Thread: Things that you like when taking private classes

Ok, I wanted to say "Thing that turn you on when taking private classes", but I'm sure someone would have misunderstood those.

Ok, so this is the positive counterpart of the "turn off" thread.
I do want to mention names here, because I want to acknowledge people that are great.
- For I while I was taking semi private classes from Angelika Nemeth. She was wasn't trying to break us down, she acknowledged the fact that we both (my and the other dancer) were professional dancers, with our own styles, etc, looking to improve. She wasn't trying to change us, just make our technique better.
- she was very flexible, we worked on what we wanted to.
- we also danced for her on the first class so she can see where we are.
- the whole thing was about us, not her. There were no long monologues about her, only words of wisdom.
I would still take classes, but she's just so far.

I know we all consider these standards in giving private classes, but as my other thread shows, some teachers forget about these.

Marianna, maybe it would help if you cross-linked this thread into the other one? This one is pretty lonely.

Here are the things I look for in a good private lesson teacher:

Since many students go into private lessons looking for either general improvement or help on a specific issue, it implies that a good teacher should be able to both identify trouble areas and offer corrective suggestions for them. Not being able to tell what's not quite right, or not knowing how to fix it makes a private lesson somewhat useless.

A good private lesson is organized, not an hour of randomness and endless rambling. The teacher has discussed the content in advance with the student so she has the right materials prepared. She has an alternative lesson plan to fill out the session in case the student's intended subject doesn't take up the whole time slot, and especially if the student isn't sure what she wants to work on. She runs the lesson efficiently--not too much random chatting, goofing around, searching for music, etc. If things get off schedule, she is reasonable about not making a student pay for her disorganization, or offers to run over to compensate.

A good teacher is kind and encouraging and does her best to make the student comfortable under what can feel like intense scrutiny. She is compassionately firm, not so nice that she can't help the student confront problems that need to be address.

My first private lesson was with Hadia, who was killing time on a travel layover between workshops. Within the first fifteen minutes of the lesson, she had picked off two major problems that had gone undiagnosed by my regular teacher in ten months of weekly classes. It's a shame I was such a green beginner at the time--working one-on-one with her was an incredible experience!

you're right this thread is lonely but i expected that. The saying goes: if a customer is happy he might tell 5 people, but if unhappy, he'll tell 50! It's always true!

It's funny how there aren't too many courses for teachers to learn how to teach - dance classes, I mean. So a teacher has to rely on her natural ability to teach, good habits picked up from others, her analysis / self reflection and the urge to be better.

During my credential courses (for K-12 schools) I learned so much that can be used in dance classes, and I also found out that I was doing lot of the same things already.
Some of these:
being efficient and not wasting time; differentiated instruction to be able to reach all students, such as visual, kinesthetic, logical learners; demonstration, guided practice, independent practice: especially important with choreographies, but also with specific moves; review, just to name a few.

When I teach dance classes, I am always prepared to the minute: exactly what I will be teaching (new technique), what will be reviewed, how long time we will spend of warm up, review, technique, combinations, improvisation. All the songs are picked out and placed in order ahead of time. I take into consideration that we may not cover everything, or that we will be ahead of time and have other things lined up. This is how I felt comfortable when I first started teaching, and for the first 2 years I would spend close to an hour preparing. Now it doesn't take as long to prepare, but I still feel this is the best way for me to teach. (and prepare ahead of time).

When we take a private class, we pay at least twice, but often 4-5 times as much as we would for a regular class. So it is only obvious that we expect 4-5 times as much in the matter of professionalism and value.

It's also nice if a teacher knows she knows something special or unusual, and has the forethought to ask the student if they are interested in learning it. A student can't request that topic if they don't know it's an option.

Okay - I'll make this thread less lonely - I have the great good fortune to study with Helena Vlahos, both privately and in class - she's supportive, but very very discerning and incredibly generous with her time and energy. She works my butt off, and if I could be 1/10 the dancer she is, I'd be a happy woman! She's all class, both a diva and totally down to earth and accessible. It's a bit like studying ballet with Margot Fonteyn . . . she knows my weaknesses, and I always feel a bit stronger and cleaner after every class.

private/small group lessons I have loved:
give me homework- enough to work on until my next private lesson, which may be months away

cover broad concepts I need to work on, as well as specific little details to tweak

show me HOW little things I do in practice will translate into skill in performing- example- this conditioning exercise will help you with this aspect of your arms on stage. This concept in practice will help how you interact on stage, etc- does that make sense?

have been taught by Mira Betz, Mona N'Wal (spelling?) Saqra, Eva Cernik- all fabulous one on one or in small group- The last time she was up, Mira was wretchedly sick when she met with me and we did a sit down, low energy analysis of my dancing, so even tho we didn't dance much, what I came away with was invaluable, which just goes to show that good teachers will always find a way to give quality instruction, even in unforeseen circumstances.

