realize who the people teaching me were going to end up being. World famous choreographers and entertainers, convention owners, dancewear company owners, et cetera. Little did I know that those people would end up being my friends, while still being mentors, all these years later. When I have the opportunity to be in their class, either to take or to observe, I listen to every single word they say and STILL absorb it all. Even if it is the same speech that they have been giving since I was 14, I still cling to every word. Because even 16 years later, they still hold true. 

Little did I know that what I was learning and what I was doing at the time would effect how and what I would create as a choreographer. Little did I know that what I would eventually create, would bring people to tears. Little did I know that those tears would motivate people to reach out to me and contact me for work or even just to thank me for doing what I do. Little did I know how often I would be moved to tears by such beautiful and authentic choreography and dancing. It is such a beautiful thing to be able to experience once a month or so. 

Little did I know, that the lessons I learned as a young dancer would then be passed on for generations as I became a teacher. The ones that go beyond pointing your feet and straightening your legs. Lessons of preparation. Lessons of responsibility.  Lessons of accountability. Lessons that turn into a strong work ethic. The lessons that in turn, make you an effective adult in society. The ones that get you jobs and promotions. 

Little did I know, that I would be able to sit and watch people dance, day in and day out and never tire of it. Little did I know that this teaching and dancing thing that I love so much, would take me around the globe. 

Little did I know that I would be a student for the rest of my life. I thought once I left the studio, that I was a pro. Little did I know how little I actually knew. We often think we know everything between the ages of 13 and 23 (roughly). Boy. Was I wrong. 

My good friend Mark Meismer once said “We aren’t curing cancer. We aren’t fighting the war. We are doing chaine turns. We are dancing. It’s not that serious. So have fun.” I have always tried to keep that mentality. Through every thing I have done in this dance world. Winning is cool, but having fun is cooler. Life is so much easier when you aren’t pressured. Yes, we all want to do well and improve, but if there is no joy in it, those trophies, ribbons, first overalls and everything that came along with it, are all pointless. 

Stop being concerned about the ‘best dancer,’ because that ‘best dancer’ is only concerned about themselves. Remember why we do this. Think about where you want to take these experiences, both in and out of the studio, and just dance. Happy Monday, everyone.

Don’t Shoot the Messenger!

Today is one of those days where the phrase, “no one is ever satisfied,” rings incredibly true. I belong to a couple groups on various social media platforms that are comprised of other teachers and professionals. Over the recent few weeks, I have seen more and more of them openly bashing judges and what they are saying and or not saying on their scoresheets and critiques. To that I say, stop paying people to judge you if you aren’t ready to be judged. As someone who is both a teacher and a judge, I am very offended by these comments and posts that I see. I understand that dance is dance and it should be fun and carefree, but don’t present yourself as a ‘classically trained’ dancer or studio, then get upset when people are giving corrections.

Growing up, we were truly thankful for the corrections given. I would be worried when I wasn’t getting critiques, corrections, or feedback. Even to this day, I am constantly wanting feedback and critique. To be honest, I think I want it more now than ever because I don’t get to take classes on a regular basis. I look at it as a fresh set of eyes that may say something I have never seen because I see these dancers and pieces of choreography every day. I look to my colleagues who are judging my pieces for not only feedback on my dancers, but on my choreography as well. I like the objectivity in the critiques we receive at the end of the weekend.

No judge is ever coming from a malicious place. No one is ever being mean. Most of the time, we don’t even know what studio you are from because we work with studio codes to keep it fair. We start to see trend of training and style, but we never know exactly who is from what studio. So no…competitions are not rigged. They are judged SOLELY based on what you presented in that three minute piece or over the entire weekend. If you don’t like the scores or rankings you received, it is time to take a good, long, hard look at what is happening in class. Sometimes, it is based off of how a student or group of students rehearse. Other times, it’s because the teachers don’t have a finely tuned eye and are not correcting what turns into costly mistakes.

Again, people say it’s about more than just technique and dancers should feel more and think less, etc. But those same people who preach that are up in arms when these ‘dancers’ are poorly representing us in these clothing and fitness ads. It’s those same people who most likely aren’t pleased with the scores they received and take it to social media and just complain and moan about what they didn’t receive. People have complained that judges talk to much. People company that judges don’t talk enough. I understand not talking can be a bit disheartening, and I am guilty of it as well. We have a lot more going on at that table than you think. We are multitasking for hours. Days, even.

