How to deal with not making the dance team

How to Handle Rejection in the Dance World -

Rejection: it’s a natural part of any performer’s life. Dance is a ton of fun, so it’s no surprise that many people want to dance as much as they can. For many dance shows, there aren’t as many spots to perform as there are dancers auditioning. When the time comes to cut dancers, it’s no secret that feelings can be hurt. But just like everything in life, there’s always a way to put a positive spin on things. Here are some tips to keep you at your most positive when facing the inevitable “no”.


1. Don’t Take It Personally.

It’s very easy to receive a rejection and think: “I’m not good enough to make it as a dancer.” Before you rush to any conclusions, remember you don’t know the reason why you didn’t make it. Don’t take it personally: maybe you weren’t what the creative team was looking for. That doesn’t necessarily reflect upon your performance in the audition or your state as a dancer. Even the most accomplished and talented dancers in the world had to be told “no” at least a few times before they found their success.


2. Self-Evaluate.

Take this as an opportunity to learn. If you feel like you made a mistake in the audition room that cost you the job, learn from it. Think about what you can do in future auditions to make sure that doesn’t happen again. If there’s something that’s consistently tripping you up, then practice, practice, practice! In some educational settings, it can be ok to ask the director for feedback. Use your judgement on this, but if you think this would be ok to do, don’t be afraid to ask! You can learn a lot about yourself as a dancer by receiving honest feedback from your teachers.


3. Treat Yo-Self!

Don’t deny your feelings, it’s ok to be upset by a rejection. Self-care is super important. Be sure to pat yourself on the back for having the courage to do what you do; auditions are scary! Do something that makes you happy. You may be surprised how quickly you can overcome your disappointment. Go out with your friends, watch your favorite romantic comedy on TV, go for a walk in the park, anything puts a smile on your face can help you forget your troubles until you’re ready to get back at it again.


4. Get Back Out There.

Know that you will grow from this. Our struggles make us stronger in the long run. Don’t let this diminish your fire, let it burn even brighter with the desire to show the world your stuff. Have a positive attitude, ready to move on to the next audition with confidence that you can accomplish anything you put your mind to. Most importantly, never give up. If some of the greatest dancers in the world gave up after they were turned down, we wouldn’t have some of the biggest icons in the world of dance today. Keep your chin up high, and know that you have the potential to conquer your next audition. Remember why you started dancing, and don’t let this bump in the road get you down. Enter your next audition with confidence and trust that you have what it takes. Keep on keeping on!



Aran Abilock is a writer for StarQuest. He loves mac and cheese, theatre, and all things Pokémon!



How To Cope With Not Making Your "Dream" Dance Team

You've watched every single one of their performances on YouTube. Heck, maybe even left a comment or two. You stalk their social media channels religiously. You study their team members in a class. "Wow, they're so good. I could look like that too, right?" You have, for years, fantasized about sharing the stage with your "DreamTeam." One day.

See Article: How To Make Your Dream Dance Team

Come auditions, after much fake-deliberation with your friends (because you knew there was no way you'd miss this chance), all 10 nails freshly bitten off, you fight every ounce the anxiety, determined to give your all. Learning. Groups. Freestyling your pants off. You leave your heart on the floor throughout the entire arduous process. Then you go home and wait. You daydream. You worry. You pray. Only to find out a week later that you didn't make the cut. It's a devastating feeling. A devastation made up of denial, disappointment, self-doubt and overall down-ness. All the bad D's. But, we have to Deal. But there are multiple ways to look at the situation – ways that will realign your focus and help you realize that your "Dream" goes beyond any team. Here are 4 things to help you.

"Everything happens for a reason." Well, what was it?

I don't believe that life runs in accordance to the universe's edict – that some ultimate plan for all its living creatures justifies anything and everything that happens.

The world is just too messy. Random.

But when it comes to something as black and white as making or not making a team, there are, indeed, reasons why.

And you can very well find out those reasons.

Talk to the directors / whomever was on the audition panel. Ask them why you didn't make it.

Selecting future members of your family isn't something that's done by a magic 8-ball; there's a lot thought that goes into that deliberation process.

