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Sorry, this one is long.
Apparently, I learned the hard way that putting up a cast list in the middle of the week is a terrible idea when you still have to see everyone the next day. Lesson learned. But after a week of conversations, questions, disappointment, excitement, and everything in between, I realized there are some things about casting that I think are worth talking about, not just for our dancers, but for their parents too. So, here we go. Casting Is Complicated: What I Wish More Young Dancers and Parents Understood About Auditions, Roles and Rejection I once got cut from an audition for a job I got. If that sentence doesn't make sense to you, welcome to casting. Casting is one of the most exciting parts of being a performing artist. It can also be one of the most confusing, frustrating and disappointing. You audition. You wait. You imagine yourself in certain roles. Then the cast list goes up. Sometimes you're thrilled. Sometimes you're surprised. And sometimes you're disappointed. That disappointment is real. Dancers should be allowed to feel it. But learning how to handle casting decisions, especially the ones you don't understand, is also part of learning how to become a performing artist. Because one of the biggest misconceptions about casting is that it is simply a ranking of dancers from "best" to "worst." It isn't. And an audition is only one piece of the process. One of My First Professional AuditionsOne of my first professional auditions was for a local theme park here in Texas. I was young and relatively new to the professional audition world. I was fortunate enough to have some connections in the room, although to this day I have no idea whether that ultimately made any difference. There were probably 60 women standing in the room when the audition began. Before we danced a single step, they started calling numbers. Those dancers were dismissed. That was it. To this day, I couldn't tell you why. Maybe someone wasn't the look they needed. Maybe someone was too tall or too short. Maybe it was costuming. Maybe they recognized someone they had worked with before. Maybe someone's reputation preceded them. Maybe a dancer simply didn't fit whatever the creative team had already envisioned. I genuinely don't know. And neither did the dancers walking out of the room. Those of us remaining learned a short, 32-count combination that included a jump and a turning sequence. We performed it, they called more numbers, and roughly another ten dancers were released. Then we learned another combination. This one was more stylized, with additional movement and some popping. That's when they called my number. I was cut. Nobody pulled me aside to explain what I had done wrong. Nobody told me why someone else was continuing and I wasn't. There was no opportunity to discuss whether I agreed with their decision. I picked up my things and left. And the next several professional auditions I attended went pretty much the same way. Until one didn't. The Audition I "Lost" and the Job I GotEventually, I auditioned for another professional production. I made it through the first round. Then, in the second round, they released me. Once again, I picked up my things and walked out believing I had lost the job. Except I hadn't. They hired me. Apparently, they had seen what they needed to see. They knew enough about me to know they wanted to work with me. Being released from the audition didn't mean what I assumed it meant at all. That experience has stayed with me throughout my career because it taught me something I understand even better now that I sit on the other side of the table: The dancer almost never has all of the information. I interpreted being released as rejection. The people behind the table were making an entirely different decision. Auditioning Is Part of the ProfessionMy own professional audition experience was primarily here in Texas, and I don't pretend that my experience represents every corner of the professional dance world. I have friends and colleagues who pursued careers in New York, Los Angeles and overseas. Some went to hundreds of auditions over the course of their careers. During particularly busy audition periods, they might attend three or four in a single day. And many followed a remarkably similar format. Walk in. Get a number. Stand in a line. Sometimes there is a cut before anyone dances. Learn a combination. Dance it in groups. Another cut. Learn another combination. Another cut. Maybe you're asked to stay for something else. Maybe you're not. Then you collect your things and head to the next audition. Often there is no feedback. No explanation. No conversation about why someone else stayed and you didn't. That is an important reality for young dancers who think they may want to pursue performing professionally: Auditioning isn't something you endure until you finally become a professional. Auditioning is part of being a professional. And so is rejection. A professional dancer can be extraordinarily talented, beautifully trained and completely right for one production, and be released in the first round of the next audition. Sometimes you are exactly what they are looking for. Sometimes you aren't. And sometimes, as I learned, you may not even correctly understand what just happened in the room. Casting Is Not GradingThis is where I think many young dancers, and sometimes the adults who love them, get stuck. Casting is not a test. There isn't necessarily a point system where technique is worth 20 points, stage presence is worth 15, attendance is worth 10, and whoever finishes with the highest score gets the biggest role. A cast list is not a leaderboard. The dancer with the featured role isn't necessarily the "best" dancer in the production. A dancer with three roles isn't automatically better than a dancer with two. Someone standing in