I personally give a little more critique to those dancers that are so close to great things. So yes, I will harp on you falling out of that triple. Yes, I will tell you that I think your arabesque could be higher or more behind you. Yes, I will tell you to strengthen and stretch your feet. I will also quickly tell you how to achieve these new goals. I will tell you these things because in the 2 minute and 37 second solo, I saw the amount of potential you have. In that 2 minute and 55 second group piece, I felt your passion. Over the course of the weekend, I saw that you and your fellow dancers love dance just as much as I do.

My job as a judge is to help facilitate growth. To give feedback. And yes…to JUDGE. Do I think we should move to a compulsory rubric of what is required at what age and level? No, I don’t. That takes the artistry out of what we do. We are not cheerleaders. We are not gymnasts. Their artistry is completely different. We are dancers. We are choreographers. I rarely give perfect scores. I can count on one hand, without using all five fingers, that I have ever given a perfect score to a dance or dancer.

I always tell my dancers, different day, different judges could make a completely different outcome. I constantly remind them that it is all based on someone’s opinion. I am also telling them that they need to dance for themselves first, their teachers second and judges third. If I say you did a great job, guess what…? You did a great job. If you are just out to win trophies, go for it. If you are okay with mediocrity and filling your kids with millions of little white lies that they did great, that’s on you. But remember, you are cultivating these young adults who will eventually go on into the real world. If tell a kid she has the most beautiful arabesque you’ve ever seen and she goes out on an audition and is told that her leg is not straight, nor is it behind her and she isn’t using her proper turnout, that’s your fault. And remember that us judges tried to tell you that one day.

XO,

#DanceTchrProbs

Is Technique Dead?

I watch so much dance a week both in person and via television and other media. So much that it’s kinda sad, ha! But I like to be a well-educated dancer because that’s how I was raised by both my parents and my teachers. I also look to others for inspiration and to remain a humble student, because my parents and teachers also taught me that there will always be someone better than you.

As I watch all of this new dance on YouTube, Instagram, Facebook, SYTYCD, and the like, I compare it to the dance of the past eras. I can’t help but ask myself if technique is dead. I understand that there are different types of technique these days, but for the most part, I see stuff that doesn’t even fall into the other disciplines.

When I was growing up, my ballet teacher was a crazy but amazing lady that taught a Vaganova based style of ballet technique. She held us accountable for upholding the virtues and discipline of ballet. My jazz teacher was also a great teacher. His ballet technique was just as strong as my ballet teachers, but he preferred teaching jazz. He taught me many things about the strength and precision of jazz. Between the two of them, I am able to be the type of teacher that I am today. They instilled the importance of each technique in me and why it is important.

With that being said, I see these preparations for turns in neither a parallel or turned out position. One foot will be one way and the other, another. I see half relevés in turns, at best sometimes. I see fourth positions that are far too wide, forcing the dancers to just wind up and gun through those turns. I see ballet pieces being competing with zero attention to maintaining turned out positions. I see piqués en tournant that go nowhere. It makes me question both students and teachers. Are some teachers just allowing kids to get away with no regard to technique? Or are there dancers that are refusing to make these corrections? Or is it that we have teachers that show and say what to do, but do not know how to actually TEACH what we preach…?

I unfortunately think it might be a little bit of both. When I travel to other places to teach, I realize that kids get a lot out of my classes. When I was training as a kid, my teachers took the time to break down everything. Down to proper pliés and tendus. I now use that knowledge in my teaching. If there is something I don’t know or can’t remember, I take it upon myself to research and learn what I can about that certain move or person or technique.

We owe it to not only our kids, but to ourselves, to uphold what we have been taught and continue to teach ourselves. The second us teachers stop learning is the second we start to fade out. Hold your kids accountable to technique. If they desire to get in to more of a concert dance career, they won’t get jobs without the proper training.

I recently had someone tweet me an image that spoke on putting the fun back in to things and not being so hard on kids. While yes, I am all about fun and relaxing, but the reason our parents pay us is to correct their children. Just like they do a soccer coach, basketball coach, or golf coach. They entrust their children to our teaching and to give them all the tools that we can to make them the best they can be. If you don’t want to be a professional dancer, that’s fine. If you don’t want to be a competitive or company dancer, that’s fine too. But if you sign up for a higher level of training, you’ve made the decision to make yourself the best dancer you can be for yourself and for your fellow company members. It would be unfair to both the dancer and the company group to allow them to flop around.