See Related Article: How To Know If A Dance Team Is The Right Fit For You

Maybe it had nothing to do with skill. Maybe it had nothing to do with your personality. Maybe they see your style as fit for a different team. Maybe they stress a different mission for their team than what yours is.

You don't know until you ask.

So you didn't make the team. Not this year, anyway. But if you plan on re-auditioning the next time around, you'll have a huge advantage by improving in the areas that kept you from it this year.

Or, if their reasoning helps you see that the best thing for you might not be that team... Well, they did you a huge favor.

OR, if their answers don't really serve you in those ways, at least the transparency will make you feel more at peace with the situation.

People don't get as upset over results as they do over not being able to understand it.

If you're wondering, ask. Find that reason for yourself.

See Related Article: The Dancer’s Code Of Conduct: Tips To Cultivate Positive Dancer Relationships

Be in a state of perfecting, not of perfection

When I was 13, I was convinced that if I got my ears pierced, I'd be happy forever. Nothing could stop me and my silver hoops. NOTHING!

Obviously, that was not the case.

It's a cutesy example, but it illustrates how susceptible we are to believing that "Once I do/have ____, I'll be happy."

"If I lose 5 pounds, I'll be happy.""If I make this team, I'll be happy.""If I win this competition, I'll be happy."

But this is a fallacy.

Thinking that achieving some state of perfection is going to make you happy is simply untrue.

In the real world, there IS NO. SUCH. THING. AS "PERFECTION." It just doesn't exist.

And you know what? It doesn't matter. F@#% perfection!

If you focus on that, you're going to be living, constantly, in an injurious state of self-invented disappointment.

Here's a more realistic thought:

You're always on a journey. You're always striving. You're always perfectING. Never perfect.

With that said, shift your focus,

From: that "dream team" as your final destination –> To: your continuous journey as a dancer.

Instead of dwelling on being on the team VS not being on the team, think about the ways that you want to grow, and how you can still do that, WITH OR WITHOUT that team.

See Related Article: How To Keep The Best Physical Condition When You Don’t Have Rehearsals

Here are some visual representations of this point:




(These images were taken from "Success Is A Continuous Journey," a TED talk given by Richard St. John)

Focus on what's been gained, not lost.

There is a silver lining on every cloud. The cloud of not making that team could come with so many silver linings that you probably don't even immediately recognize.

Of course, it's not bad and not at all unnatural to be upset.

By all means allow yourself to feel how you feel. It's important to candidly address the thing that sucked, instead of being in this illusory state of unconcern.

Be sad. Be salty. Be whatever you wanna be.

For a little bit.

Just don't get stuck in that cloud. You have to decide to not let that negativity win.

Instead, be excited about each mistake by seeing them as learning opportunities.

Maybe this gives you a chance to audition for a team where growth comes more comfortably. Maybe you'll audition for one that's completely out of your comfort zone. Maybe you just got more familiar with an audition process in general. Maybe this made you realize that you don't even want to be on that team. Maybe this frees up time for you to exercise your artistic license outside of a team setting.


See Related Article: 5 Questions You Should Ask Yourself As A Dancer

These silver linings can be as infinite as you let them be – as long as you choose to grow from the experience.

You may have lost the opportunity to be on some team for this one season, but who knows what you gained in opportunity cost?

No one knows! Go find out!

Get over the infatuation with the concept of ONE "Dream Team"

Being hung up on a team you haven't even experienced for yourself is the relationship equivalent to getting your heart broken by someone you weren't even dating.

It sounds insensitive, but it's true. You may have been infatuated with the idea of being on this team, but you can't say that you lost something that you never had.

I once thought I loved a team.. or, more accurately, I thought I knew enough about a certain team to love it. But I only truly fell in love with it after experiencing it for myself.

All the history, the rituals, the team culture and dynamic. All the inside jokes and heartfelt talks, the dedication in each member.

I also learned about the not-so pleasant parts, like leadership discord, gossip, hookup drama, bad-blocking-butthurt-ness. Everything. I saw and felt everything, and truly, deeply fell in love with the team for what it was.

See Article: If Your Dance Team Was A Woman…This Is How She Would Make You Feel

But the first time I auditioned for 220, I didn't even make it past the first cut. I was devastated, naturally.

