Finding The Perfect Dance Class For Children Ages 3-5

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Finding the perfect dance class for your child can be frustrating at times, especially if your child is very young.

Most children ages 3-5 have very short attention spans and are too immature for a one-subject class such as ballet or tap. When children are put into these serious subject classes where there are very strict techniques to learn, they often become bored, which leads to disruption in the class. These children often have bad experiences with dance class and unfortunately never return to any dance class ever again.

When observing a variety of dance classes for your young child to participate in, you should choose a class with a lot of variety. The kind of class you should look for is a one-hour class split up time-wise with various learning activities so your child is learning and doesn’t have time to get bored. For example, the dance class should be segmented into sections such as pre-ballet, tap, eurhythmics, some tumbling activities and creative work. The following are some examples:

1. Pre-ballet: This is fun and prepares the child for future more advanced techniques by learning very basic skills that will be carried through advancement. Children will learn how to make a circle and how to make the circle small and large. They will also learn how to keep the circle round while walking around in the circle. The next step will be to learn how to change the direction several times when the teacher calls. The same thing is done again. The only thing different is that the children are running gracefully on their tiptoes with their arms out. This is a great for warming up the children’s bodies and teaching them direction-change coordination.

There should be some stretching involved. Children should sit down and do some creative stretching. A good dance instructor will create some stretches while pretending to eat ice cream and do arm movements called Porte bras while pretending to be flowers, sun and moon, etc. Children also learn basic plies and tendus, but at this young age there is not great pressure to keep perfect posture.

Some other activities in pre-ballet that children enjoy are learning to skip forward, backward, in one big circle and with partners. They learn to jump facing front and back as well as jumping in a circle right and left, 4 counts to each side. They also learn to chase’ in counts of 8 changing directions from right to left.

2. Tap: Children usually stand in a straight line and learn very basic steps and sounds. Basic steps learned are toe step, heel step, hit step, side toe step, 3 toes step all alternated right and left. These steps are done in one place. The traveling step is toe-heel forward and backward. Slow shuffles, shuffle step, shuffle hop step and shuffle ball-change, in order of difficulty.

3. Eurhythmics: This is done with rhythm sticks. Children learn to count to 4 and 8 while hitting the sticks together. Counts 4 and 8 are dancers’ magic numbers. Children especially enjoy marching around the room while hitting their sticks together to the beat of the music. Further advancement includes learning waltz time.

4. Creative Movement: Examples of this would be pretending to be puppies where children would get down on their hands and feet like a puppy and walk around the room. Another example would be pretending to be a horse and have the music start at a slow pace and speed up into a fast gallop. The alligator move is a good move and also the most difficult where the children lie on the floor on their stomachs and use only their arms to drag their bodies across the floor. This is done to very slow music. All of these moves help to develop a child’s muscles and motor skills.

A dance studio in Pittsburgh, Pennsylvania has a favorite they call the butterfly kit. As the teacher hands out hand-made antennas and wings, the class talks about how butterflies become butterflies. Then the teacher asks each child to tell the class the colors that are on his or her antenna. This process gives the children a time to rest, as well as giving them some constructive talk time. The children and teacher then stand at one end of the dance studio and as the music starts they do caterpillar walks until the music changes. The change of the music signals them to spin their cocoons. When the music gets slower, the class pretends to get tired and eventually they fall asleep on the floor. The final change in the music signals them to wake up, take their wings and they are now butterflies happily fluttering around in the sky.

5. Tumbling: The tumbling section is very basic starting with log rolls down the mats on each side. Once the children master the log roll, they move on to forward rolls and backward rolls. Children also love to walk on balance beams that are very close to the floor, which is great for establishing balancing skill and coordination.

All of the ideas mentioned here are only some of the activities children will learn in a class of this nature. Children will not get bored, have fun, learn and without realizing it, develop many motor and coordination skills. There is much more that a good creative teacher can include. The activities will be more difficult for 5 year olds than for 3 year olds. These are just the basics.