Dancers, put your best foot forward. Think about what your teacher is saying and why. Push yourselves in every class. Hold your selves accountable to yourself, your teacher and your company members/classmates.

Teachers, stay hungry. Allow yourself to relate what is being done in our ballet and technique classes to how it helps and effects your dances. Keep pushing your kids at an appropriate level. Hold them accountable.

Do our forefathers of dance justice. Keep those heads high, and your relevés higher.

XO,
DanceTchrProbs

What Competition Dance is Really About…

There is unfortunately a really bad stigma with us “competition dancers” or “competition studios” or whatever else people may want to label us as. People that don’t completely understand what it is that we do or the goals we set out are quick to judge and say things like, “You’re just paying for a trophy,” or “It’s not all about winning,” or anything else of the sort.

Yes, it partly is about winning. I would be lying if I said otherwise. I am a naturally competitive person so of course, I want myself and my dancers to come out on top. And if all of these naysayers didn’t feel the same way, they wouldn’t register their kids to COMPETE. The operative word in the entire phrase ‘dance competition’ is competition. So yes, there will be a ranked winner. Just because you aren’t top 3 or 5 of your category, doesn’t mean you lost. It just means that your A-game wasn’t as strong as those other people’s A-game’s on that day. And that’s okay.

I come from the days of awards ceremonies consisting of 1st place, 2nd place, 3rd place and everyone else got an Honorable Mention. It was a pat on the back, it was a ‘good job, but maybe next time.’ It was a reminder that they valued us being there, but to keep training. It was never taken as “I’m not good enough,” or “My costume doesn’t have enough rhinestones,” or anything else. Just to keep trying. And that was okay. I am sure that there were times I was upset, but it never stopped me.

So is it really about getting a Double Platinum? Double Diamond? Or whatever buzzword that insinuates being the best at any particular circuit? No. Is it about leaving with the biggest or the most trophies? No. Not for me. For me, as a teacher, it is about my dancers doing their personal best. Let’s be honest. Everyone goes home with trophies or plaques or ribbons and pins, so how do YOU feel about what YOU presented? We know when we did well and we know when we did not so well. (Sidenote: I don’t want to haul all those damned trophies around. I could care less ha!)

What it is about is getting a tangible representation of the hard work put into these dancers and dances. My parents still have all of my trophies as well as those of my siblings in other activities. From the top ranking one, to the lowest ranking one. It’s nice to be able to look back at your journey in those frivolous trophies and ribbons.

It is about my message and voice as a choreographer being seen, heard and understood. It is a chance for us choreographers to get feedback from our peers in the judge’s critiques. We all know that we can drill the exact same thing week in and week out, but the second that Andy Pellick from NYCDA or Kim McSwain from NUVO, or anyone else for that matter, can say the exact same thing and it clicks. And if that is the only good thing that comes of the entire weekend, then I will gladly take it.

It is about boosting the dancer to work harder or keep working as hard as they have. These trophies and ribbons and plaques that we ‘pay for’ are a physical measure of our commitment to our craft, our team, and our studio.

So no, it’s not about winning. It is about being rewarded for our level of dedication. Sometimes we come out on top, sometimes we don’t. I always tell my dancers – If you want a platinum level ranking, you need a platinum level rehearsal and mentality.

When studios set out to get X amount of platinums or scholarships, that’s when it goes awry. It puts an insane amount of pressure on your dancers and they are so concerned about being the best as opposed to being themselves that they may fall to the side. Nurture talent and artistry, not trophies and platinums, friends.

In the meantime, keep training and loving dance.

XO,
#DanceTchrProbs

We Are Dancers.

We are dancers. It is what we love to do. It’s what we think about day in and day out. A lot of people have asked me what makes up a great dancer and of course, there were things like technique and passion that first came to mind. Yet recently, someone asked me and I thought of a few words that summed up what I have learned in my career, which has now turned in to what I teach my students. Aside from the technique and dance moves and all that, of course.

Dedication is first and foremost the most important quality of a dancer. Within that is also perseverance because we are in one touch industry. Starting out as a young dancer, there is always a clear moment in which we each decide if this is sometime we truly want or not. Those of us that say yes, focus and hone in on our craft. We spend hours at the studio. We take as many workshop classes as we can. We concentrate on the corrections we are given, and know that we are able to make them. And if not, we know when to ask for help. We realize that the only thing between our self and our training is our self. We hear the comments form agents, casting directors, and even sometimes teachers, that we have to push through and stay dedicated to our personal training.