the front isn't necessarily more talented than someone standing behind them. Because the director isn't simply asking: Who is the best dancer? The director is asking: How do I build the strongest production? Those are very different questions. The Professional World Can Be UncomfortableThere is another reality of the entertainment industry that dancers need to understand. The entertainment industry remains one of the last industries where discrimination based on someone's "look" is openly part of the process. Someone can be too tall. Too short. Too young-looking. Too old-looking. They may not physically match a performer who has already been cast. They may not fit an existing costume. They may not match the director's visual concept for a character. They may simply not be the "type" being sought. And they can be an absolutely phenomenal performer while all of those things are true. That's another reason dancers can drive themselves crazy trying to reverse-engineer casting decisions. You simply don't know everything happening behind the table. But That's Not How I CastI want to make an important distinction here because the professional reality I just described is not necessarily my personal casting philosophy. "Look" is very low on my list of concerns when I cast an Alamo City Arts production. Honestly, I'm not particularly worried about whether a costume currently fits you. I am incredibly fortunate to have the resources, creativity and ability around me to make costumes work. We'll alter it. We'll build it. We'll find another one. We'll figure it out. I would much rather solve a costume problem than pass over the right dancer because of a zipper. There are other things I care about much more. So What Do I Look For?There is no mathematical formula, and no single factor guarantees anyone a role. Different productions and different characters require different things. But when I am casting, these are some of the things I am considering:
But there are a few that deserve a little more explanation. Training MattersWhen I say I look at current training, I want to be very clear about what I mean. I don't necessarily mean training at Alamo City Arts. I mean training. If you want to be considered for increasingly demanding roles, you need to be consistently taking class somewhere. Dance technique isn't something you acquire and then permanently possess. It has to be maintained and developed. Even our professional principal dancers train every day. They take class. They work on their bodies. They maintain their technique. They continue learning. Professional dancers understand perhaps better than anyone that the more advanced you become, the more important consistent training becomes. So when a dancer wants to be considered for a technically demanding or featured role but isn't currently taking class regularly anywhere, that matters to me. It doesn't mean you have to train exclusively with us. We have dancers who receive training in different places and different environments, and I respect that. But I cannot ignore the difference between someone actively working on their craft and someone who only wants to dance when there is a production or a particular role they want. Performance is not a substitute for training. Attitude Matters — A LotTalent is wonderful. Technique can be developed. Costumes can be altered. Choreography can sometimes be adjusted. But I cannot want an opportunity more for a dancer than they want it for themselves. I pay attention to how dancers enter the room. I notice how they respond to corrections. I notice whether they roll their eyes when they don't like an assignment. I notice whether they support other dancers. I notice whether they are respectful to faculty, staff and their peers. I notice how they behave when they aren't in the front. I notice how they behave when they aren't getting attention. And I absolutely notice how they behave when they don't get what they wanted. Because eventually I have to answer a very practical question: Do I want to spend the next three months in a rehearsal room with this person? More importantly: Can I trust this person to contribute positively to the production I am responsible for creating? That matters. A lot. And Yes, Family Behavior Can Matter TooThis may be uncomfortable to hear, but particularly when we are working with children and teenagers, the dancer isn't the only person we have a working relationship with. We are working with their family too. There is a reason Dance Moms made entertaining television, and there is a reason the "stage mom" stereotype existed long before reality television. In real life, however, that kind of behavior isn't entertaining when you're trying to produce a show. A parent or family member who repeatedly creates conflict, disparages other dancers, gossips about casting, challenges artistic decisions in inappropriate settings, ignores communication procedures, disregards boundaries, creates problems for staff, or encourages their dancer to view every casting decision as a competition with someone else can have a very real effect on a production. And yes, I take that into consideration. Not because I believe a child should be punished for having a difficult parent. But because casting someone in a significant role means making a commitment to that dancer and, when the dancer is a minor, to working closely with the adults responsible for them. The larger the role, the greater that commitment becomes. More rehearsals. More communication. More scheduling. More responsibility. More opportunities for something to go wrong if the working relationship is already unhealthy. Casting is partly about trust. Can I trust the dancer to be there? Can I trust them to be prepared? Can I trust them to handle the responsibility? And, when necessary, can I trust the adults responsible for that dancer to support the rehearsal process rather than