How hard is it to get into juilliard dance
How to Get Accepted Into Juilliard
Juilliard is a prestigious performing arts school that encompasses music, drama, and dance. Students interested in these subjects are probably also curious about how to get into Juilliard since it is arguably the best performing arts school in the world. If you want to learn about the requirements for admission into this prestigious school, this article is for you.
Juilliard’s reputation is not one to overlook, so it is important for interested high school students to understand what it takes. You must know Juilliard requirements, Juilliard acceptance rates, and the top 10 tips for successfully making your way into Juilliard’s programs to truly understand how to get accepted into Juilliard.
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All About Juilliard Admissions
Juilliard is a top performing arts school in the United States that includes a drama school, music school, and dance school with over 25,000 alumni globally. Juilliard is an audition-based, dream school for talented and creative students who want to increase their knowledge in the arts and reach the pinnacle of their careers. Below, we have detailed the three major admissions factors you should be aware of before applying.
Juilliard Acceptance Rate
The National Center for Education Statistics reports that only eight percent of 2,434 applicants were offered admission for the 2020 fall semester. Of the eight percent of people offered admission, 67 percent of those candidates enrolled at the school.
Juilliard does not have a minimum standard for grade point averages (GPAs) or standardized tests, nor does it require preparatory high school courses. However, Juilliard’s admissions officers will review and evaluate your academic records and your personal essay to ensure you have what it takes to succeed. As well, international students with a foreign language as their first language must show proof of English language proficiency to be considered.
Juilliard Total Enrollment
As of the fall of 2020, there were 589 undergraduate students, 372 graduates, and nine transfer-ins currently enrolled in the university. This brings the total number of enrollment at Juilliard up to 961 students.
- Online application. As with all universities, you must submit an online application to Juilliard either on or before the deadline. Create your Juilliard account, gather your application materials, and carefully follow the application instructions.
- Personal essay. A personal essay is your personal statement that allows the admissions committee to learn more about you beyond your application and transcripts. Your essay must be original and no more than two pages. Explain why you want to join your chosen program and state your goals.
- Transcripts. High school or previous education transcripts must be sent to the school for review. This helps the admissions team determine whether you’re academically inclined to excel at their school. Do not send your transcripts before they are requested, though.
- Letters of recommendation. Later in the application process, two letters of recommendation written by people who can vouch for you will be sent to the university. An email will be sent to these people with a link to securely upload the letter in the Juilliard application system. Only letters received this way will be accepted.
- Resume. Candidates are required to upload a one or two-page resume. Your detailed, professional resume must contain your name, education, and any experience you have which is related to your major. Your resume must be uploaded in a .doc file format or a .pdf format.
- Photograph. Dance and drama applicants must send in a photograph or a headshot of themselves. Professional photos are not necessary and there is no specified picture format for the image to be sent in.
Is It Hard to Get Into Juilliard?
Yes, Juilliard is one of the hardest schools to get into in the United States. Their acceptance rate is extremely low at just eight percent, which is an indicator of how competitive Juilliard is to get into. The reason for this competitiveness is that Juilliard is the best performing arts school in the world, with high admission standards and a significant reputation in classical art history.
How to Prepare for a Juilliard Interview
In place of an interview, Juilliard hosts auditions for prospective students. Applicants, regardless of whether they are applying for music, drama, or dance, must complete an audition. Audition requirements include proof of full vaccination against COVID-19, attending a virtual information session, and searching for your specific audition date.
The audition process is one of the most important aspects of the admissions process. If you are selected for a call-back audition, you will receive an email with registration instructions. Be quick because spaces are limited. Auditions are different based on what you are auditioning for, but for dancers, it is an all-day, 5-stage process. Ensure you review all the audition requirements.
10 Tips for Getting Into Juilliard
Juilliard applicants need to have an artistic gift, determination, and dedication in order to get into Juilliard school. Find out the different stages and steps in each stage you need to be aware of if you want to get accepted into Juilliard. Below are 10 tips for getting into Juilliard school.
