Creating a Dance Team Constitution
Before the first day of tryouts begins, each potential candidate should know exactly what to expect from the upcoming season. A dancer constitution or contract will provide general information and goals of the program, as well as what is expected of individuals that wish to participate.
Schedule a parent meeting the week before tryout to present the constitution to the parents and potential dancers. Go over the constitution in detail, and answer any questions they may have. Make sure this form is signed by both both the athlete and his/her parent before the athlete can try out for the team.
Looking to revamp your squad's constitution? Here is a general list of topics that you should cover to make sure that everyone knows what you expect from them and what they (and their parents) should expect from you in the upcoming season. Make sure to present this constitution to your administration for approval prior to its use!
Purpose
Begin with a mission statement that explains that the primary purpose of the dance team is to support athletics at the institution, as well as provide entertainment at sporting events.
Tryouts
Explain in detail the clinic information, what is required to be eligible for the squad, what skills will be evaluated, and the selection process.
Practices and Games
Estimate the average number of practices per week and the average time of practice, so working students can plan around them. A good suggestion is to provide a monthly calendar, so schedules can be made in advance. Include number of excused/unexcused absences and the consequences of exceeding the allowance and any summer practices, so parents can plan their summer vacations around them. State that all practices, games, and competitions will be supervised by the coach, assistant, or a designated school official.
Safety Regulations
State that the squad will follow accepted dance safety guidelines and provide a copy of those guidelines to each member of the team.
Summer Camp
Note that the squad will be attending a summer training camp, and that the dates and location of the camp will be determined immediately following tryouts, if that has not already been determined.
Expected Behaviors and Standards
If your school has a "Code of Conduct" for students, this section should state that students must abide by these rules.
Competition
If you participate in competitions, state how much time will be devoted to this activity and that the purpose of competition is to provide a place to recognize the efforts of the dancers and their athleticism.
Fundraising/Cost of the Season
Be specific in this section what costs may be incurred throughout the season and how each dancer is expected to pay for them. List fundraisers you plan to organize to raise these funds, and state your attendance policy for these fundraisers. Also include how you plan to appropriate funds to dancers who participate in team fundraisers.
Transportation
Explain your school's transportation policy. In many cases, if the school provides transportation, or if the squad travels with qualified drivers in a caravan from the school to the away game and back again, the dancers are covered by the school's catastrophic insurance. If dancers do not travel in this manner, they may not be covered!
Discipline -- Suspension and Dismissal Policy
Explain what qualifies as a reason for suspension or dismissal from the squad. These may include: dropping below a certain G.P.A., unexcused absences, use of drugs, tobacco, or alcohol, conviction of a crime, etc. Conversely, state your policy for dancers who choose to quit the team. Some coaches do not allow a dancers who quits the team to try out the following year.
Acceptance
Have each dancer sign below a statement like this: "I have read and understand the above policies for participation on the dance team, and I accept them as governing my participation."
How To Work With Your Dance Team
by Nick Devivo
Both the cheer squad and the dance team play a vital role in the prestige and spirit of an institution. It is important for both teams to understand that by supporting each other, they can have a major impact on the audience and a more satisfying experience overall. As coaches, we have a particular challenge in trying to encourage that support and prevent misunderstandings. It takes a positive approach.
In the beginning
I've found that bringing both groups together right after tryouts creates a bond from the beginning. I make sure that everyone goes through the same team-building games, and I make the games challenging and not easy to master. If you do not have a leadership course close to you, then I recommend the team-building strategies offered in UCA's Advisor/Coaches Manual. Be very observant of who naturally shows leadership. You'll may also have to manipulate the games when needed to make sure everyone is contributing. By the end of the time together, I make sure that the girls know each other's names and are looking forward to the next meeting.
Now that school's started
the time for team building quickly disappears and game preparation begins. You should still try to get the teams together whenever possible. Have the cheerleaders watch a dance practice, maybe a dress rehearsal. This helps both groups. Giving the dancers an audience shows how they are going to perform under pressure. And watching the dancers gives the cheerleaders a better understanding of what the dance team does. I also have the dancers come to cheerleading practice to see how a new cheer will work or to learn a routine that they may want to do. This also gives the dance team a better understanding of what the cheerleaders do. So many times people don't like something simply because they don't understand it.