Action is also very necessary as a dancer. No one is going to get us up and go to class every day. No one will be there telling us that we need to keep our grades up or else our parents won’t let us dance. No one is telling us to get to that audition that we might book. Motivation is absolutely everything in this industry. In order to make it, no matter what capacity in which you want to be involved, you have got to act fast. Because if you don’t, someone will gladly take your spot.

Networking is KEY to success in this industry. While yes, you need the technique to back it all up, but it is definitely who you know that can take you to greatness. As a student, no matter what age, go up to your teachers and thank them for sharing their art with you. Go to local classes that may come through your area. Go see shows. Talk to people at convention. Even if they are someone that you absolutely idolize. Funny thing about those people…THEY ARE PEOPLE! They are (normally) very nice. Go up and introduce yourself. Who cares what your friends think. Putting yourself out there is a huge part of our industry, so why wait? You both may be in an audition down the road and a familiar face and a smile can comfort even the best sometimes.

Creativity is a must. There is already a Travis Wall. We already have a Sonya Tayeh. And we have our Emily Shock. Find yourself. While these and many other dancers and choreographers are incredibly gifted and inspirational, you have to find what makes YOU bookable. Find the inspiration from them and let it do just that…inspire you. Don’t try to imitate what they do. We’ve seen it already. Same thing goes for things you see other dancers do in classes and such. If you see something they do, try to change it. We aren’t all the same in the mind, body and spirit, so why should we dance the same?

Evolution comes as a result of your creativity and training. My personal choreographic style can change from week to week within the same genre and there is no reason as to why it shouldn’t with everyone. Music moves us and each song we move to is completely different so our choreography should be different. Of course, there is a certain je ne sais quoi, or innate style, that should be a common thread as an artist, but music should dictate your movement. Let the music speak through your body the same way it speaks to your heart and soul. Allow yourself to grow as a dancer and choreographer and you will find your place in this industry.

If you’re following along, the last letter we have to spell dancer is R. And it is a very important one. REST. We need to allow our bodies to recuperate from the hours of rehearsals, classes and learning or creating choreography. We need that physical and mental respite to not only allow our brains and bodies to refuel, but to also let that creativity brew. It’s in the moments of rest where I am listening to new music that I have come up with some of my favorite combinations, choreography or concepts. In addition to creativity, we need to rest our body to prevent and repair injuries. It’s hard. Incredibly hard, I get that. But if we don’t allow ourselves to heal, it will only get worse over time.

Dedication.
Action.
Networking.
Creativity.
Evolution.
Rest.

All of these components are what make up a great dancer in my mind. It is these qualities that will give you longevity in your career. People will work with you once and won’t want to lose you. Stay dedicated. Take action. Network. Be creative (and original). Allow yourself to evolve. Listen to your body and rest when you should.

XO,
#DanceTchrProbs

#TechniqueTuesday – Yes. You Do Need It.

I get it. I really do. I understand that people just want to live their lives and just dance and that it is not about technical precision and pointing your feet and such. But I will be the first one to admit, out loud for all to hear that I disagree. No matter the genre, there is a technique to it. We would be doing a disservice to those who have put in the time and energy in to each genre to get the dance and our industry where it is today.

While yes, it is a beautiful thing to be able to surrender to music and let your body just move, but without technical training, you’ll appear to flop around and no one wants to watch that. They may see passion, but that will be heavily masked by the bad feet, the bent knees and weak port de bras. Prime example – the recent Free People advert showcasing their new dance line.

Us with the trained eyes and bodies cringed at the lack of true, technical training of the model bouncing around in the video. As an educator, I was more leaning towards the amount of injury she could eventually lead herself to, dancing with the amount of technique she had. All I saw was the potential of rolled ankles, pulled muscles and knees being blown out.

Ensuring technical training is so much more than your teacher ‘being mean’ or ‘picking on you.’ It makes dance look effortless and makes people want to watch you. It allows us to seem to float and glide across the dance floors and stages and captivate audiences. It eventually gets you jobs and helps start your career. But above and beyond all of that – it saves you from injury. A lot of people do not realize that.

The mental, physical and emotional strength required to be a dancer is unlike any other. If you don’t want it, people can tell. If you can’t take the criticism of our industry and still believe in yourself at the end of the day, you may never make it. And if your body isn’t completely capable of what you’re doing, people will let you know.

