It's that class. The ones who won't ever shut up. If you go to the music system, they talk. If you ask them to change lines or transition to across the floor, they talk. Waiting on the side for their turn, they talk. Stretching? Oh yeah, full blown discussion with their neighbor right in front of your face.

Their first response to any new skill is to start making noise. They don't hear other students' questions, so they ask the same questions right after you answered it. They most definitely don't hear group corrections. They are driving you insane. Also, their dancing suffers, and you are nervous about ever bringing in a guest teacher. And if you have to get a sub, you feel downright embarrassed when you warn the sub that"this group can get chatty" (you know it's the understatement of the year).

After teaching at camps, schools, community centers, and studios for a decade, I’ve collected a variety of ways to get children to BE QUIET and focus without yelling. Please note that loud is different from screaming, and that full-blown yelling rarely works and is not good for anyone! You can be LOUD and FIRM without yelling.

Many teachers either continue to use quieting tactics that don't work, or they give up and let their classes just be really chatty. First, for the sake of all other teachers in your studio, and for all other adults this child will eventually interact with, never give up. They must learn to be quiet. Not just to do better in dance class, but to be a human who can learn and pro-socially interact with others. Giving up on this is a disservice to the kids, to yourself, but also to the future. This might sound dramatic, but it's true.

I won't get into this too much in this post, but a lot of teachers are not holding their students to reasonable class etiquette. Where do they go wrong?

• They do not take the time to get control of the class before moving into more complex dance technique (hint: for 5 year olds, and sometimes older ones, the first month is all about learning to take the class, not about the dancing itself).
• They do not outline expectations clearly, nor do they know what they actually expect or can reasonably expect from a class.
• They give up on a method too quickly (or not quickly enough), and are inconsistent with rules and demands.
• They aren't willing to change their class style or format, even temporarily (and sometimes you need to overhaul your system for a while).

I highly suggest you go take a look at these two posts over at "The Cult of Pedagogy" before you do anything else:
https://www.cultofpedagogy.com/student-talking/
(I know that this link is not about teaching dance. But teaching is teaching. You need to figure out why your students are talking in order to get them to stop. Maybe your class has too much down time, or awkward transitions. Maybe you aren't clear with your expectations...read this and see what you find out!)

While I'm touting this glorious resource, let me also suggest you read this:
https://www.cultofpedagogy.com/teacher-nostalgia/
(My feelings on this topic alone could be several posts, but this is much quicker. In short, make sure you are actually dealing with the students in front of you, and step up as the teacher. Blaming the students for being poops doesn't fix anything , and absolves you of your very real responsibility to figure it out. If something isn't working, even if it worked for all your other classes, then you have two choices: enjoy a crappy year of crappy dance, or shift something in your approach and gradually get the students to a place where everyone can learn. As a teacher, your responsibility is to do the latter, and frankly why would you want to keep teaching lackluster, miserable students?)

In dance, it is CRITICAL that students learn to be quiet. It's part of the discipline, and dance is non-verbal. They need to learn to watch and absorb, ask questions at the appropriate time and in the appropriate way, and learn to how to learn movement. If you have read the resources I mentioned above, and you are ready for some specific ideas, then strap in!


Simon Says Method
I use this technique in the studio with kids who are taking their first dance class, in outreach program settings, or even in a youth group setting when there's a wide mix of adults, teens, and kids.
Say, in a normal tone, something like this:

“If you can hear me touch your nose....if you can hear me touch the floor. If you can hear me stand in first position”.

Keep going until everyone gets their act together. Level changes tend to really get their attention, and you can use it to make them practice specific skills or also quiz them in terminology (you don't have to do this, but it can be a nice way to multi-task). For older students, especially the teens, sometimes I'll say something like "If you can hear me, say 'what's up'."


Call and Response
Create a chant. This is especially useful for large groups in a camp setting, and I use several of them in a row as needed. I've used variations of this for ages 5+, but it works especially well for the 7-12 year olds.