But I realize, after having actually been on it, that I was only devastated with the idea of what I had lost, without even knowing what "it" was.

My point is – this one team could be your "Dream Team," sure. Keep at it, and I wish you the best.

But for now, don't think of it as such a loss. Nothing was given and taken from you, no matter how much you feel like you deserved it.

It can be a blow to your ego or mess up your future plans, but this all stems from that "infatuation"-y type of interest in the team.

If your true passion is rooted in dance, keep dancing... And who knows how your definition of the "Dream Team" will evolve over time.

Do you, and you'll find your own path – in the most genuine and satisfactory ways.

At the end of the day, give props to yourself for even putting yourself out there. Any and every audition is a scary and exhausting process, and each auditionee is commendable simply for showing up! Hopefully these concepts help if you are trying to move past not making a team. You can keep that fire for dance burnin' no matter what.Keep tuning back in for more tips and support!

This article was originally published on October 6, 2015. Have you experienced the disappointment of not making it onto a dance team? What were some things that helped you get past it? Comment below and share with us! Team or no team, never stop making moves. You can even train in the comfort of your own home, anytime, with STEEZY Studio! Start becoming a better dancer now!

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.

Share on social networks:

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9000 16:51




I want to dance professionally, but only not in clubs, but at various concert performances, dancers, etc. Who knows how to get there?



9000 9000 9000 9000 9000 9000










9000 June 15, 2012, 09:20 PM



Trinify your mouth with your ass then you'll have a chance. .. on backup dancers, etc. Who knows how to get there? experts

  • Galimov Ildar

    Family psychologist


  • Irina Gudkina


    10 answers

  • Sergey Veksler


    17 answers

  • Maria Burlakova


    141 answers

  • Alla Buraya


    52 answers

  • Mikhail Vaskovsky


    6 answers

  • Ekaterina Nesterenko


    23 answers

  • Vera Vladimirovna Zolotykh


    144 answers

  • Maxim Sorokin

    Practicing psychologist

    674 answers

  • Tatyana Fedorova


    15 answers



I am 14 years old, I have been dancing for about 9 years, I want to get into Todes.

To sign up for a casting, send your CV to e-mail: [email protected] with the note "Casting". We need experienced and diligent dancers!

You can also enroll right now and start training at our school-studio, and then move on to the main ballet team.



nothing if there is no one you know in the dance environment or a philanthropist. Plus, you need to "cook" in dancing since childhood. be able to sit on all types of twine, be in shape, i.e. not prone to fullness.



Good day 9003 Lenusik 9003 and I heard that preference is given to their own students from the studios. Well, how can I go to the studio if there is no one to pay for training in it? For example, due to my age, I do not have the opportunity to earn such an amount (((((

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I'm interested in the age limit for casting.

There is no TODES studio in my city, but I have been dancing and still do, moving to Moscow is not a problem for me, but I am 25 years old... is it possible to get into the main team at that age??



Good day)

I'm interested in the age limit for casting.

There is no TODES studio in my city, but I have been dancing and still do, moving to Moscow is not a problem for me, but I am 25 years old... is it possible to get into the main team at that age??

We wish you good luck!




How can I get to the main composition of Todes?


9000 )



Sent a week ago already))) 8 (495) 984-35 -86 I call this number, no one picks up the phone (((And how long before the casting they say!?


9000 ?or something different?

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  • 9033

    is dismissed by the girl at 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9000 9 answers



    I am 14 years old, I have been studying at Todes Studio since I was 11 years old. I really want to be in the main cast... Can you tell me how old you can take part in the casting? And in general, is it possible to get into the main without casting? Somehow we had a replacement coach (replaced by a girl who left the main team in the summer), she said that she had not studied in Todes before, and somehow Alla Vladimirovna met her and offered to go to the main team without casting ...

    In 4 years your skills and dancing skills will become more perfect, and you will have every chance to get into ballet through casting. Good luck!


    9000 I don't know if it's worth it. son is 5...0002



    child 3.5 years old. tell me when you can come? which is better - now to start walking, if you take it or from September?



    question on pay and employment contract.

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