undermine it? Those are legitimate considerations when I am responsible for an entire production and everyone participating in it. That doesn't mean parents have to agree with every decision I make. They won't. It doesn't mean dancers or families can't ask questions. They can. It doesn't mean disappointment isn't allowed. It absolutely is. But there is an enormous difference between disappointment and disruption. A dancer's technical ability may get my attention. Their work ethic, attitude and reliability may earn my trust. And when I am casting significant responsibilities, trust matters just as much as talent. Your Audition Started Before Audition DayWhen dancers hear the word audition, they naturally think about what happens during those few hours. Did I nail the combination? Did I fall out of my turn? Did the director see me? Did I perform well? Of course those things matter. But when I already work with a dancer regularly, the audition has actually been happening for months. I know how you take class. I know whether you arrive on time. I know whether you attend consistently. I know whether you come prepared. I know whether you wear the required uniform. I know whether you learn quickly. I know whether you retain corrections from one week to the next. I know how you respond when something is difficult. I know how you treat the dancers around you. I know whether you can be trusted to show up when the production needs you. An extraordinary few minutes in an audition cannot necessarily erase months of inconsistent training, poor attendance or a bad attitude. Likewise, one imperfect audition does not necessarily erase months of excellent work. The audition gives me information. Your body of work gives me context. Company Commitment MattersIn an organization with a resident dance company, Company membership also matters. That isn't something I try to hide. Company dancers have made an additional commitment to their training, the organization and the production season. They take additional classes and rehearsals and accept additional expectations regarding attendance, punctuality, uniform, professionalism and performance responsibilities. With that commitment comes additional opportunity. That does not mean a Company dancer is automatically entitled to a particular role. It means commitment is one of the many things I consider. And yes, actually attending the audition matters too. An audition isn't merely an opportunity for me to see what you can do. Showing up communicates something about how seriously you take the opportunity. A Production Is Not a RecitalThis brings me to something else I think is important to understand about Alamo City Arts. I am fully aware that The Nutcracker and many of our other mainstage performances are semi-professional productions. We have students and developing dancers sharing the stage with experienced and professional artists. That is absolutely intentional. We have professional dancers in our productions, and we will continue to have professional dancers in our productions because I believe there is tremendous value in a training dancer getting to work side-by-side with a professional. You learn differently when the person standing next to you has done this professionally. You see how they warm up. How they prepare. How they learn choreography. How they take corrections. How they communicate with a choreographer. How they behave backstage. How they recover from mistakes. How they perform when they're tired. How they treat the work. Those are lessons I cannot completely recreate in a classroom. And having professionals in the room raises the standard for everyone. Because ultimately, I want to put productions onstage that make us proud. That means casting must serve the production. There is an important difference between a recital and a production. A recital is primarily designed to showcase students and what they have learned. There is absolutely a place for that, and recitals can be wonderful. But that isn't what we are creating with The Nutcracker and our other mainstage productions. We are creating something for an audience. We are telling a story. We are building characters. We are creating an artistic experience. We are selling tickets and asking people to spend an afternoon or evening with us. We owe them the strongest production we can create. This Is Not Pay-to-PlayThat philosophy also means something else: Our productions are not pay-to-play, and they never will be. A production fee does not purchase a particular role. Tuition does not purchase a featured part. Longevity does not guarantee a promotion. Being older doesn't automatically put you ahead of someone younger. Being younger doesn't mean you are owed an opportunity for the sake of experience. Opportunity is important. Developing young artists is central to what we do. Sometimes we deliberately give a developing dancer an opportunity because we believe they are ready to grow into it. But opportunity and entitlement are not the same thing. If what a dancer or family is looking for is an experience where participation guarantees equal stage time or everyone is showcased equally, there are programs specifically designed to provide that experience. Alamo City Arts is not one of them. Anybody can participate in a recital. What we are trying to provide is something different: the opportunity for a developing artist to participate in a real production process, work alongside professionals, experience expectations beyond the classroom and earn increasingly significant opportunities as they grow. That includes experiencing disappointment. "But I Could Do That Role"You might be right. This is another difficult reality of casting. There are frequently several dancers capable of performing the same role. That doesn't mean there are several roles available. This is where disappointment can turn into comparison: Why did she get