The bad vibes
are sometimes more myth than reality. Colleagues of mine have said that cheerleaders and dancers never get along. Maybe because of my team-building games and visits to practice, I haven't seen the bad vibes at my school. But I understand how that easily could happen. For example, if cheer girls see dancers perform a dance movement like an 'axle', they might try the same movement without giving it a second thought. With no training, the cheerleaders wouldn't perform the movement smoothly and then the dancers might think that the cheerleaders were just making fun of them.
You can conquer this by having cheerleaders that are interested in dance movements go to a practice and try them out there. This will show the dancers that the cheer girls are not trying to make fun of them, but simply trying to understand the world of dance. The same could be said if the roles were reversed. Again, it is all about understanding each other. Cheer and dance are two different worlds, but they can work together if there is a genuine desire to understand the other group.
Keeping them together
is easier if they perform together. At Coffeyville Community College we have at least three performances at which the cheer and dance teams do the routine together. This way, both groups are highlighted and the crowd gets a great new form of entertainment. (We've found that crowds go crazy for this!) We also have both groups stand together for the national anthem and all pre-game activities. And during games the dancers and cheerleaders stay close to help each other out. If the coach shows the importance of both groups, a natural bond will develop.
Coaching is the key!
Whether you coach both groups or have a different coach for each program, the key is working together. Often, coaches that coach only one of the two programs focus just on their area. This will get the job done, but the division is still there. Both coaches really need to make an effort to work together and really understand each other. You need to be open-minded and a quiet observer.
When your coaching counterpart is working with the kids, listen and learn and only voice an opinion if asked. If the students see that both instructors are working together, then they'll find it easier to follow suit. If you are coaching both teams, the key is to make sure that there is an equal emphasis on both squads.
No matter what team you are coaching, you know what looks good and what will have the best effect on the crowd. Use your knowledge to enhance the game's atmosphere. Your school will appreciate it and so will your crowd.
Increasing Your Team's Flexibility
by Stacy Goldstein
Before you can hit that hyper-extended toe touch, before you can catch air in your jump split, you must spend some "quality time" stretching to achieve your maximum flexibility levels. On my dance team, we stretch for thirty to forty minutes before we execute our dances full out. We do this in an organized, consistent fashion. Your dancers must first learn the proper stretching techniques and their partners so they are not wasting their time or provoking injuries by stretching the wrong way.
The best way to explain how to stretch your legs before attempting to execute your splits, leaps, and tricks is to discuss a few specific stretches. These stretches can be performed with or without a partner. Good luck!
Note: As with any stretching, a proper warm-up of the muscles is required before stretching in order to prevent injury.
I. Sitting Stretch*
Spotter stands with feet in a turned out position, supporting the back. Spotter stands straight up, helping stretcher keep her working leg straight while flexing and pointing her foot.
Stretcher needs to sit with back straight, keeping resting leg's knee towards ceiling. Stretcher should be looking up at foot or straight forward. Relax shoulders and pull leg towards your face, not your shoulders or to the side.
Do at least two reps on each leg.
II. Standing Stretch*
Spotter stands to side with feet in a small second position stance. Hand should be in the small of stretcher's back. Spotter should help stretch leg up. The spotter in this stretch is very important!
Stretcher needs to stand up straight and first bring her leg into the hook position. From there, she should stretch the leg up from the knee as high as they can towards her face, keeping supporting leg straight. Don't be discouraged if it takes a while to stretch leg high. The key is to keep legs straight, stretch and hold it for at least twenty seconds, and perform this stretch often.
Do at least two reps on each leg.
*Sitting and standing stretches can be performed without a partner. Stretcher needs to use some type of support to keep back straight.
III. Split Stretch*
Most of you probably already have favorite stretches that you do to work out your splits. These are just a few of our personal favorites.
Laying Stretch -- Lay straight down on split with both legs straight and both shoulders down. Keep toes pointed! Hold, then move upper body only to inside of split. Don't rotate hips out! Perform this exercise on both legs.
Inverted Stretch -- Execute split, then bend front leg ninety degrees. Gently lay down with shoulders square. Point back foot and keep back leg straight. This position, if held, should stretch out your hip and enable you to sit in your split longer.
Back Stretch -- Execute split, then slowly arch backwards. Arms can relax on floor either in front or behind hips. Stretching out your back while in split helps to keep shoulders and posture correct while in a split, jump split, or toe touch.