1. Learn and Practice
Having someone to mentor you will help you master the necessary skills and techniques while pushing you to practice so you can improve and succeed. A teacher is a great example of a mentor, as they will assess your strengths and weaknesses and help you work on each. Practice daily for at least an hour to help build your skills.
2. Expand Your Skill-Set and Compete With Others
Expand your knowledge on your chosen subject to broaden your repertoire. Musicians can expand their knowledge on musical techniques and different instruments, while dancers can choose different dance styles instead of just being good at one. Those in the drama field can choose acting roles outside their comfort zones and push themselves to be better.
As you improve your skill-set, you also need to push yourself against the very best in your field. Look for competitions, masterclasses, and lectures to attend. Public performance can help you manage stage fright which will make your auditions easier.
3. Plan for Your Auditions
Select what you want to do and work with your mentor. Ensure your choice effectively showcases your talents, and ask others their opinions on how to improve. The more input you receive, the better you can tailor your performance for your audition. Once you choose your audition performance, practice constantly, build your confidence, and master your performance.
4. Do Mock Auditions
Invite friends and family to act as judges as you perform your audition piece. Ask them for their feedback. Doing this will provide you with a sense of how your actual audition will go. Tweak and change your performance based on their criticism, and don’t take their feedback to heart, as it will help you later on.
5. Carry Out Basic Logistics
Check the Juilliard website to find the requirements for the auditions. Auditions vary based on specialization and each will have different requirements you need to be prepared for. From dress code to stages of the audition process, you must fully understand what Juilliard School expects from you to ensure your success. Contact administration if you have uncertainties.
6. Get Proper Rest
Proper rest before your audition will provide you with the energy and focus you need before your audition. As cliche as it sounds, getting rest is a simple, yet beneficial step to ensure you perform your best.
7. Grab Some Breakfast Before Your Audition
On the day of your audition, it’s crucial to fuel yourself with a complete breakfast. Since the nature of these auditions is quite physical, having a balanced breakfast will ensure you have the energy to perform well, keep your blood sugar up despite the nerves, and reduce brain fog.
8. Dress Appropriately
As mentioned previously, there may be a dress code. Dancers are required to wear a leotard, while musicians should dress professionally. Ask trusted family or friends for advice on what to wear if you’re unsure, and refer to the audition requirements page on the Juilliard website to ensure you meet the requirements.
9. Take Last Minute Action
Before your audition, practice a few more times to instill confidence and security in yourself. Ask a family member, friend, or mentor to stay with you and help you practice, or even just offer moral support.
10. Give It Your Best Shot
At your audition, simply do your best. You have put in the work to get yourself to this point, and you’ve sharpened your skills. Remember, Juilliard is a highly competitive institution with only an eight percent acceptance rate, so do not feel discouraged if you don’t pass your audition. Regardless of the outcome, this learning experience will add to your professional toolbox.
What Does It Take to Get Into Juilliard?
To get into Juilliard, it doesn’t only take good transcripts and an impressive application, it also takes determination and talent from passionate people who want to contribute to the performing arts. Being a Juilliard applicant encourages both personal and professional growth and learning beyond the classroom. Enroll in one of Juilliard’s many creative programs today and start your professional and academic future at this dream school.
How to Get Into Juilliard FAQ
Is it worth going to Juilliard?
Yes, attending Juilliard is very rewarding, especially for those who are highly passionate and driven regarding the performing arts. The training at Juilliard might be rigorous but you will surely build your skills and become a top performer.
Is Juilliard the best music school?
Yes, Juilliard is considered the best music school in the US and is synonymous with musical excellence. Further, Juilliard is the number one performing arts school in the world.
Where do Juilliard students live?
Juilliard students who are in an undergraduate program or otherwise have no former college education experience are required to reside in the Meredith Willson Residence Hall on campus.
Does Juilliard have a meal plan?