 

Deborah Bowman has been a dance teacher/choreographer for 30 years. Born into a family of dancers, her family has owned and operated a dance studio for the past 58 years. Not only does Deborah love to teach and choreograph dance, but she also loves to write. Deborah has recently started her own home-based business. She holds a Bachelor of Science degree in Arts Management/Professional Studies from Duquesne University.

http://www.workathome-dmbunny.blogspot.com

 

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Overcome Performance Anxiety Class ! for Actors & Musicians

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PantherMedia 1264955Let’s face it.. there are a bunch of us who get the butterflies before we step on stage, hit record in the studio, or read for a part at an audition. For some people this can make or break their performance before they even begin. But it’s not just about stepping in front of an audience. Some just have difficulty getting the best out of their performance in certain settings, like the studio or reading for a certain director. We understand.. & we’d like to help.

Join Master Hypnotist & Fellow Musician Collin Sonny Rosati for an afternoon of.. you guess it !

Hypnosis for Overcoming Performance Anxiety

Have you tried all of the tricks and you still can’t get the words out right? Try coming out to our Performance Anxiety class where we combine common sense and experience with Hypnosis Meditation. It might sound a little strange at first.. But Hypnosis Meditations are great for quieting the nerves – & when you quiet your nerves – your real performance can begin.

Did you know.. ?

Sonny has been a practicing Hypnotist for a long time.. It’s been almost 14 years since he left Hypnosis School and began helping with hypnosis…

Here’s a link to some of the old TV clips – http://thesunnyside.net/about/

Sonny has been bouncing around a bit this summer but he’s back home in Vancouver, and helping Actors, Musicians, Speakers, Comedians, Sales People, Teachers etc.. with Performance Anxiety.

Did you know pt2… ?

Sonny designs and writes the Hypnosis Meditations for his classes. As a Master Hypnotist, Sonny wrote a “Script Book” for practicing hypnotists and he still writes and records Hypnosis Meditations for his FaceBook page – I Love You Because..https://www.facebook.com/pages/I-love-you-because/121132551291069

Next month’s class will be.. Hypnosis to Overcome Approach Anxiety – This is based on the best of both the Inner Game Guy classes for confidence and the Romantic Magic Workshop to find true love.

Keep your eyes open for discounts through Groupon!

Want to try before you buy..? & the youtube sessions aren’t enough – check out Sonny’s Real World Vancouver Hypnosis Meetup Group that meets every Wednesday evening in Kitsilano – it’s free ! just remember to RSVP
http://www.meetup.com/internationalhypnosis/

Please register early using the form below

Cost $45 but there’s a Groupon deal available on the web!

Next Class – Sunday November 1, 2013

http://www.thesunnysidemusic.com

http://www.hypnosisvancouver.com

http://www.thesunnyside.net

Tips for Dealing With Music Performance Nerves Part 1

Dear bloggers & Face Book users: please help us grow our little music school by sharing and reblogging this post – thank you – S

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It is important for performers to seek methods to deal with the feelings accompanying fear and nerves. The following are several simple methods to alleviate mild nervousness.

1. Before performing, you must first remember that you have practiced to the best of your ability and remind yourself of this. You have used your practicing skills in the most effective way you know. Of course, there will always be things you look to improve in your playing, but given all the circumstances that have led to this moment, you have worked hard as you can. Now the practicing is over. What you will do now, is to use your “hook point”, (what?) something you would have encountered during practice sessions. The hook point (hp) is at work, for example, when you learn the fingering for a piece. When you repeat and reinforce the new patterns, the hp is the moment where your brain starts to recognise the pattern and become familiar with what your fingers are doing, usually after many repetitions. The information from this process is retained, so that when you go on to practice other areas like articulation/dynamics, you don’t have to think too hard about the fingering. The most comforting aspect of the hp is that when it is time for you to perform, what you do is recall what/where was the hp, or areas you played easily during practice. Usually, once your ear recognises a passage you’ve practiced many times over, your brain will trigger the familiarity that the fingers developed in practice.

2. Do not draw conclusions about what just happened or what might/might not happen. Self-criticism while performing is pointless because it takes you out of the here and now and destroys your focus and physical actions.