it? I'm technically better. I'm older. I've been here longer. I did that role last year. I can do everything that role requires. Maybe you can. But you're evaluating one role. The artistic staff is evaluating an entire production. A director isn't casting 80 individual dancers. A director is casting one production using 80 dancers. Every decision affects another decision. Sometimes the strongest dancer is needed somewhere else. Sometimes a younger dancer is ready for an opportunity. Sometimes an older dancer brings the maturity a character requires. Sometimes two dancers work beautifully together. Sometimes someone possesses exactly the stage presence a role needs. Sometimes a choreographer sees something in a dancer that the dancer hasn't discovered yet. And sometimes there is no explanation that will make the disappointed person feel better. A Director Does Not Owe Everyone an ExplanationI am sharing all of this because I believe understanding casting can help developing artists. I am not sharing it because I believe a director owes every person who auditions a detailed explanation of every casting decision. They don't. A director has been entrusted with an artistic responsibility. Their obligation is to the production and to the organization or producer who hired them to create it. Casting is not a test that requires the director to show their work. That doesn't mean directors are above accountability. Directors should behave professionally. They should follow the policies and ethical standards of their organizations. They should make decisions they are prepared to stand behind. But accountability is not the same thing as requiring a director to litigate every artistic decision with every person who auditioned. And there is a very important distinction between asking: "What can I work on?" and asking: "Why did she get that role instead of me?" I can have a productive conversation about the first question. The second asks me to discuss another dancer's casting, training, strengths or circumstances. That's not a conversation I need to have. What You Do After Casting MattersThere is one more thing dancers sometimes don't realize: Your reaction to this casting decision becomes part of your next audition. I notice the dancer who receives a small role and treats it like the most important role in the production. I notice the dancer who learns everyone's choreography. I notice the understudy who is always prepared. I notice the dancer who genuinely congratulates the person who received the role they wanted. I notice the dancer who takes a correction without an excuse. I notice the dancer who grows tremendously over the rehearsal process. And yes, I notice the opposite. Professionalism isn't something dancers suddenly acquire when someone starts paying them. It is something they practice while they're training. Handling disappointment is part of that training. You Are Allowed to Be DisappointedNone of this means dancers aren't allowed to have feelings. Of course you are. Go home. Be disappointed. Cry if you need to. Talk to someone you trust. You wanted something and didn't get it. You're allowed to be sad about that. Then decide what you're going to do with it. There is an enormous difference between: "I'm disappointed because I really wanted that role. What can I work on?" and: "I didn't get the role I wanted, therefore the casting is unfair." The first response creates an opportunity for growth. The second usually ends it. Sometimes the Role You Didn't Want Is the Role You NeededOne of the great joys of directing is watching dancers discover themselves in roles they never would have chosen. Not every opportunity looks impressive on a cast list. Some roles teach musicality. Some teach acting. Some teach partnering. Some teach stamina. Some teach leadership. Some teach humility. Some teach what it means to become part of an ensemble instead of always trying to stand apart from it. And occasionally, the role a dancer initially considers "small" becomes the role audiences remember. Give yourself the opportunity to discover what the role actually is before deciding what it is worth. Learning How to Be an AuditionerUltimately, I don't think our responsibility is simply to teach young artists how to audition well. We need to teach them how to be auditioners. How to walk into a room prepared. How to take direction. How to perform without knowing exactly what someone is looking for. How to hear "yes" without becoming entitled. How to hear "no" without deciding you're a failure. How to watch someone else receive an opportunity you wanted and still be a good colleague. How to take the role you were given and make something extraordinary out of it. How to pick up your dance bag after disappointment and walk into another studio tomorrow. I know what that feels like. I've carried my own dance bag out of an audition after hearing my number called. I've wondered what I did wrong. I've been cut. I've been rejected. I've even been cut from an audition for a job I actually got. And now, many years later, I've spent a great deal of time sitting on the other side of the table. If those experiences have taught me anything, it is this: You will not always understand casting. You aren't supposed to. Your responsibility as an artist isn't to understand every decision someone else makes. Your responsibility is to keep working. Show up. Take class. Be on time. Be prepared. Take the correction. Treat people well. Do the role you were given exceptionally well. Support the artists around you. Keep improving. And remember: Your next audition doesn't begin when someone pins a number to your leotard. It has already started.
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Why “Best” Really Means “Best Fit”Back-to-school season means new shoes, new schedules, new routines and, for many families, deciding where their dancer will train for the year.