I also think that teacher must take a lot of things into consideration:
- level of the students (beginner, up to professional dancer?)
- is it something additional to her regular classes with someone else, or the same teacher?
- is it the only source of her improvement?
etc.

So flexibility is important. A teacher may feel that I have quite a lot of things to work on (and she would be correct), but I may have my priorities set already. For example, technique: yes, always need to improve upon it. But I might want to focus on folkloric styles for a while. I may want to get better at zills, or even learn very specific rhythms. I often feel that I need some new inspiration, some fresh moves and combos, that are outisde of my comfort zone. So it can be so many things, and i feel that if I'm paying I should be able to decide.

However, a student with only 6 months of beginner classes should probably leave the lesson plans up to the teacher.

So I think a good teacher is flexible, and open to hear what the student wants, and they have good communication.

Originally Posted by isildriel

=... I have the great good fortune to study with Helena Vlahos, both privately and in class ...

Oh, lucky you! I've only seen her in videos. In what part of the country does she teach?

Mostly in the Southwest, but she does travel pretty often for workshops. She's in Phoenix.

I appreciate a teacher who shows that s/he is well prepared. I did a class with Yasmina way back when she was starting out teaching and I'd asked to work on entrances and transitions. Wonderful class, she had prepared, she demonstrated her own entrance to her Cairo show, and as we progressed through the choreography she explained what she did and why she did it. She then talked about and showed me how to maintain the energy when transitioning from the majensi into the next, usually slower, song. It must be nearly 10 years ago that I took her class but the things I learnt from her I use today.

Originally Posted by isildriel

Okay - I'll make this thread less lonely - I have the great good fortune to study with Helena Vlahos, both privately and in class - she's supportive, but very very discerning and incredibly generous with her time and energy. She works my butt off, and if I could be 1/10 the dancer she is, I'd be a happy woman! She's all class, both a diva and totally down to earth and accessible. It's a bit like studying ballet with Margot Fonteyn . . . she knows my weaknesses, and I always feel a bit stronger and cleaner after every class.

Good to hear this! I'm planning on taking a workshop with her in a couple weeks and have been curious to find out how she is! Now I'm really excited!

She's awesome, and so nice! Everyone in her classes and troupe just loves her, and holds her in such high esteem. Have fun!

Isn't it amazing how simple words and phrases stay with us from a really good teacher? That's when you know they really gave you something useful.

For example, my face is the type, that if I'm smiling just a little, I look serious, and if I'm serious I look really mean. Not attractive.
So when I have to do slow stuff,or dance to more emotional songs, I am always in trouble, because I can't grin ear to ear, but i also don't want to look like I'm pissed.
Angelika Nemeth told me, that when I'm in the situation, lift my chin up (jawline) lightly. So when I look ahead with a "straight" face, or even looking down, just lift up my chin and it will soften everything.
So true!! I have never heard this before nor after, but will always remember.

The one on one attention.
The support on dancing on my own at events or even going pro.
Being able to add my own ideas to the choreography.
Being able to do my own choreography and showing something she hasn't seen before.
Being able to ask for help on things I need to work on like zills, floor work, and improv.

can go over movements in depth
one on one attention
help with choreography's
help with music
help with a certian dance styles that may not be tought in regular class or at that time.
being told what i can inprov on
told where my weaknesses are
and spending time in private class improving them. with out holding others back.

A teacher I had really emphasized what were her stylistic choices and what were preventive measures to ensure I wouldn't be injured. I appreciated that she realized that she wasn't the end all, be all authority and that she made choices, and I appreciated that she was cautious about injury.

I like hearing about the creative process. I'm not from a dance background or an artsy family, so I like learning where people get ideas. This was particularly useful when I had a fusion teacher, because she discussed how she thought to fuse things.

Private lessons helped me realize very quickly where I stood with dance.

They're all great , love you guys.



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I took private lessons for the first time this summer, and it was a worthwhile investment. What I really liked was in the attention, feedback, and the generation of new ideas. Before I started, my teacher asked me what I wanted to learn. She taught me what I wanted to know and she added things that I needed to work on that I hadn’t considered either.

I had a great teacher who supported my intention of going pro and encouraged me to always seek out new teachers and learn from everyone to establish my own style. Still reviewing areas that I need help with and tweeking my choreographies to make them better, and coming up with new ones too.