Examples of "Call and Response"

“When I say ‘over', you say ‘here’! Over!"
Group: Here
Me: Over
Group: Here

"When I say ready, you say yes. Ready?!"
Group: Yes
Me: Ready
Group: Yes

Then you can use it to get them to do certain actions. If they are saying the thing, they are more likely to just go ahead and do that thing:

"When I say sit, you say down"
"When I say quiet you say shhhhh"


The Ready Position
DRILL them in standing in “the ready position” (for me, that's usually standing with feet together, arms by their sides). If they are little, use dots or tape so they learn to go to THEIR spot and be ready. You should practice this on the first day of class, and see "how fast we can do this? Let's try to get really fast!"

Note: for my tap classes, I use the phrase on "taps off, focus on." We practice this on day one. They stomp around and when I say "taps off, focus on" they stop moving their feet and stand ready. I do this before teaching them a single tap step, and even if it takes a few tries, I will not proceed until they respond quickly and correctly to the verbal prompt. I will even tell them "I am not moving on until we get this right."
​
When I want students to be quiet before we run an exercise I say “SHOW ME YOU ARE READY.” If they are talking, I say “you aren’t ready because you are talking. And I will wait until you are ready.” For younger classes I often remind them that "the ready position means you are in your spot, quiet, arms by your sides" (or whatever it is for you). Sometimes they may need this for a few weeks.

Also, this is a good time to point out kids who are doing things right. For example, while the other kids are flailing about, I might say: "I see that Susie is ready, Sandy is ready, Clara is almost...oh there she goes, Clara is ready. Sandy is not ready yet..." They will snap into place a lot faster.

You can even count them. "I see one dancer ready in first....oh now there are two people ready, three, four....hmm...that's not everyone....oh, I see now everyone is ready." This gives positive reenforcement to the students who are following directions, and creates social pressure for the others to do the same.

321 Ready!
I developed this "game" out of total frustration while teaching dance residencies in public schools. I was so tired of trying to wrangle huge classes of hyper students into focus, and I realized that I was not getting control over the class until weeks into the residency. I wasn't starting with the most important part, which was training the class to listen when I spoke. Without that, the rest of my curriculum was a waste of time.

So, I decided to make it a "game" on the first day of class...a game that is always being played and has no end. If I'm subbing a very energetic class, I'll open with this right after introducing myself and going over expectations. I've used it for students as old as 7th grade (oh boy, what a class), but normally I would suggest this for 1st-5th grade.

(If you are concerned this will take up too much time, it won't. But also, it's worth every second of that time. Spend time getting the class into a place where everyone can learn and you won't want to kill them. You're worth it, and so are they. )

Level 1
Students are standing or sitting, and when you clap (or whatever you signal is) they must snap into the "ready position". You can make it competitive by pitting them against each other...whether that is boys vs. girls, left side vs. right side, or every student for themselves.

I teach them when they hear me clap, they return the clap and stand ready (there can be variations on this). Whoever isn’t in the position immediately after the clap is done is OUT!

*A note about levels: get them excited to "level up". Make a big deal about graduating to the next level. Don't let them do so if they haven't earned it, and make that clear. They will get stoked.

Level 2
Same goal, but now students move in their spot (wiggling, dancing, whatever) until you give the signal.

Level 3
Now they wiggle and make some sort of sound.

Level 4
Now they move around the room (not touching anyone or anything) and make sound.

Level 5
Now students go have a full blown conversation about a movie or video game (you actually have to give them time to start a real conversation, at first they all pretend to talk--bizarre and hilarious).

Level 6
Put on some music, and see if they can manage it without you turning it off.

Finish this adventure by saying "So this game will be played all class, every class." Repeat at least the last levels of the game for the next couple of classes to make sure it sticks. Give them praise for being quick and quiet like ninjas. Also, if you are using clapping, consider changing up the rhythm constantly. This will keep it interesting, but also it reenforces rhythm skills. Call them out if they aren't clapping back in the correct rhythm.


Count Down
I use this for kids up to age 8, and I still have no idea why it helps.

If you give a clear direction "Change into your ballet shoes" or "come out to the center" and they are dragging, chatting, or whatever, start counting down from 15/10. Be loud, clap a rhythm with it.
I've never given a clear consequence for not getting there when I reach zero, so I'm not sure why this works! I assume it's some kind of "don't let the bomb go off by the countdown reaching 0" instinct deep within us.