*Any of the split stretches can be performed with a partner when laying over onto split. Partner gently pushes down on sides of back behind rib cage.
Anyone can pull muscles if they rush, no matter how experienced or inexperienced they are. Building flexibility and perfecting technique takes time, patience, and consistency. If a dancer rushes and is injured, she could be out for three days to three months. Stretch at home, build stamina through aerobics or other dance classes, and use free weights to build muscles. Preparing to dance and practicing dance should not end when you leave the dance room!
Learning to Leap
Tips & Technique
by Jenny Sweet
Proper technique and execution of a leap is crucial for the dancer both physically and aesthetically. Knowing the correct measures when springing off the ground is the first step to improving your height, body alignment, and consistency.
The first point in leaping is to think height and not distance. Height is achieved by a plie, or bend in the knees, which allows the dancer to take a down action before the leap. In order for the dancer’s legs to reach a full split in the air, the body must be traveling directly up, rather than out. When a dancer travels forward in the air, momentum pushes against the legs, making it harder to obtain the split.
In the air, the toes must be pointed. Aesthetically, pointed toes continue the line from the dancer’s hips. The toes should point immediately after the preparation. The foot brushes through a first position, leading with the heel. After this position is performed, the foot immediately points as the dancer leaves the ground.
The location of a body’s center is about one inch above and one inch below the belly button. Engaging the muscles in the stomach helps the dancer maintain control over the leap in the air. The shoulders stay in-line with the hips, allowing the body to move as one unit. The dancer is able to hit the position in the air, having power over all body parts. A strong center is the foundation needed to perform the more advanced level leaps.
Strong arms, having energy extended past the shoulders, is an important component of body alignment. Arms are held from the back muscles called latissimus dorsi. A common error is thinking the shoulders hold the arms. This mistake causes the shoulders to lift and to tense, making the leap looked labored.
Landing a leap incorporates the bend of the legs/knees to compensate for its impact. A dancer must also roll through their feet during the landing, starting with the toes, followed by the ball of the foot, and finally the heel. Both measures are taken to protect a dancer’s knees and ankles against the force of their leap. Focusing on the knees and feet allows the body to automatically absorb the landing, preventing injury
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Types of leaps:
1. Grand Jete—Large throwing step. A jump from one foot to the other in which the working leg is brushed into the air and appears to be thrown. In a grand jete, the legs are thrown to 90 degrees with a corresponding high jump.
2. Side/Straddle Leap—Large leap with legs in second position. A jump from one foot to the other in which the working leg is developed (bringing leg through passé) into the air to a second/side position. The leg is thrown to a position of 90 degrees or higher and is immediately followed by the other leg, which is brushed to a second position, meeting the height of the first leg. Landing consists of the working leg landing on the ground first, and the second leg breaking through passé to land behind it.
3. Switch Leap—Large leap switching legs in the air. A jump where the dancer brushes the first leg 45 degrees forward off the ground, then back, lifting into a grand jete or split leap.
Tips for improving leaps:
1. Flexibility is an important component in the execution leaps. The elasticity of a dancer’s muscles allows the legs to extend fully, especially when a wide range of motion is available. Flexibility is maximized by maintaining a stretch position for at least 15 seconds, and ideally for 30 seconds or longer. Make sure to stretch thoroughly before any attempt at a leap.
2. Before leaping, dancers must use a plie, or bend in the legs, to propel their bodies into the air. A plie permits the energy to shoot straight up off the ground, making the dancer air-born.
3. Always keep in mind that the energy comes from the leap itself rather than the preparation. In order to explode in the air, the preparation taken before the leap must be a conservation of energy. Imagine that your body is a metal spring. Before the spring can extend its coils and jump into the air, all the spirals must be compressed and contracted together. This same analogy applies to a leap where the dancer must build up momentum, rather than using it, before leaping.
4. Give the illusion that you are higher by lifting your head/chin and arms during your leap. This is a simple tip, yet is often taken for granted. During your leap, the simple focus change from a level position to a raised position gives the audience the impression that you are higher in the air.
Tips for Turn Technique
The Basic Elements
by Cindy Smith
As forms of dance vary, so do the types and styles of turns. One thing, however, remains constant, and that is the basic technique elements of the turn and how to execute it. Check out this article on turn technique from the Co. Dance website!