Whatever the criticism, it introduces a verbal aspect into an activity that is most successful when it is non-verbal. Reserve judgment for after the performance, preferably after you have listened to other people’s reactions. Rather than judge your playing, simply observe it without saying anything, and play from the heart. For example, when you are about to make a crescendo, go for it and then feel it as you are doing it. There is nothing verbal about this process. You are, rather, putting intention into action – that is, motivating.

3. Do not second-guess the audiences reaction to your playing. When performing we become mind readers and believe we know exactly what the responses to our playing are. More often than not, these thoughts prove to be completely, wildly inaccurate and only serve to further distract us from our aim. An example: I was once playing a recital, with only twenty people in the audience. As soon as I came out to perform, I noticed a guy who looked familiar, but whom I could not quite place where I had seen him before. For most of the first piece, I was only partially thinking about the music, the other part, wondering who he was and (even worse) what he thought about the playing (crazy I know).

Finally I remembered that he was a respected piano teacher and accompanist I once met at a music shop near where I live. He was undoubtedly going to listen to the music on the program with a keen attention to detail and pick holes at the whole performance. Throughout the entire time, I was preoccupied with these thoughts and not surprisingly, the whole experience became gradually uncomfortable for me. Afterward, when he came to speak to me, I discovered that this piano teacher was, in fact, a jazz and pop specialist rather than a connoisseur of classical music and was very complimentary of my performance. Later I thought, “what an incredible waste of mental energy!” How remarkable it is that the vast resources of ones imagination can be used for such futile, self-destructive mind-games! You probably have had similar experiences.

Trying to imagine what the audience thinks of your playing is useless and distracting. You must please yourself first.

 

Ugo Onwutalu is a musician and piano teacher, also playing the guitar and organ. He is the founder of Grade Music Tutors, a UK music tuition production and entertainment organisation based in London. Visit http://www.grademusicworld.com for information on everything music-related, from learning an instrument and preparing for your exams, to getting a job in the music industry.

 

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Tips You Can Use To Overcome Stage Fright

Dear bloggers & Face Book users: please help us grow our little music school by sharing and reblogging this post – thank you – S

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As one of the most common phobias, stage fright afflicts many people. It is estimated that every 3 out of 4 people suffer from it. It is easier to overcome stage fright when you keep that fact in mind. Also keep in mind that a little bit of nervousness and anticipation is normal before taking the spotlight.

A well used method to overcome stage fright would be to imagine the audience naked. This visualization permits a couple of things to happen: First, the novelty of picturing a roomful of nude people distracts you from being afraid, and second, thinking of the audience as naked puts them in a lower social station. Furthermore if they disapproved of your performance, their opinions would not matter. They are not with it enough to wear clothing.

The next tip to overcome stage fright would be to become at ease in the location that you will be making the presentation at. Get there ahead of time. Move around the room and stand in the spot where you will be situated. Look around; find a comfort spot to take a look at in case you will need to regain your composure for several seconds throughout the presentation.

And finally, one of the best ideas to overcome stage fright is to concentrate on your expertise. Once you recognize that you might be talking on a subject that you’re most comfortable with, the feeling of anxiety will soon dissipate.

Try not be distracted or rushed on the day of your performance. As much as you can, you ought to be relaxed and calm. This may be completed by picturing what the whole performance would be like all the way through, from beginning to end.

Should you need to face an audience of any size, familiarization is the key to calming those frayed nerves. It begins with the topic that you’re going to be talking on. Regardless of whether or not you’re making an official presentation or giving the toast at your sister’s wedding, you’ve been asked to do so simply because you’re considered capable of it.

In numerous cases the two factors of performance outcome and possible consequences may be evaluated realistically and minimized in a way that the performer has the capacity to overcome stage fright, and go on stage. In other instances one or more cognitive distortions may possibly amplify the performer’s perceptions, and not enable the performer to have a realistic assessment of the risks and rewards of obtaining in front of the audience. These cognitive distortions can effectively paralyze the individual from sharing her or his skills with other people.

I don’t like being afraid of doing things, especially when that fear is hindering my dreams and ideas. I’m sure I’m not alone on this, so it is my goal to help others overcome their fears. Getting in front of an audience doesn’t have to be scary. To read more about how to overcome stage fright, go to http://www.squidoo.com/you-can-overcome-stage-fright. If you want to overcome stage fright permanently, increase confidence, and renew your self-esteem, then please go to http://www.overcomestagefright.info.