Focus on that technique. Some say it isn’t necessary, but I am a firm believer in the exact opposite. You can’t completely let go and still draw people in to you without it. Well, for the right reasons, at least. Get them to watch you for all the right reasons.

The Dynamic Duo!

Cutting Edge Dance Center is a force to be reckoned with in our competitive dance scene. After interviewing these two, I now see why. The studio has set an expectation and their dancers and staff, rise to it and exceed it. The love for dance that co-owner Patrice Barakat and instructor Mark Meismer have for dance is immense and it trickles down to their students. You can see it in their social media posts and most importantly, their dancing. Read on to see what inspires these two, how they work together and some of their favorite moments!

DanceTchrProbs: Go ahead and introduce yourself and give us a brief history of your dance experience and studio history.
Patrice Barakat: Hi, I’m Patrice Barakat. I co-own Cutting Edge Dance Center in CA with my sister, Suzanne. This is our 6th year in Business. I grew up training with the industries top teachers & choreographers in the competition world. For the past 18 years, I have had the privilege to travel nationwide as guest choreographer for numerous studios/events.
Mark Meismer: Hi 🙂 my name is Mark Meismer I have been in the entertainment industry working as a professional dancer and choreographer for the past 18 years. I have had a blessed career in TV, film and concert dance. I currently teach on the dance convention NUVO and choreograph and work for Cutting Edge Dance center.

DTP: How did you two meet? What is your relationship in regards to the studio?
MM: When we were little. We used to compete against each other…
PB: We went to the Orange County High School of the Arts together and were kind of always the “go to” dance duo.
MM: After HS we went on our individual career paths, but when Patrice opened Cutting Edge, I knew it was something I wanted to be a part of. Each year, I get more and more involved and I would definitely say we are creative partners.
PB: Yes, we make a lot of the decisions together.

DTP: I know you two are close. How do you maintain a strong work and personal relationship?

MM: We don’t really know. We genuinely laugh a large majority of the time we are together.

PB: We have such a history and so much respect for one another that our trust level is immeasurable.

MM: We always get the job done, we know what the other is going to say before we even say it.

PB: So, somehow, that works for us. Our friendship and working relationship is one in the same.

DTP: Patrice, as an owner, what have you found to be the most effective way to stay in communication with your staff? And with your dancers and families?

PB: Definitely email and social media.

DTP: Now to learn more about the studio. What sets Cutting Edge Dance Center apart from the rest?

PB: I don’t know that it’s apart from the rest, so to speak, but the quality I am definitely most proud of is our bond. The love. The laughter.The hard work. But we laugh our way through the most intense of rehearsals, and the kids are sweating and “dying” but living and laughing as one cohesive unit. Our motto is, “We BELIEVE in One Love” and we really stand by that. In-house competitiveness is NOT tolerated and it’s really made such a difference. It’s a beautiful, supportive energy and I’m so proud of it. We also stress the importance of versatility to our dancers. They train in all styles and it’s just so fun to watch them be stunning in a lyrical, then ghetto in hip hop and then not taking themselves too seriously, they go out and kill a cheesy musical theatre. It’s so much more fun that way.

MM: I was going to say the same thing. You have to find the right fit for you, but our motto really works for us and the kids truly dance for the person next to them. We strive to continue to push the kids to grow and grow and grow. Each year they HAVE to be better. It’s amazing to be a part of.

DTP: I think that is a beautiful thing. When you set a standard, people rise to it or don’t. Mark, you hit the nail on the head with having to find the right fit. How many hours do your competitive dancers spend in class a week, on average? How many of those are ballet?
PB: We have dancers that drive from as far as Redlands, Redondo Beach, Wrightwood and Newport – all an hour one way in different directions. So we try to accommodate the schedule to get as much in as possible. They’re required two, hour and a half ballet classes per week, many take 3. And they are required to take a technique class in every style that they compete in, with additional optional classes such as progressions, stretch/conditioning etc.

DTP: That is a great schedule. Ballet is where it’s all coming from, so I applaud your dancers tenacity with taking as much as they can. What have been some defining moments for you as teachers and as a studio owner?
MM: A defining moment for me was Star Showcase at KAR Nationals in Las Vegas 2012. We won Intermediate Grand Champions with “Gentle Savior” and Elite with “Fix You.” I honestly didn’t think we’d win both. The kids truly were dancing for their lives and for every ingredient to come together TWICE, it was magical and a moment we’ll never forget.