However, if they don't manage it by the time you get to zero, you can go ahead and try the next tactic.


Do over
I use this on kids as young as 4 (up to 18) and it’s made a BIIIIIIG difference.

Example
If they chat during a transition (after expectations have been clear that they must be quiet while going to the side), I will stop everyone and say something like:

“Stop, we need to do that again. I asked for quiet and some people were talking. Go back. Try again.”

“Stop. Dancers do not push to get in line. Everyone gets a turn, that was rude. Go back and do it again, calmly and politely”

It generally only takes twice for it to stick. THIS WORKS AMAZINGLY WELL. WE UNDERESTIMATE THEIR ABILITIES ALL THE TIME—THEY CAN DO THIS!

Other Thoughts

• Song Transitions: Some teachers have short songs during transitions (like changing dance shoes in little kid combo classes). They train the students to be ready when the song is finished. This hasn't worked for me, but it might work for you.

• Bribery: Occasionally I will do something like "the first two students who have changed into their ballet shoes, are quiet, and are stretching in their spot will get a sticker." The key to bribery is IT MUST ONLY BE SOMETIMES! If you do it every class, it becomes expected, and becomes both annoying and ineffective. If you want to know more, check out this article.

• Creative Breaks: If the class is struggling and it is a focus issue, toss in creative/free form exercises throughout the class. For example, after plies, have a short free dance. For across the floor, toss in a strut your stuff challenge. They will work up to being able to stay focused for the whole class

• Camp Songs: I will probably do a whole post on this, but I have set basic dance warm ups to camp songs. I took over some INSANELY chatty classes mid-year, and I realized that if they were singing, they couldn't talk to each other! Eventually this class become a solid class, but it took some time.

Those are some of my tools! I hope this was helpful. Let me know what you use to get control of your chatty class.

Until next time,
-Lindsay

What’s just as important as making dances? Bringing in an audience to see your dances! 

Many of us learn how to create art, maybe even how to design lights or costuming.  But how do you actually get people to attend your show? School usually doesn’t teach us that. 

When I first started my company, I rejected any sort of management or business knowledge.  ”This is art, ” I thought to myself ”and it’s completely different than other businesses. 
​I don’t want quotas and I don’t want to get bogged down in numbers.”  Of course, that's nonsense. Numbers are important, as they enable art to actually happen. 

So I got over myself and decided it would good for other people to actually see my work.  Finally, I opened up to hearing ideas from outside of the dance world (including listening to my spouse, who has experience in volunteer management and non-profits).  All of this led to the company's current ticket sales system.

Since we implemented these steps in 2017, we have seen striking improvement in our ticket sales (we are also a more mature company, which certainly helps, but I believe it is more than that). I hope that by sharing my methods, more folks will find ways to improve attendance at their own concerts. 

Quickly, here are some practical ways to get folks to your show. 

1.  Have Guest Choreographers show work (especially if it isn’t quite like yours, so the audience base is different).
2. Give Guest Choreographers a cut of ticket sales, so they are invested in selling tickets.
3. Get your cast invested in selling tickets, and teach them how to do so (more on that in a moment).
4. Random tip: don’t waste money on fancy postcards only to leave them in a stack at a studio.  Put posters up where you can and use most of your postcards like you would a business card—after you pitch the show, then you give a card to help remind them to come.  Postcards are really useful, but only when paired with a conversation. 

THE SYSTEM 
​[insert dramatic music]

Six weeks out:
I hand out our information sheet to the company (it's available here--use as you see fit, but give me credit please), and we go over it.  

You should look at the sheet yourself, but the document gives dancers language and scripts to help get others to come see the show.  It reminds folks that you shouldn’t feel bad asking people to see a show, (assuming you believe in the work you are doing).  It also discusses what NOT to do.  Here is a quick summary: 

• It benefits people to see your concert/art/product. You do them a disservice if you don't offer them a chance. Selling is ACTIVE. Don't just plop fliers down on a table or tape to a window and think you are done. Use the phone, talk in person, mail letters--but ask people directly. Be authentic, friendly, and kind. These are your family, friends, nice people in your life who you want to share something with.
• Leverage your personal network to find people to ask. Don't stop at just your parents and work friends: there are always more people in your life than you realize (until you think about it).
• Think about how you are going to talk about the concert before you actually do. Use language people will like and understand.
• Use the six laws (see the handout) to help people realize the value of the concert. It is not about tricking them, it is about helping them see the value.
• Once you talk to them, your job is not done. Follow through. 