Students at Juilliard School who are residing in the hall are required to be on a meal plan which is included in their board and room fees. The students are originally placed on a 19-meals per week plan but can switch to a different plan after arriving on campus if they wish to.
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College - Dance - Bachelor of Fine Arts Application & Audition Requirements
If you receive favorable prescreening results, you must register and participate in one of the in-person callback auditions in order to be considered for admission.
The Juilliard School continues to pay close attention to COVID-19 pandemic developments, and to the progression of the omicron variant. We have pledged to take whatever steps are necessary to keep our applicants, students, faculty, and staff safe.
All visitors to Juilliard are required to be fully vaccinated against COVID-19; this includes any applicant visiting campus for an audition. Individuals are considered fully vaccinated two weeks after receiving the final dose of a vaccine authorized by the World Health Organization or the Food and Drug Administration.
The Juilliard School strongly encourages all community members and visitors to follow CDC guidelines for receiving a vaccine booster shot. In general, this means those 18 years and older should receive a booster 6-8 months after their second dose of Pfizer or Moderna, or 2 months after a Johnson & Johnson shot. For complete CDC guidance on booster shots, please follow this link.
In addition to being fully vaccinated, visitors to the building are required to answer a series of health screening questions prior to entry. Masks continue to be a critical part of our COVID protocols, and are required at all times. Auditionees will be given instructions regarding if and when masks may be removed for the audition.
In order to keep density as low as possible, only applicants will be allowed in the building on audition days; parents, friends, and other family members will not be permitted in the building.
We respectfully request that you plan ahead and make sure you will be fully vaccinated by the time you might be expected to audition. Proof of vaccination will be required for all visitors. Due to safety concerns, we are not granting exemptions from this requirement.
These policies and guidelines may continue to evolve and are subject to change. The latest information will be posted on this page as we near audition dates.
- If you receive favorable prescreening results, you will receive an email with instruction on how to register for your callback audition.
- All details will be available when registering for the audition.
- Auditions are available on a first-come, first-served basis.
- Each audition will take place over the course of one day and consist of five parts.
- All dancers invited to callback auditions will participate in the first three parts of the audition.
- There will be callbacks after the fourth and fifth parts.
- You should be prepared to spend 5-6 hours at the audition in the event that you are called back to the final section.
- You may wish to bring lunch or a snack to the audition, as breaks between sections will not be long enough to leave the audition site.
- Resumes, headshots, videos, and other portfolio materials are NOT required or necessary. Please do not bring these materials to the audition site.
There is no quota of dancers to be called back on each audition day. You are encouraged to choose the audition location and date that is most convenient for you.
Part 1: Ballet Technique Class (60 minutes)
The audition begins with a ballet class that typically includes:
- Barre: pliés, tendus, dégagés, rond de jambe, etc.
- Center: adagio, petit allegro, grand allegro, etc.
Part 2: Modern Technique Class (45 minutes)
The modern class includes:
- A short center warm-up using the rounding and arching of the torso.
- Phrases that travel across the floor focusing on moving rigorously through space with attention to rhythm, changes of direction, and level changes.
This section of the audition is to be performed barefoot.
Part 3: Coaching & Improvisation (45 minutes)
You will be taught and coached on a brief contemporary repertory sequence. The faculty is interested in how quickly you pick up choreography, how you respond to and incorporate corrections, and how you function as a member of an ensemble in a rehearsal-like setting. This section concludes with a short improvisation.
Part 4: Solo Performance (2 minutes)
If you are called back, you will be asked to perform one solo of your choosing, from repertory or original choreography, not to exceed two minutes in length. The purpose of the solo is to show you as a performer, and should be chosen to show your range as well as your ability to project.
You should be prepared to say the:
- name of the solo (if it has a name)
- composer of your music (or name of artist)
Please bring recorded music as an accompaniment for your solo on a phone or tablet with an auxiliary output. The music should be downloaded to your device; streaming via WiFi may not be available in the studio.
Please do not bring elaborate costumes or props for the solo portion of the callbacks. A simple change of dress or a small prop is fine.