The body needs to move as one unit, not in pieces. Body placement is of utmost importance. Your dancer's square (square formed from shoulder to hip to hip to shoulder) must always be in alignment, with your rib cage pressing together, sternum open, shoulders pressed down and arms properly placed (not thrown) for each and every turn. Here are some examples of basic elements in what I feel is a good turn. Please note as forms of dance vary so does the way a turn may look and be executed. These are just one example of how to properly execute these turns.
Hint for arms on turns – In any turn you want to use centrifugal force. You want to bring your arms into the center of your body, you don't want to push them around and make your center in front of your body.
Hint for a better releve in turns – You want to be up as high on the ball of your foot as you can. Use the area just behind your toes as a platform. Spread your weight equally among this area as not to be forward or back on your releve.
All elements given are for turns on the right side - just reverse it for the left.
CHAINE TURN
Definition: Turns that are linked together; chain.
Preparation tendu devant. Turn hips to direction you are turning as feet move into a fourth position (not very wide - chaines should not be used for large moving steps). Make sure as you take this first movement of the turn that the left side of the body moves with you so that the ribs stay together. Pull the arms into first position (left should meet right) as you are stepping left and rotating the hips completely around for one turn. Continue the process for as many turns as you want. Use your head to spot. Keep your eyes focused on one spot in the direction you are turning. As you execute the turn leave the head there until the last moment when you have to whip it around to complete the turn. Whip it into exactly the same spot you started the head in to keep you in a straight line. You should be in a high releve throughout the turn, pulled up through the hips and thighs with your hips always as your guide for placement. In using the arms please note they should come from the back - not be a separate unit.
PIQUE TURN
Definition: To prick.
One of the most important concepts on this turn is to reach way out onto a straight leg into releve. As you turn, the hips need to push to center yourself.
Preparation tendu devant. Plie the left leg and carry the right leg to a la second en la air. Push off the supporting leg and reach the right leg and hips way out into fourth position to the direction you are turning. You want to feel a big push up and out through your derriere. As this push happens the left leg comes into turn out passe while the left arm pulls in to the right into first (as in chaine) and make one or more rotations to the right. To finish the turn, bring the passe leg down behind into fifth position and begin the process again. Spot as you would a chaine.
JAZZ PIROUETTE
Definition: Pirouette means turn on one foot.
Pirouettes can be done from many different preparations and with the working leg in many different positions. This will be an example of an outside pirouette in passe.
Preparation parallel first. Tendu a la second with arms pushing to strong second. Carry the right leg back into a fourth position plie arms follow. Body should be straight up and down with the left leg into the ground and the right heel lifted. Make sure your dancer's square is in proper position with hips center and upper body center to forward with those ribs in. All at one time lift to releve on the left leg with the right leg pulling into a high passe turning the body one or more rotations to the right. Arms pull into first as in a chaine or pique. To finish the turn, end in plie parallel first. The two biggest technical mistakes I see beginning dancers make in a pirouette turn is that they try and whip their arms to give them momentum. This will just pull the dancer off balance. All the arms need to due is pull together and with proper position and spotting and a lot of practice the single turns will turn into doubles and triples etc. The second mistake I see is the fact that the left heel begins the turn before the right leg even leaves to come into passe. This makes the pirouette choppy and off balance. All movement needs to happen simultaneously to make the turn work. Let your arms come from the back and spot as you would in the other turns. Practice hitting spots on specific counts and this will clean up the pirouette technique even more.
Once you master a passe pirouette, try it again with the working leg in coupe or cou de pied (neck of the foot) or even attitude. These are all pirouettes just in different positions.
Pirouette a la second
Begin in fourth position plie, body front, and arms in third. Hips make one rotation in plie as right leg moves into second position at 90º releve (beginners may want to start at 45º). As you spot to return to the front, plie then releve up again (make sure to keep the right leg level and steady. You may do singles or more before you take the plie again. You need to have a good spot and level shoulder and head. Arms can vary, but the most simple is to open second and pull into first. Try and finish turn segment with a passe pirouette and land.
Fouette Turn
Definition: A continuous turn on one leg with the other leg whipping around in rond de jambe.