After going over the sheet, we brainstorm our various community ties, and ponder how many potential audience members there are in our lives.  (They are are so many more than you expect!  I have had my mother’s real estate agent show up at concerts.  Once, my neurologist brought her daughter to a show.  You just never know!).  

After that, dancers come up their own individual goal for ticket sales.  This goal is not binding, and there’s no punishment or reward from either meeting or not meeting it.  It just helps everyone stay motivated.  

I write down the number and that’s that for a few weeks. The whole process takes 30 minutes at most. 

Four-two weeks out:
We have another check in, and we see how folks are doing with their goals.  They can change their goals as desired to either feed their ambition or to reduce their stress.  I also ask if anyone has any issues, comments, or ideas regarding ticket sales. Sometimes the company shares success stories or new ideas on how to pitch the show.  This takes at most 15 minutes.  It is also a good time to make sure the website and ticketing sites are all still working properly. 

One week out:
Final check in! It’s basically the same as the last meeting- we troubleshoot and encourage each other. This is usually about ten minutes long.

AND THAT’S IT!  That is all it takes.  It seems silly, but i have personally seen great improvement since we started working this way. Try it out—you have nothing to lose, and a lot to gain!

What tips and tricks do you use to sell tickets? I’d love to hear your ideas! 
​
(Oh hey!  Did you make it to the end of this post?  Then go ahead and visit http://aliveandwell.bpt.me and use the passcode “BLOG YAY” for $1 off your online ticket purchase (either for artist ticket or general ticket) for our concert on March 1-2, 2019.  Act quick--this offer expires on February 28th!)

​So I’m considered a “tough teacher”. But I try not to be a “mean teacher”. They are not the same, either! A tough teacher is acting out of a desire for students to improve. A mean teacher is acting from their irritation, fear, and ego.
Let me be clear: no one intends to be a mean teacher. Frustration, burn out, a lack support from your studio, all of these things (among others) can result you becoming aggressive rather than assertive. All of us will do this sometimes, but we should do our best to mitigate such habits. As Dolly Parton sang, we better “shine, refine, design”.
​
I sometimes catch my ego getting in the way of solving a teaching issue. When I notice that I’m digging in my heels, I (eventually) pause and reflect to see what I could do differently next time. I know I need to stop myself if the following comes out of my mouth or keyboard:

“This should be working for these kids, it works for all the other classes...Ugh, they are just so lazy. I can’t do anything with that...This parent/student is just unreasonable” (okay sometimes that is true)...$&@&!..etc....

These are all excuses to give up. But as a teacher, my job is to keep trying. It’s not okay to stop being the adult.

Yes, sometimes tough love is the answer, but it’s important to stop and ask yourself if are acting out of love or frustration. If it doesn’t really serve a specific educational purpose (such as helping students learn to wait on the side vs. “they will learn to respect me”) then don’t do it—it will probably end up unintentionally mean. I’m not perfect, and there are issues I haven’t solved (and there always will be). However, when I’m annoyed, feeling down, and hearing that little niggling internal voice saying “hm...was that mean of me?” then I know I need to pause and ask myself the following:


Are my actions based around logical consequences?
Is there another thing or idea I haven’t tried? (hint: the answer is always yes)

Am I taking this too personally? (Usually, the answer is yes)
Let's dig in.
​
Are you enforcing logical consequences, or arbitrary laws?
Here’s an example of a logical consequence: student doesn’t have their dance clothes, or is very late to class. Therefore, they cannot dance because they don’t have clothes to dance in, or they have missed part of warm up.

Here’s an illogical consequence: student is late to class, so they (and the rest of the class) have to do 20 push ups. There is no connection between action and result. This is not a logical consequence, it is arbitrary (it also presents conditioning as a punishment, which is problematic, but that’s a different issue).