You may present the same solo that you submitted for prescreening if you wish.
Part 5: Interview (15 minutes)
Based on the faculty's evaluation of the first four parts of the audition, you may be asked to stay for an interview. The purpose of the interview is to:
- Gain insight into your interests outside of the dance studio.
- Identify you personal and professional goals.
- Assess whether you are intellectually and emotionally ready to enter a rigorous conservatory environment.
- You must be in a unitard, or tights and tight-fitting top, or leotard that clearly enables the faculty to observe your technique.
- No skirts, loose-fitting tee shirts, leg warmers, or costumes are permitted.
- Be prepared with ballet slippers, dance socks, and the ability to dance in bare feet.
- Pointe shoes may be worn but are not necessary for this audition.
I want to dance. 10 misconceptions about dancing
The desire to learn how to dance is natural and natural in the modern world. You can list the reasons, starting with obvious and popular pragmatic desires, for example, to start moving or losing weight, ending with unconscious and even existential ones.
This is due to the fact that dances are at the subtle intersection of the inner and outer worlds, physical and spiritual. Above this, music becomes a driver that cannot leave anyone indifferent.
In dancing, there is magic inside a person, which is not always noticeable when viewed from the side. At the initial stage, it is the external picture that attracts to dances, and sometimes repels, as it seems too frivolous and superficial.
But there are even stronger obstacles that stop many people from starting dancing. These illusions and delusions roam the minds of the majority, and are often afraid to ask about them directly, or they ask the question about it so often that they are no longer ready to hear an honest direct answer. I will try to do it in this article.
There are many examples of contemporary dance instructors sharing their thoughts about not expecting to be in the dance industry. Once upon a time there was a man and was engaged in adult, serious business. Sometimes even very serious. A person could have children and even grandchildren. I saw dances only on stage or on TV. For reasons unknown to himself, he ended up in dances. At first, everything seemed like entertainment and a useful pastime. But time has passed, and a person catches himself thinking that he thinks about dancing not just every day, but really all the time. A couple of years pass, and he already becomes a teacher or organizer of some event.
A similar path can start at 15 or 55 years old. The only difference will be in the self-perception of the starting stage, that it’s too late to dance. In fact, for each age there is its own dance direction, which can reveal it to the greatest extent at this stage. Hip-hop or breaking is closer to children and teenagers, and Argentine tango is closer to adults. It's never too late to start dancing. You need to make the right choice of dance style based on several parameters: age, gender, music, goal. There is a dance direction for any arrangement.
Misconception 2: Men don't dance
Our culture has a number of restrictions related to dancing. Most of these causes are psychological and lie outside the realm of rational reasoning.
First, in our culture, in principle, dancing for pleasure or self-expression appeared relatively recently. 20-30 years ago dance clubs were only for children. To start dancing even in adolescence was considered exotic.
Secondly, the aesthetics of the body in our country for men is not in the focus of attention. In general, this can be attributed to the fact that Russian men try hard not to draw attention to their appearance and clothing. Men in our country use other tools for this.
Third, dancing is associated with entertainment and alcohol. If a man feels serious and respectable, then he either does not have time or desire for this.
Nowadays the general cultural background has changed and the result is that men are learning to dance. It becomes as much a sign of masculinity as clothing, hair or beard.
Unfortunately, many misconceptions remain even among those who have already started dancing. Dance teachers do not always pay attention to this, as it seems to them that this is a matter of course.
Fallacy 3: special training is needed
For an outside observer, there is always a cognitive dissonance about what dance is. What he sees on the big stage in the form of a show with sweeping movements and splits is obviously dancing. Breakers doing unimaginable elements in the air and on their hands, competing with each other, also seem to be dancing. Pensioners in the park waltz. Dancing again, but for some reason everyone is so different. How to understand that this is a dance, and what physical criteria should be in the body.