PB: A moment I will always remember is, in our 3rd year of existence, we qualified with two dances for the FDC’s World’s Championship. Our Hip Hop, “Who We Are,” choreographed by Marissa Osato, placed 4th, and Mark’s senior small group “Heaven,” placed 2nd. But the best part was the buzz there. Dancers from all over the country in the holding area stopped what they were doing and applauded our dancers as they walked off stage. Our dancers were dumbfounded by the support and that in itself felt like we won. It’s not always the trophy that matters. It’s the experience. The way it feels in your soul. The memories the dancers create together – it’s priceless.

DTP: Do you have a preference of competition or convention? Pros and cons of either or both?

MM: Being that I teach on NUVO, I understand the importance of conventions. It’s about pushing yourself outside your comfort zone and seeing/experiencing other dancers to grow from. Convention is such a great venue to be inspired by. I feel like dancers work harder at convention than their own studios. I like to do competition and convention, they’re both important. Convention is about the education and classes while competition is an amazing performance opportunity and to see beautiful pieces from surrounding studios as well.

PB: We have studio staff on two major conventions. As mentioned, Mark is on NUVO and Marissa Osato, our contemporary and hip hop teacher, is on West Coast Dance Explosion. So we definitely stress the importance of attending to our dancers. There is so much knowledge to be gained and we love the kids to be exposed to so much incredible talent in the world. We love competitions as well. We do six regionals per season. We value the benefit of being on stage numerous times with the same pieces. We stress that if there is growth, they’ve done what we’ve asked of them.

DTP: All very valid points. When choreographing, what inspires you? Do you guys work together often?

MM: First and foremost for me is music.

PB: I agree, 100%.

MM: Every year, we do more and more together. We work quickly and finish each other’s movements, like we finish each other’s sentences.

PB: We choreograph about 10 pieces at Cutting Edge together, aside from our individual pieces. We are taking our “act” on the road this year. Mark and I will be choreographing the University of Tennessee’s Jazz Nationals Dance together. We’re SO pumped.

DTP: A real life Roxie and Velma! Minus the crime ha! Any favorite dances or moments as a team in the studio?

MM: “Heaven” for me. It was a piece I created for my dad, as he passed away from cancer days before I choreographed it. It was something I will always treasure and hold dear to my heart. “Fix You” as well. That was for my mom, battling cancer at the time, and she beat it. Those were powerful for me, but I truly love so many.

PB: “Thataway” was a Musical Theatre piece I created in 2009 – our first competitive year. It won our very first National Grand Championship that year. A huge accomplishment for year one. I just loved how the kids dove in to the characters. This year, I’d have to say, “Rhapsody”… Mark and I created it together and it’s just a fun mix of jazz/lyrical/silliness and I love it so much. One of my favorites I’ve ever created is also a Trio called Name of Love. It was one of those where everything just came together and clicked and the 3 girls’ passion, friendship and bond made them take my work to another level. That was a year people knew their names. I wish I could list 33 dances! I love so many!

DTP: What is your favorite part about being a teacher?

PB: The relationships. Watching the growth, week after week, year after year. Being so many of the dancers “rock,” I just love it. I feel so lucky to have been a teacher for so long. This is my 21st year. What?

MM: Making an impact on a child’s life is such an important job and to be able to make a difference in so many kids lives is so rewarding. Most of these kids won’t go on to be professional dancers, but we’re teaching life lessons. I love being a part of shaping and molding the next generation.

DTP: Most definitely. So man life lessons to be learned through dance education. What is your favorite style to choreograph and why?

MM: Lyrical. It’s just so amazing to express the lyrics through your body of movement. It’s the most emotional style and I love bringing that out in dancers.

PB: Musical theatre and lyrical. I love musical theatre cause it’s just so fun to portray different characters. A lot of people do jazz to musical theatre music and that’s not who I am at all. I love authentic, straight off the Broadway stage movement. [And] Lyrical because it’s just so beautiful. The feelings and emotions you can express through your body is everything.

DTP: What have been some of your favorite gigs?

PB: For the last 8 years I’ve been the jazz choreographer for the University of Tennessee, including 3 National Championships. The journey with that school is amazing.

MM: Being the assistant choreographer to Mia Michaels on the Celine Dion show “A New Day” in Las Vegas was definitely one of my favorites.

DTP: How do you stay current and educated as a teacher?

MM: Teaching with the amazing NUVO faculty and seeing amazing dancers across the country each weekend def inspires me.

PB: I travel across the country as a head judge for Kids Artistic Revue and seeing what people are doing and taking our dancers to conventions along with the desire to always bring new life to our dances keeps me inspired.