If you are making students do something just as a punishment and not as a result of internal logic, reconsider your system. Random rules don’t tend to work, and they create drama and resentment. Also, no one likes senseless rules, not adults, not kids, no one. Being a dictator, ruling by fear and rules alone, does not truly foster respect.

I’m guilty of this, and catch myself doing it more often than I like. Not that long ago, I had beginner students (ages 6-9) doing battements across the floor with very clear and simple timing (step one, tendu two, lift three, down and shift weight 4). One third of the class was phoning it in. I forced the whole class to keep going back and doing it repeatedly.

This would have made more sense if it was practice for a recital dance, or if more of the kids were unfocused; but it wasn’t, and they weren’t. I was just annoyed they weren’t doing what was (in my mind) clearly so easy (by the way, few things are easy in dance when you first learn them, so this was nonsense on my part). It sucked energy out of the room and class was just, well, a chore. I was unhappy, they were unhappy, the battements were unhappy.


What else could I have tried? I wish I’d tried one of the many other options available to me, such as:

• running the exercise a only a couple more times, and without the “you have displeased me” tone.
• Dropping down the level, having everyone use the wall to practice their battements, or maybe reviewing how to go across the floor.
• Having the struggling students practice for two minutes (maybe while holding hands or linking arms) with a partner who had good timing.
• Changing up my groupings to make sure the struggling kids weren’t all bunched together .
• Accepting it wasn’t good today and moving on, knowing it will improve over time.
• Changing how I use the room (more on that shortly).
  
  

I don’t think much good came out of these long minutes, and likely I created more annoyance than musicality. Their battements have improved, but it’s not because of that day—it’s because they have had more time and practice. And, possibly, due to the change I did end up making the next class.


So what did I do?
I changed how I used the room. Before, I had them traveling from stage right to stage left across the floor in sets of 3 (which is honestly a lot to ask of a newer and bigger beginning class). The space was too big and overwhelming (it’s a large studio), and there were too many kids, which led to a lot of downtime, waiting for their turn. That’s no good!

I ended up with this: two long horizontal lines of students, starting at the back of the room (so they were facing the mirror). We drilled how to run this new way of going “across the floor” (we walked downstage in our lines, practiced going to the sides and filling in again at the back). Now students had to be ready to go all the time, as there were only two groups. They had a less daunting space to cover, and they could see themselves (and their peers) straight on in the mirror. It took a little time for them to get the system, but now it works wonderfully.


Don't take it personally.
This is harder than it sounds. If you are really annoyed your students aren’t doing something, chances are you’re taking this personally. Remember—these kids aren’t out to get you. Kids are, by nature and design, quite self-absorbed. They aren’t plotting against you, they are just, well, kids. If you find yourself getting angry and holding onto that anger, acknowledge that your teaching ego might be a part of that (“why can’t they appreciate me?”, “why aren’t they learning—I worked hard on this”, “am I not good enough?”).

Let this all go. It doesn’t serve you or the students. Something just isn’t working—this doesn’t make you (or your class) bad. It just means you have a chance to grow as an educator and try something new! So embrace it, remind yourself that there is no perfect way to teach—education and other humans are not static. The fact that everything changes is one of the best parts about our job! You can do it, and you will figure it out. And once you do, your students will benefit, and you will have gained invaluable pedagogical experience.

Thoughts on Dance Organizing Etiquette​
(So, this is right ballsy to post this just as I'm about to invite guest choreographers into my newest show, and it's a lengthy post. Also this is one of my first posts--so keep that in mind as you find a million typos). Oh, and a note about terms: some folks use “guest artist” to indicate a performer who isn’t a company member. In this instance, I’m using it to indicate someone who is showing a dance work (or other performance) in your showcase.

I love to invite other artists to choreograph and participate in my concerts—it helps sell tickets, but also gives people a chance to get their choreographic ball rolling. I will never forget the first showcases that accepted my work—they took a chance on me, and it really made all the difference! I love enabling others to get their foot in the dance world door. I’ve been producing since 2013, and with another show around the corner (March 1-2, 2019, https://aliveandwell.bpt.me) I’ve been thinking about what it means to be a good producer, and what my experiences as a guest artist have been.