In fact, any self-expression through the body to music can be attributed to dance. There are a number of reservations, but they are not essential. For self-expression, a person uses the set of plastics that he has. Subtlety and technique do not depend on extreme ways of self-expression, and it often happens that splits and somersaults interfere with a meaningful dance. The development of plasticity and the expansion of the body's capabilities are part of the preparation of the dancer, but not an end in itself.
Fallacy 4: You must learn to dance in pairs
In couple dancing, the final learning outcome is that the couple dances at a party. It would seem that you should always train together to get the desired result. This is not true. Let's take an example from boxing. An indicator of a boxer's skill is a fight with an opponent, but this does not mean that he constantly has to fight. Also, the ability to dance is built on the possession of one's own body and the ability to interact.
The skill of the teacher is the correct selection of methods so that the student masters the skill. Based on the skill, you can engage in creativity and self-expression in dance. Not everyone knows, but it is no coincidence that almost all social dance dancers have a serious dance background, which is based on the development of individual techniques.
The same can be attributed to the interaction in a pair. The ability to separate in oneself the one who leads and the one who follows the lead is impossible within the framework of studying the sequence of movements in pairs. For this, there are special exercises that make the skill more versatile. For this, the presence of a permanent couple is not necessary, as well as the regular presence of a partner in general.
IMPORTANT! You can’t experiment at a party, and everything should be in its place there: men dance with women.
Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.
Fallacy 5: plastique and stretching are mandatory attributes of dance
Much depends on the genre of dance that you want to master. In previous articles, I have already mentioned that different dance styles are suitable for different ages. It is appropriate to dance hip-hop in adolescence or youth, Argentine tango is a more adult dance, it is important to enter classical choreography at a young age.
The degree of necessary plasticity and sensitivity to the dance direction also correlates. For example, breaking requires great physical effort and dexterity. Elements are built on acrobatics and high speed of execution. Who are they more suitable for? Obviously young people.
There is a lot of interaction in salsa. It is necessary to feel the partner subtly, to be able to show a variety of figures and elements. Twine or acrobatics are completely inappropriate here. However, a variety of ways to show oneself are required. Accordingly, the dance is youthful, but not at all childish.
The older the dance, the less stretching or acrobatics is required. The main emphasis is on the quality of technology, the variety of ideas and the ability to show plasticity.
Misconception 6: Mirrors are necessary for learning
There is a set of instruments that dancers use to learn how to dance. The fact is that the dancer needs to receive feedback on how his movements look from the side. It is impossible to dance and see yourself from the side at the same time. The most common tool is a mirror. But not the only one.
Like any auxiliary tool, mirrors have positive and negative effects. The positive is that they can receive feedback in real time and technically it is not very difficult. The downside can be dependence on mirrors. A situation where a dancer cannot capture the feeling of dancing, such as on stage or at a party. For these purposes, you can use, among other things, video filming or proper preparation.
In many countries in Latin America, dance classrooms are not equipped with mirrors. Classes are held in bars or large halls. The dancers initially form the skill of focusing on the inner sensation, and not the habit of looking for their reflection in the mirror with their eyes.
Misconception 7: there is a lot of obsceneness in dancing
A common question from novice dancers who are taking their first steps in more contact couple dances is “in order to dance cool, there must be passion inside the couple?”. I immediately answer that no, not necessarily. Kizomba, bachata and Argentine tango attract many with their close contact. Like any other contact in our everyday life, in dances, contact can be different. We hug friends, parents, children. These hugs can wear many different shades. Sexual overtones are one of many.
The culture of dance also includes the boundaries of what is acceptable. A compliment from a well-mannered person is different from a statement about female sexuality by a gopnik. Usually, those who study at a dance school already have an idea of what boundaries should not be crossed. A good dance from a technical point of view will never look vulgar or vulgar.
Dancers always have a choice about the boundaries of contact. Most prefer to leave a good impression of themselves, as word spreads just as fast in the dance world.
Misconception 8: the best dancers are the bearers of culture
Even the very question of the origin of this or that dance can be paradoxical and ambiguous, especially when it comes to its development and performance.