DTP: If you could work with anyone, dead of alive, who would it be?
PB: Marilyn Monroe. There is an energy she possessed that is so vibrant and inviting. I think it would have been amazing to create on her.
MM: I’ve been so blessed to work with so many amazing and wonderful people as a dancer and choreographer, I can’t think of anyone off the top of my head!

DTP: If you could leave every student who took your class with one piece of advice, what would you leave them with?
PB: I would leave them with the importance of believing in themselves. Our world is tough and we have to be on our own side. I’ve looked at dancers that fall out of something so many times and said, “You weren’t believing in it. Do it again and believe…because you can.” And almost every time, without exaggeration, it’s significantly better. So as Tinkerbell as it sounds, I truly feel like if I died today, I will have made a difference, because of the huge amount of dancers who have thanked me for teaching them the power of believing.
MM: My advice would be always leave with your heart and dance from a real and honest place. You have nothing to lose and everything to gain. You give and put in a 100%, and you get 100% out of class. If you put in 5%, you get 5%. Dance like it’s the last time you will ever dance again. We don’t know what tomorrow holds so be present and live in the moment. Cherish each moment you get to dance and walk out of the door proud of yourself for the work you put in. Being a dancer is an incredible gift!

DTP: Thank you again to the both of you for your love and passion that you share and spread through our community! I applaud you and look up to you both!

Be sure to follow Mark on his Twitter and Instagram and Patrice on her Twitter and Instagram! Also, check out the Cutting Edge Dance Center website for more information on the studio And Mark’s website for more information on him!

An Open Letter to New Teachers…

Hello young teachers,

First off, I would like to thank you for your passion that you feel necessary to share with our community. It’s always nice to see a new wave of choreographic voices and teaching styles come out. I’m probably not much older than you, but I have learned and witnessed a lot in my entire dance career both as a student, a teacher, a choreographer and a studio consultant. I wish you the best of luck on your journey, but first some advice.

This industry is very hard to get into much less sustain a career in it. Find your own style quickly and stick to it. If you’re teaching what is trendy and popular now, you’ll be gone by next season. Stay creative. In order to find who you are as a teacher and choreographer, you must find what makes you, you.

I understand you are trying to get your name out there, but be sure not to spread yourself too thin. If you say you’re going to work with someone, make sure you do it. Don’t go back on your word. People will remember that forever.

Make the training of your students a priority, no matter how many you have. By becoming a teacher, it’s no longer about you. You become a mentor and role model. They show up to your class prepared and ready to work and you should as well. I’m not one to have lesson plans, but I come in to every class with a clear goal in mind. Don’t fiddle on your phone, be on time and be respectful. You can learn from your dancers just as they can learn from you. If they see you aren’t invested in them, they won’t invest in you.

Only teach classes that you know you are completely capable of teaching. If you don’t have the technical capacity to teach advanced level classes, be honest and don’t teach them. You are ultimately doing a disservice to the students, the parents, the organization owners and those other teachers who have more experience and training under their belts.

Remember that while we all love to just dance and be carefree, there is a strict and proper technique on how to do things. Use technique and terminology as a teaching tool. It’ll make your students more aware of how the things we work on at the barre, translate in to choreography. It also prevents injury for both yourself and the dancers in class.

Your image goes further than just what you do in class. Students, studio owners and company directors have ready access to what appears to be your life on social media these days. Be careful what you post. If you can’t monitor your posts, make your accounts private.

Last but not least, remain a student. After years of teaching and dancing, I am constantly educating myself. Whether it be in taking classes when I can or self-educating by reading my ballet dictionary, brushing up on the basics at the barre, or learning about a person or genre that I know very little about. The more you know, the better teacher you can be.

Remember to learn from those around you. Come in to the industry with respect and you’ll gain it. There’s a place for everyone in the industry to some capacity. You just have to find yours.

XO,
#DanceTchrProbs

I’m a Dance Teacher…and So Much More.

In honor of National Teacher Appreciation Week, I decided that this is an appropriate time to let the world know exactly how much us dance teachers really take on. I am sure a huge majority of the public thinks we are all just of bunch of Abby’s shouting from our seat on a stack of mats. While the other portion thinks we are the ballet teacher from the movie, Little Rascals, sweet and seemingly spineless. There is a very small part of the world that knows just how much we work. Most of them are our husbands, wives, boyfriends and girlfriends. They see us writing this blog at 3 am, which is really happening. They see us constantly editing music. They realize the frustration of choreographer’s block or sitting in a dark auditorium on our anniversary, where they sit with me through countless hours of competition, just to be together. Many people think that the mainstream perception is reality. I am attributing that to the fact that dance educators are not in this for the glory, the ‘easy’ schedule or because it’s easy. We are in it for the kids. To teach, to motivate, to mold and to inspire.