My first professional show was a bit of a mess- there were few deadlines and no contracts, and I didn’t understand what to expect or how to outline expectations (I also moved to Chicago and produced my show in the same week—but that’s another post). It went fine, but they were definitely hiccups and stresses that could have been avoided had I known better. It would have prevented some tense conversations later on, and prevented me from looking (in all likelihood) completely ignorant (which, well, I was).

I've witnessed good and bad habits in dance concert organizers. I’m not perfect, that’s for sure. However, I’ve tried hard to avoid certain practices that were absolutely maddening to me as a guest choreographer. Here are some things that a thoughtful organizer (from the guest artist/guest choreographer perspective) should consider. There are always exceptions, and logistical specifics, and the fact that people enjoy working in different ways (aka don’t freak out if something doesn’t apply to you). There are, of course, things a guest choreographer can do to avoid being a pain in the bum (maybe that’s another future post). However, at the end of the day, it’s the producer that holds most of the cards, and frankly, can get away with being a complete prig.

So, at the risk of holding myself to difficult standards as I slip into my own production season, here are some things to consider next time you produce a show and include other people’s dances:

Communication and deadlines.
Yes, I know you, the producer, are super busy but a good organizer responds promptly to those they INVITED into to the project. Other artists are just as busy, and they are reciprocating a favor in participating. You already have all the information, but the others don’t…because it’s not their concert.

So, reply to questions! If it means you get ten minutes less sleep, or you reply to emails from the toilet (I know- gross, please wipe off your phone and hands), tough! You need to reply promptly to questions. Maybe you reply just enough to say "I'll let you know by Friday--shoot me another email if you don't hear back"

Otherwise, you risk a big miscommunication, not to mention frustration. Yes, the guest artists should be responsive to you, but if you demand quick replies and then never get back to your guests, you are rude. Of course, we all drop the ball sometimes, or the internet eats an email, or whatever—but there’s too many times when choreographers have no idea when tech is going to be for a show that’s 3 weeks out, or they don’t know how to actually get tickets (yikes).

Information and deadlines.
I’m guilty…I’ve sent out too many emails, confusing emails, forgotten to send emails…but I’m working to improve that!

If you give out the important details early, and update as needed, then you will have fewer questions to answer. If you let folks know that you won't have information until a certain time, then you have prevented more questions.

Write emails with different subject titles (that make sense, not just “schedule” but try “Schedule for tech week 12/5-12/9”) so folks can find that attachment or schedule easily...hunting through a thread or for a poorly labeled email is the pits.

Give a deadline for almost everything--getting in bios, music submissions, etc. bold or underline it. I didn’t realize how important this was until I found out that guest artists had no idea when I really needed materials back from them—I had just asked for the materials without any sense of timeline. Also, it was hard to find the deadlines amid all the other information. People are busy and sometimes need to skim—make it easy! Also make sure your deadlines have some buffer, so there’s not PANIC ZOMG if someone gets behind.

Pay them (in some capacity).
If you are getting paid butts in seats from their participation, then they deserve a cut, or at least a stipend. END OF STORY. If you dislike it when people ask you to work for free, then stop asking for other people's choreography and dancers' time for free. PAY PEOPLE FOR THEIR WORK. PAY. THEM.

Yes, I’ve presented many works for free or at a loss to my personal bank account—I did what I needed to do, but it was sucky and I don’t want to perpetuate that. Pay them something! It doesn’t necessarily have to be a lot, but if you making any money, you should be offering some money to them, or at least the option of making it.

A small stipend is better than nothing. If you are doing this, be upfront during the application process. Please don’t ask for large group works, accept it, then suddenly mention you are only paying $60. This means a choreographer (who I expect is attempting, or should be attempting, to pay their cast) will lose money to participate in your show. There are people who will still show their work for a low stipend, but don’t blindside them.

Personally, I give guest artists cut of any ticket sales (this concert, it’s 40 percent of online ticket sales). This helps everyone feel engaged in the promotion process and rewards those who bust their butts to spread the word. This way, more people will sell more tickets and not resent me. Win win!