For example, the Viennese waltz did not originate in Vienna, but in Germany. Salsa has its main roots in the USA, not in Cuba. The famous Greek folk dance sirtaki was invented for the film Zorba the Greek and appeared only in 1964.
The same can be attributed to the development of modern dance styles. Korea is known for its world-leading break dancers. People go to Turkey for Argentine tango, Spain is strong with excellent salsa and bachata dancers, in Egypt, Russians are considered the best belly-dance performers.
A good dance is based on quality training and diligence. Skin color, place of birth and age are secondary. Exotic appearance, unfortunately, is often a reason to be more superficial about one's own professional development. This becomes the reason for the low level of teaching among the bearers of culture. I am sure that few readers of this post will be ready to conduct a master class in Russian folk dance outside of Russia.
The mastery of mastering and teaching a particular style does not depend on the dancer's homeland. And "they absorbed the dance with their mother's milk" is nothing more than a common misconception.
Misconception 9: You have to know a lot of moves to learn how to dance
Focusing on learning a lot of moves often detracts from the essence of dance. Of course, the sequence of figures is important. Especially at the start. Over time, the dancer should have an understanding of how movements can be generated independently. Accordingly, instead of memorizing millions of figures, you can understand how to create them.
From every system of improvisation that a dancer can use as an instrument, dozens, hundreds or thousands of variations are derived. This frees the head from trying to reproduce the exact sequence and definitely adds freedom in the performance of the dance.
The huge theme of musicality can be attributed to the same question. Not every pre-conceived or learned sequence will fit specific music. The dance should give freedom, and not drive the dancer into the shell of the ropes.
Misconception 10: dancing is homosexual
The unusually high attention to the body and flair from stories about professional ballet led to the spread of this myth, among other things. Unfortunately, such an idea still exists in the minds of our fellow citizens.
The dance industry is now very broad and is represented by many dance styles. Some of them can even be called homophobic. Dances reflect the general attitude to the world and it is different depending on the life position and worldview of a person.
In many dances there is contact between the dancers. In Russia, dance contact between men has always been perceived very intensely. In most other countries it is different. An example of the fact that this tension is associated only with the dance theme and does not apply to other areas is, for example, wrestling. When practicing techniques, men are in much closer contact with each other. Sometimes lying on the floor and holding each other tightly. The historical roots of Greco-Roman wrestling are also ambiguous from a sexual point of view. But in our country, unlike dance, they are perceived as acceptable and brutal.
Dance, like the culture of speech, makes a modern person more successful and self-confident. The ability to control one's body, tune in to another person and the ability to be aesthetic in the plasticity of movement is valuable in the modern world. If we add here the pleasure of the process and the availability of dance as such, then the possibilities of this activity can hardly be overestimated.
It's sad when interested people are stopped by prejudices and myths that have nothing to do with dancing. Freedom in body movements begins with freedom of thought and willingness to change.
I hope that this review will help to take a different look at the dance culture for those who still have doubts about whether to start dancing.
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14 good reasons to send a child to dance
Every parent knows how important not only the intellectual but also the physical development of the child is. After all, it is in childhood that the rapid growth of the body occurs, the nervous and musculoskeletal systems are actively formed, the respiratory apparatus is improved and the foundations of good health are laid. It is also important that properly selected physical activity has a positive effect on the child's intelligence. It is not surprising that from an early age of the baby, moms and dads seriously think about what to prefer - sports or dancing.
In addition to many advantages, playing sports has its own disadvantages and contraindications. As for dancing, it is actually the best choice at any age. And the world champion, European champion among youth in 2008 in the Latin American program, vice-champion of Russia, bronze medalist of the European championship among professionals in sports ballroom dancing in 2016, the founder of one of the best dance schools in Moscow - Roman Kovgan.
1. Physical health
Dancing has the most positive effect on joints, the heart and the entire circulatory system due to interval loading and a uniform effect on all muscle groups. In addition, dancing, unlike sports, is non-traumatic and has almost no contraindications.