I am a dance teacher. I am a choreographer. But above and beyond that, I am an educator and a mentor. Laterally, and equally important, I am a friend. It is my responsibility to not only teach these kids about the pliés, tendus, and dégagés, but about the importance of commitment, teamwork, and accountability. My brain never turns off. If there is music on, I am choreographing or impov-ing to it, whether I really like the song or not. If I am out shopping, I see cute dresses and think, “What kind of piece could I create and use these as a costume?” I am forever answering emails. I am constantly thinking about the next show, competition or season, even though I am barely through the current one. I am incessantly searching for music because I crave inspiration for myself to inspire my dancers. I am working even when I am not in class. Always.

Aside from those components of near insanity, I am an artist. I am a costume designer. I am a conceptual thinker. I am a creator. A sculptor of human movement. I am a music editor. I am an explorer of inspiration and music and movement. I am a self-motivated entrepreneur and business owner. I see my current worth, my full potential and I know how to market myself as a product and a commodity. Even though I am an educator, I am always and forever will be a student. I realize that the main component to growth is exposure and education. My teachers passed on these and so many important things through dance. It is now my duty to pass these invaluable life lessons on to you.

Me upholding dress code goes so much further than ‘being mean.’ It instills the necessity of preparation for the day of classes and ultimately life. Your boss won’t care when, one day, you show up unprepared for a presentation. Nor will your artistic director care when you show up to rehearsal without the appropriate items. Nor the choreographer running an audition if you look ready for a hip hop audition for a contemporary company. It may cost you a job.

Me asking you to ask questions goes much further than you understanding the combination or choreography at hand. It builds the confidence to know when you need help, take a step back and look at things objectively and subjectively. It allows you to communicate confusion or frustration, hopefully without getting too emotional or committed.

Me telling you that your pointe shoes must be able to be tied including a quick change in under two minutes goes further than just being the Sugar Plum Fairy in The Nutcracker. It teaches time management – forcing you to prioritize, look at the bigger picture, and ask when you need help.

Me drilling you on the importance of a technique, goes beyond me saying it over and over. It shows that with the proper training and the right coaching and mentoring, that anything is possible. And that one day with all of the hard work you have dedicated in class, that you will get to your full potential as a result.

Often times we find ourselves as dance teachers the only positive influence in a kid’s life. The only sense of consistency. And sadly, sometimes the only one who cares. But the reason we grow so close, is because deep down, you know that someone once told your teacher the same things they are telling you. Someone was such a strong influence on them, knew their potential and pushed them – often times to their personal limits. And the reason that person or people did that was because they knew, deep down, that that 9 year old, that 15 year old, or even that 24 year old dancer/student was capable of so much more than what they were giving.

We know how much you are capable of and expect nothing less than your full potential at all times. We hold you to a higher standard because we know that you are more than able to meet and surpass that standard. We are hard on you because we know that once you move on from the studio, the world will be so much harder than we ever were.

A great mentor of mine has always said that it is not about the steps and that it’s never about the steps, but what is found within those steps and the journey to achieve those steps that is what makes dance so powerful. We find ourselves in those breakdown moments in rehearsal. We find that those who might be hardest on us (ahem…me), love us the most. We realize that even though we can’t stand one of the girls we dance with, that we would ultimately do anything for them. We are a dance community. Even more, we are a dance family.

I educate my kids to not only be a technician and performer, but more so to be a highly effective adult in society, no matter which industry they end up in. Professional dance, choreography, and teaching is not for everyone. My job to you, is to help you realize your path, no matter which it may be.

So, when your teacher gets frustrated with you, or you think he or she hates you, realize that we don’t. We love you more than you may ever fully realize. We are most likely more proud of you than your own parents. And no matter what, we will always and forever have an incredibly strong and unbreakable bond that was formed within the four studio walls, at a ballet barre, with marley and sprung wood floors underneath us. Remember that nothing can change the love we have for you, the pride we feel in you and the highest hopes and dreams we dream for you. Always and forever.

XO,
#DanceTchrProbs