If you aren't paying guest artists at all, then it's unlikely they will do more than share a Facebook post about the event. They have jobs and other opportunities that take time and energy—and they can’t afford to prioritize your freebie concert, and it’s not reasonable to expect anything else.

For free events, consider sharing donations. In my experience, people were so surprised I offered them a portion of donations (in this case I made very little, and could only offer them a laughably small amount) that they all told me to keep it. But, to me, it was just following through with an agreement.

Let me be clear—there are some lovely showcases that don’t pay me in money, but they are organized, low commitment, and enjoyable. The organizers are polite and treat the guest artists really well. By offering comp tickets (we don’t lose money inviting our parent or SO), having a wine reception afterwards, giving us photos and video of our work (at no expense to us), they are finding ways to compensate us without actual funding.

If you can’t find a way to compensate, do other things! Order some cheap pizza or coffeefor everyone at tech—show that you appreciate them and respect them. Or, maybe you run a “candy for the cast” at concessions, where audience members can buy small candies and leave encouraging notes for different companies, and you let guest artists keep the proceeds. If you have more ideas about paying people when you are broke, let me know!

Don’t charge a guest artist to see their own work.
I can’t believe I have to write this, but I know I have to write this…NEVER ask a guest choreographer to pay to see the show (you know, the one with their dance in it). And give them a seat! Don’t make them stand in the back or sit on the floor (maybe this has totally happened more than once…hmm).

Fees.
Application fee. Tech fee. Penalty fees for not bringing in a certain amount of tickets (even though you receive no pay for participating —yes, this happens). Just stop.

I'm not saying all fees are bad (but the penalty for not selling tickets is truly ridiculous and needs to stop everywhere) but use the golden rule when you decide what fees you are charging. Consider not charging multiple fees—if you charge people to apply to your show (especially if it’s expensive to apply) then don’t stick a substantial tech fee on top of that. I know it’s expensive to produce a show, but do you really need to use your fellow artists as a money grab? And I know I sounds like a broken record, but if you are asking guest artists to pay to be in a show, please, please give them a chance to make some money back.
​
Have a contract.
Have a contract/letter of agreement that is fair to both sides and makes sense. To have no formal agreement is, frankly, degrading and a bad practice. It’s unprofessional and unwise. Bad contracts are often not just bad, they can be useless or insulting. Know what your contract is actually saying. If you need help with this or would like a template, let me know and I will help you (dead serious).

Be considerate of their time.
Of course there is the obvious: stay on time in tech. Try to arrange tech so that people do not have to sit around (if they have two dances, tech them back to back). But also limit their in-person appearances outside of the show--you can have a phone conversation to check in.

Additionally, be flexible with their schedule. Not everyone can afford to take a day off of teaching for a five minute piece in a festival. If you are producing the work, you are already there the whole time, and it's likely your cast will be there frequently. So give the guest artist the tech slot they need, or help them work out a suitable alternative (before dress rehearsal, for example).

If you didn't say anything about tech times when you accept an application that says “you must tech this day”, then you need to actively help them tech their work in a way that works for them. They are a guest in your production house.

Try to keep things on schedule! How? Oh, I got you on this.

1. Tell everyone ahead of time how much time they have for tech, and make sure your designer knows this (no really, people have failed to do this). Make sure guest choreographers know how many cues they can expect to have, so they can come in with ideas.
2. Introduce the designer and the guest artist in a way that gets the ball rolling. For example “Hello Sally, this is Jane, our designer. Would you like to run the work quickly, or do you have some key cues you want to go over first?”
3. Let people know when their time is half way done.
4. If you haven’t run the work and you are running short on time, tell them “Hey, we should push through and run this, so we don’t get behind. If we need to fix something we can do it before the dress rehearsal (PS give some buffer time before dress rehearsal).

Now this doesn’t always work, but do your best. I once had a tech disaster (curse you, curtain rings) and everything was pushed back by a significant amount (I was horrified). I pushed my own solo off to tech right before the show to give more time to everyone else, tried to expedite my own tech time to make sure the guests got their full time, and was grateful that I created a buffer (ALWAYS HAVE A BUFFER). We clawed our way slowly to be back on track throughout the night (we all felt like superheroes).