2. Psychological health
It is dance that allows you to throw out all the negative energy accumulated during the day, as well as give freedom to your inner feelings and energy, relieve stress.
3. Development of memory and intellect
Systematic dance lessons, memorization of movements, steps, parties, dance sequences and combinations is, firstly, an excellent training for memory. Secondly, orientation in space and time is improved, such qualities as endurance, independence, perseverance, activity, initiative, a sense of camaraderie and mutual assistance are formed.
4. Communication and social adaptation
In dancing, even the smallest ones realize the need for communication. Children learn to find a common language, work in pairs and in a team, negotiate, feel a partner, communicate with the opposite sex respectfully and without hesitation, communicate with people of different ages - all this will definitely come in handy in adult life. “And indeed, in my experience,” says Roman, “children who have been dancing for a long time stand out from others very much, they are more free in communication, independent, confident.”
5. Aesthetic development
“Aesthetics of movement, understanding of music, good choreography and beautiful costumes, all this together contributes to the development of good taste. And if the school itself is as beautiful as our Dance School, - Roman smiles, - then this is doubly wonderful. It is no less important and pleasant for a child to study in a beautiful place than for an adult.
6. Public speaking skill
Constant open lessons, performances on stage and competitions remove any fear of the public. No embarrassment!
“And also musicality, a sense of rhythm, the ability to improvise — that's what dances give in abundance. Teachers are especially working on the development of these abilities, and our school has an author's program for the smallest, where additional emphasis is placed on rhythm and the basics of acting, ”comments Roman Kovgan.
One of the most important skills in life. Dancing, like no other physical activity, develops coordination and "muscle memory", children's clumsiness disappears, in the future, new directions in dancing and new sports are easily mastered, and most importantly, it turns out to easily and gracefully control your body. And this skill will remain for life.
9. Harmonious physical development
It is known that children who are constantly engaged in dancing do not suffer from curvature of the spine, have a proportionally developed muscular system, a beautiful gait and correct posture. Doctors state that no sport is as effective in aligning the spine as dancing. Plasticity, grace and dexterity are included.
10. Professional sports career at any age
- then it is in dancing that you can start dancing professionally at absolutely any age, participate in competitions and achieve the title of master of sports of international class. That is, a child can easily come to our school at the age of 10 or 14 and start dancing from scratch, and with a certain perseverance, after a while, start going to competitions and achieving titles.
The wonderful thing is that you can start dancing at any age, even at 3 years old, even at 16 years old. They are suitable and will be interesting for both boys and girls. It's a myth that boys don't need dancing, they really do! And if there are no contraindications from a doctor, then there are no restrictions either on height, or on weight, or on any other data. Everybody is dancing!
12. Practical application
Skills that give constant dancing, like the ability to control your body, dance cool at any time and to any music, perform in public, lead in pairs or be able to listen to the orchestra, improvise - these are the skills that which can be useful always, at any moment of life: both in childhood and in adulthood. Perhaps, having completed your sports career, you will never long jump again, but you will dance accurately, and confidently dancing men and beautifully moving girls grow up from those who have known dances firsthand since childhood
Only dances, while remaining dances, can change in this way. So, you can choose a direction according to the abilities, interests and temperament of each child. Our school has 10 directions for children, there is literally everything - both classical choreography, and sports ballroom dancing, hip-hop, break dance and even belly dancing. There is the author's program of Nadezhda Romanova "Dance Mix", where children of different ages try themselves in many directions at once. Professional teachers are always very sensitive to what is really interesting for the child, and they will definitely advise parents on which direction in dancing they should pay attention to, what the child has inclinations, interest, and where he will achieve great success.
14. Opportunity to exercise with parents
“This is a common problem: for children - one physical activity, for adults - another, and all this at different times and in different places. It’s uncomfortable and difficult,” says Roman Kovgan, “and the way out is dancing.