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Laugh When it Hurts – Using Humor to Cope With the Downturn

Dear bloggers & Face Book users: please help us grow our little music school by sharing and reblogging this post – thank you – S

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The time it’s most important to be able to laugh is when things look worst. Economic downturns can get pretty bleak when you’re trying to stretch a fixed income or watching hard-earned dollars wither as investments. But this really is the time to remember how to laugh. Humor can be incredibly therapeutic.

Before we go any farther, there’s an important distinction to make as to the kind of humor I’m advocating here. The only person you should be laughing AT is yourself. At your foibles, your shortcomings, your predicament. It’s all fodder for jokes if you are the one making them.

However, laughing at other people isn’t therapeutic. It’s mean. Also juvenile and short on creative genius. All the great comedians know this, but you don’t have to do stand up to benefit from that insight. Laugh with other people. Laugh at yourself–even if you are looking at bankruptcy, foreclosure, or having to live with your impossibly messy younger brother because of this pesky economic downturn.

Why?

Because laughter really is good medicine. Norman Cousins was facing an incurable spine disease when he chose this strategy. Instead of staying in the hospital, he moved to a hotel and administered dose after dose of humor to himself every day in the form of classic movie comedies. He wrote about the experience in Anatomy of an Illness, reporting that if he laughed for three hours in the morning, he would be pain free the rest of the day. Laughter can be even more effective with emotional pain.

So find some ways to laugh. Martha Beck dedicates a whole chapter to laughter in The Joy Diet–and her writing is definitely laugh therapy. As one option, she suggests silliness. I am so pleased. I’ve been a personal fan of silliness my whole life, but it gets a really bad rap. Silliness in this culture is construed as flightiness, naiveté, and a lack of appreciation for the seriousness of the situation. What a waste of a good tool.

Silliness can do more to help you let go of intense emotions than anything else you can do upright. Silliness requires that you relinquish your problem, at least temporarily, to the ridiculousness of the moment. That’s why my brothers spent their time in the waiting room while Dad was having quadruple bypass surgery inventing a goofy card game with impossible rules. That’s why I cross my eyes when I can catch a friend’s attention in the middle of a long-winded presentation.

Silly is not just for kids. It’s your right and responsibility. Do something silly today and make the world a better place.

One way to be silly when times are tight is with games that make cutting back more fun. At one point when my then husband and I were coping with an economic gap, we started a contest to see who could use their paper lunch bag more times. Right, the idea is to be able to throw them away when you are done with your lunch. But how much fun is that? He won–I think he made it all the way to the fourth week, something like 21 consecutive lunches out of that same bag. Mine developed a terminal tear on Day 16. Dang.

There are benefits beyond the fun to this kind of silliness. Have you noticed that “going green” and saving money often involve the same behaviors? “Use it up. Wear it out. Recycle it.” is good for both the environment and the pocketbook. And if you can find fun ways to do it, it’s also good for your sense of well-being.

If you are willing to work on it, you can learn to laugh at nothing. Just “Ha ha has” for the therapeutic value it offers. There are clubs that meet to do this. Really. I haven’t progressed this far. Even when I try to just laugh, I end up thinking about something funny and laugh harder.

You’ll have your own style on this, for sure. But only if you put some effort into developing it. “Style” requires action. Refining and polishing your sense of humor is a great action step for a downturn. Beck advocates at least thirty laughs a day and recommends a hundred. (Did THAT make you laugh?)

When things look awful, find a way to laugh. It can change your mood in a heartbeat, costs only the energy it takes to do it, and has no negative side effects. Maybe we should make it our first treatment for everything–even before a band-aid.

Copyright (c) 2009 Mary Lloyd

 

Mary Lloyd is the author of Supercharged Retirement: Ditch the Rocking Chair, Trash the Remote, and Do What You Love, released April 2009. She offers seminars on how you can create a meaningful retirement for yourself and consults to help your business attract and use retired talent well. She is also available as a speaker. For more on how to use the downturn to improve your retirement and your life go to =>http://www.mining-silver.com

 

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