When one of our students becomes injured we instinctually and immediately take great care to ensure they follow the necessary steps to recover safely and do as the doctor ordered. We follow up with them throughout the healing process and can recognize when they are pushing themselves too hard. We also know the adjustments we need to make for them in class so that they come back stronger than before their injury; ensuring they stay healthy at all costs. As any great parent also does when their child falls ill, we switch into that mode of being the protector and teaching them to take care of their bodies, their well-being, their mind and their overall general health. We also take into consideration their frustration of having to sit out and not being able to move with the others until the doctor signs off, so they don’t relapse. But…we insist and follow through on doctor’s orders until then.
What happens though when the dance teacher is the one who is injured? You know… the one who is up there and supposed to be the leader, the creative guru that the dancers are looking at waiting for instruction and inspiration? What do you do when it’s you that is incapacitated and have to follow the, “Do what I say and do what I do” model?
The first thought that races through your head might be, “This can’t be happening…I have to teach or I’ll have no income coming in.” And for every independently contracted teacher that is a huge fear. Hopefully though you are employed by studio directors who are/were artists and performers also and “get it.” Things happen and we are just as human and just as much dancers and athletes like our students. It can happen to anyone.
Thoughts can race through you mind like, “How am I going to effectively do this and still teach a good class?” The thought of forcefully having to sit and teach from a chair, (albeit old school style,) can in some way be misconstrued as lazy or the kids (or lingering studio parents peeking in) thinking the teacher isn’t “present” or teaching as good a class had they not been injured. Would the dancers suffer because of a teacher’s injury? How would choreography notes be relayed and permitted tactile correction given? How would the simple things like walk back and forth to look for music play out? How would you articulate verbal feedback and direction without the visuals?
To be perfectly honest….speaking from experience, it’s not easy. In my situation, I had an abundance of numbers that had to be set, had no qualms about just “marking” through things and was certainly not following doctor’s orders. So, was I better off barreling through to prove to my students that I was a tough dancer that can manage through the pain and was committed to making sure they received a good class, or was I setting the worst possible example and being a hypocrite after all that I have taught them over the years during their own injury cases? I had to really think about this…and think about it…and think about it. After I consistently had my younger students reporting back (or as I teased them, “tattling on Ms. Jessie”) to the other teachers when I wasn’t doing as I should, or so much as getting up to take an ice pack off my foot, I realized they worried for my well being as much as I worry for theirs and the shift of thought commenced. Consequently, what I learned about my abilities as a teacher was one of the best lessons I could have given….to myself. It transformed my approach and actually made me a better teacher for it.
When one is forced to use their mind and their words solely to relay information in a very physical and artistic field, you have to discover ways you might not ever have dreamed of; had you just been able to demonstrate. It never occurred to me that I could become rote and teach on autopilot; especially when I preach to my dancers about always being “mindful” and “present” in the space they are at. What I did discover was I became clearer in my delivery, I spoke slower and I really had to think about imagery and analogies to get my ideas across. Suddenly, my warm-ups and choreography were actually more intricate and challenging. My sensitivity to musicality and rhythm sharpened as well as my vision to seeing mistakes and things that needed to be cleaned in choreography. I even became creative in a different way. Having to change up my choreographic process and envision things in my head, rather than working it out in the studio. I had to let the dancers figure it out in their bodies as opposed to seeing it on mine. And, the results were some innovative works that I was really proud of; by dancers who were younger and older, beginner and advanced. I started to notice how each level was able to follow me in this “new” and “adapted” way and rose to the challenge. They were also forced to really listen and focus, and they did. I had students coming up to me telling me how challenging and different classes had been and how they recognized a shift in the material too. And they loved it.
At the end of this journey in my case, while everyone was thrilled to see me up and about and slowly getting back to my old self, I took some lessons with me along the way. I now take all these new teaching tools I’ve acquired with me and can put them in my “bag of tricks.” Through all the physical limitation, I found a way to give my teaching and choreography a breath of fresh air and transformed myself into a new artist as well. The experience was indeed a wakeup call and in some way became a source of inspiration for me. I also learned what it means to really have no choice but to take care of yourself so that you can take of others. Lesson here- take care of yourself dance teachers!
Good luck!
See you in the dance studio,
Jess
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