Begin in fourth position plie, body front, arms third. Pull up into releve as right foot beats passe behind then front and then extends croise devant (across the body). The beats are very quick you barely see them, but they are there. Open to second and pull back into beat back front passe and extent croise devant again. When you extend croise you should be in plie then releve as moving to second to help you get around. Arms open to second as you releve and close into first on the rotation. Using a pencil or a very light (one pound) weight you can switch hands as you open and close from second to first. This will help the strength and look of the arms. Double pirouettes passe can be done in between the plies and a nice finish would also be a double pirouette.
Pirouette Attitude
Begin wide fourth position croise devant amrs in third right leg plie. Lift the left leg into attitude and pirouette on the right leg high releve with the arms to fifth positon. Take a single or a double and when finished slide through to fourth on the other side and turn side two.
Pirouette Arabesque
The same turn as above except the left leg moves into arabesque and the arms press down to fourth arabesque
Technique Checklist
Test your Dancers!
by Ashley Ledbetter
For most of you it is that time of year when you are working hard to clean and improve those routines! However, while you spend the majority of time at practice focusing on your routines, you shouldn't forget to continue improving upon the most critical element in dance .... TECHNIQUE! Technique is the basis of all fundamentals of dance, from holding your body correctly while performing, to executing skills properly in a routine. Strong technique extends across all areas of dance, regardless of the style of your routine. Whether its jazz, pom, hip hop, or kick, there is always an element of technique that can be improved upon. So give your girls a much needed break from routine cleaning at practice and work on their technique for at least a half hour each time you meet! Below you will find some helpful tips to use with your teams at practice to improve their overall technique as dancers.
Body Alignment
Sometimes dancers get caught up in the choreography and forget to even hold themselves correctly when dancing. Whether your dancers are beginners or more advanced, it never hurts to go back over the basics of body alignment. Have them stand with their feet together, hands by their sides, and go from the top down of how they should be holding their bodies:
Lifted chin, elongated neck, eyes off the floor
Shoulders pressed naturally down and back
Rib cage closed, as if there was a safety pin holding it together
Stomach muscles engaged
Hips held even and level
Knees relaxed, not locked
Feet parallel or turned out (remind them that their turnout comes from their hips, with their knees in a line over their toes)
Pom & Kick
All motions should be held in front of the dancer, to where they can see their hands using their peripheral vision
Watch for broken wrists (a line should be drawn from the shoulder to the middle finger of the fist)
Drill your dancers on motions as you call them and they execute . The burn sensation a dancer feels when they have worked the muscle to the max is a sign that the exercises are working. Stop if you feel any pain!
Distinguish between breaking your arms from one motion to the next or keeping them straight
With kicks, backs should be straight, chins lifted, toes pointed, and hips level
Turns
Begin with their prep, making sure they have an even weight distribution between both legs
Have them practice moving from the prep to the turn position without the actual rotation to practice finding their center of balance (remind your dancers that if they will execute proper body alignment they will find their center for turns)
Practice spotting by going across the floor doing chaine turns, which are turns that link together by simply staying on the balls of the feet and spotting as you take tiny steps (they should be focusing on one spot and whipping their head directly back to it after each rotation)
Work on control by having them walk across the floor starting on the right foot 1-2-3, prep on 4, balance or turn 5-6, down to their right knee 7-8 (this will teach them to have control and to remain lifted coming out of their turns)
Execute turns on the floor, whether singles, doubles, triples, etc. watching for shoulders that go up, arms that wind up before the turn, dancers who do not remain on the ball of their foot for the duration of the turn, and hips that are uneven.
Leaps and Jumps
Constantly remind your dancers to point and stretch their feet the second they leave the ground
Encourage your dancers to use their plie instead of their arms to gain height on any jump/leap. Plie, push off both feet to go up and your dancers will "fly." Make sure to land in plie out of any aerial movement to avoid injuries!
With toe touches or leaps in second, make sure their hips are level and their bottoms are tucked under
Always have them land in plie in elevation skills, with knees bent, to avoid injury
Watch their eyes, have them try lifting their chins, to gain even more height
Once your students master the basics, your dancers are ready to challenge themselves with more advanced skills and technical elements. Dance is like building blocks, after one skill is mastered, your dancers will be ready for the next, and the next.....Practice and repetition are they keys to success. If you are worried about incorporating difficulty, remember that difficulty in a routine is not necessarily measured by the level of the skill performed, but rather the proper execution of it. Click here for a list of technique terminology. Keep working hard and best of luck to all of you!!
All information taken from
varsity.com
Good Luck