Be accurate.
It's amazing how many times my company name gets misprinted in a program or poster. Yes, I know, it happens…and I’ve messed up program info for others. If you mess something up like this, apologize and fix it ASAP (don’t try to find a way to absolve yourself of the mistake…I remember doing this once in my younger years and I’m still embarrassed about it. I should have just apologized sincerely and fixed it). If you mess it up on social media, edit the post! If a photographer isn’t getting credited and complains, FIX IT!

Ask each choreographer to review and proof their own info for the program or poster. This can be done online, or you can have it available at tech/dress rehearsal. Give them a deadline for edits (if they don't reply and you make a mistake…well that's not your problem). Sometimes casts change or a title changes, or music changes, sometimes at the last minute right before tech rehearsal. If it’s wrong in the actual program and you cannot reprint, make an announcement to the audience with the correct information.

Documentation.
If you have a photographer and a videographer for your own work, then record and document their work as well. If you are not documenting it, then you need to tell them so that they can do it themselves. You should also give them a chance to record or have a photographer for their own work. Definitely don’t bring in a photographer for your works only. That’s tacky.

And if you aren’t going to record, TELL THE GUEST ARTIST YOU WON’T BE RECORDING. I have lost out of getting recordings of my work because no one told me they weren’t going to record everyone’s work. Furthermore, if you aren’t having it filmed, make sure the choreographer can set up their own recording equipment.

Let people know when you will have their materials available and stick to what you say. If they need a photo or a clip quickly to apply for something else, try to facilitate that. Tell people how long a link will be available for download, or at least give them heads up if you are deleting it (I’ve messed this up before…sigh, the ignorance of youth).

Promotional Materials.
If you want someone to do free promotion for you, then you need to make sure to give them the materials, do not expect them to come to you. Make it easy…drop off stuff in a location they frequent, send them something they can print on their own, etc.

Adopt their dance.
Stick around during all of tech as much as you can. If there is a problem for any guest choreographer, it's now your problem too. Don't use it as a time to joke around loudly in the corner with your cast while they try to tech their work (based on a real event? maybe…yes). When folks arrive, take a moment to introduce yourself (too many tech processes have a “guess who the director is” game built in) and make sure folks know where to find you if you are stepping out.

Remember, guest choreographers have also put time, sweat, and tears into their art. Don't treat them like an accessory to your works. They are a part of the whole show, and important to your overall production. If something is a problem then do your BEST to fix it (as you would for your own dance). Do not be complacent. Their work in your show reflects on you, so you need to treat the work as though it were your own.

Be grateful.
Thank everybody often and with gusto (digitally and in person). Get them excited about the concert. Treat them like your colleagues (because they are).

It's a two way street.
They are bringing their work, and presumably their audience. What are you really offering in return? Just a chance to get on stage isn't that great--it's not hard to do that. You need more.

What kind of experience are you giving your guests? Are you making it clear that you care about their work and that they feel successful? Or are you freaking out about your own issues with the production and brushing them off? Are you timely with your correspondence or are you letting that slip by? Would you want to work with yourself?

If you just don't have time to think about this, then perhaps you should stick to a solo bill, and wait until later show to involve others. And that's okay! But doing this well is a gift to your show, and doing this poorly can ultimately hurt your professional reputation.

In conclusion, I adore having guest choreographers in my shows. They have brought in a lot of people (and revenue) and helped with all sorts of tasks that weren't their job. They have been patient when things go awry, in part because I try really hard to make their experience positive. I’m sure there are some folks who enjoyed working with me, and some who didn’t (that’s life) but in general, I’ve had positive interactions and results from working with guest choreographers. Every concert is a temporary, but caring community, working and striving behind the scenes to produce something fantastic. By being kind, considerate, and organized, you will have a far more enjoyable show experience.

Yes, dance parents are CRAZY.
Yes, they are unreasonable.
No, don't send the note you just wrote to them.  
Read this first. 

If you would like the google doc link (it's a better reading experience) go here!