If you have a serious dancer, that decision can get complicated quickly. How many ballet classes should they take? Is there enough performance experience? What about competition? PBT? Who teaches the advanced classes? Can we somehow make all of this happen without permanently living in the car? All good questions. But there is another question families sometimes forget to ask: Do we actually believe in the way this school trains dancers? Because the “best” dance studio isn’t necessarily the one with the most classes, biggest competition team, fanciest facility or teacher with the longest résumé. It’s the one whose philosophy, expectations and culture are the best fit for your dancer and your family. Different Doesn’t Mean Wrong When families come to us from another school, we often hear, “At our old studio, we did it this way.” That’s helpful. It tells us what your dancer is accustomed to. But it doesn’t necessarily mean we are going to do it that way. Not all Dance schools are franchises. There is no single schedule or curriculum every reputable school follows. One may emphasize competition. Another may emphasize performance. One may require more weekly ballet classes. Another may structure conditioning differently. Qualified professionals can make different choices for very good reasons. PBT is a perfect example. One of our faculty members is certified in Progressing Ballet Technique, and she prefers PBT after ballet technique. Her dancers are already thoroughly warm, allowing her to take advantage of that preparation for conditioning and a more significant stretch. Another qualified instructor may prefer PBT first. Neither automatically makes the other wrong. Sometimes there is actually a reason behind that schedule you are staring at. Sometimes the Empty Space Is There on Purpose Parents naturally look at a schedule through the lens of their own child. We have to look at it through the lens of an entire organization. We consider enrollment, curriculum, studio availability, faculty schedules, rehearsals, private coaching, productions and performances. We also consider something surprisingly easy to forget: Teachers are human beings. If faculty members are teaching and rehearsing Friday, Saturday and Sunday, a blank space somewhere else in the week may not be an oversight waiting to be fixed. It may be their day off. We want exceptional faculty. We would also like them to rest. More is not automatically better. Our Schedule Changes. Just Not for One Person. Our Academy schedule absolutely changes. If enrollment grows and we see a need, we may add a class. If one student enrolls in a class, we may combine or shorten it. As our students grow, our curriculum has to grow with them. But there is a difference between responding to the needs of the program and creating a customized school schedule for one dancer. We absolutely want families to tell us: “My dancer wants more ballet.” “She wants to compete.” “He needs more performance opportunities.” “We’re preparing for college auditions.” That information matters. Tell us what your dancer needs. Let us determine how our program can best meet that need. Sometimes the answer may be that we can’t. And that’s okay. Placement Is Not a judgment This is especially important for dancers transferring from another school. “Ballet 4” does not mean the same thing everywhere. That’s why we evaluate dancers before placing them into our intermediate and advanced curriculum. We need to know where a dancer fits within our progression. Placement is not a judgment of talent or potential. Putting a dancer into a level before they have the foundation to succeed doesn’t do them a favor. It creates gaps that become much harder to correct later. Ballet has an irritating habit of eventually finding those gaps. More Classes Don’t Automatically Mean Better Training Technique matters. So do rehearsals, coaching, conditioning, performance experience and recovery. A Variations class, for example, doesn’t mean dancers walk in cold and immediately start launching themselves into difficult choreography. A properly structured Variations class includes the warm-up necessary to prepare dancers for the work ahead. And rehearsing isn't time “away from training.” At some point, dancers have to take everything they learn at the barre and figure out how to use it onstage. That’s how we develop artists, not just really good class-takers. Choose the Program, Not Just the Teacher. A wonderful teacher can absolutely lead you to a school. The relationship between a dancer and teacher can be incredibly important. But if you are considering changing studios because of one instructor, ask yourself: Would we still believe in this program if that teacher weren’t here? Teachers move. They perform. They take new opportunities. Life happens. A healthy school cannot be built around one person. Choose teachers you trust. But also choose an organization you trust. Advocacy Is Important. So Is Trust. Parents should advocate for their children. You know your child in ways we never will. Tell us what they need, what they're struggling with and what they're hoping to accomplish. We need that information. But once you've chosen professionals you trust, give them room to do their jobs. There is a difference between saying: “This is what my dancer needs. Can your program provide it?” and “This is what my dancer needs. Please change your program to provide it.” Those are very different conversations. Sometimes We Aren’t the Right Studio. Alamo City Arts Academy is not the right school for every dancer. No dance school is. If another program offers exactly the schedule, philosophy, competition emphasis or environment your family wants, choosing that program may be the smartest decision you can make. We would much rather have that conversation before you uproot a dancer from a place where they are already established than discover three months later that you expected our program to be something it isn't. We don't want families to choose ACA because we convinced them we're “better.” We want families to understand who we are and say: “Yes. That's how I want my child to learn.” Because ultimately, we're not just trying to move dancers to the next level, variation, competition or role. We're trying to develop artists and healthy human beings who work hard, accept correction, treat people well, celebrate someone else's success and learn how to handle disappointment. Sometimes responsible training means adding another class. Sometimes it means strengthening the foundation. Sometimes it means performing. Sometimes it means resting. And sometimes a wonderful dancer and a wonderful dance school simply aren't the right fit for each other. That's okay. Choosing a dance studio shouldn't be about finding the school willing to promise you the most. It should be about finding the people whose judgment you trust when the answer isn't what you expected. And if another studio offers ballet seven days a week, PBT before breakfast, Variations at lunch and leaps and turns under the full moon, wonderful. That may be exactly what your dancer needs. We just haven't added Moonlight Leaps and Turns to the schedule. Yet. 😏 Every August, parents become project managers. There are backpacks to buy, lunch boxes to label, shoes that somehow no longer fit, teacher wish lists, school supplies, immunization records, schedules to memorize, and at least one child who suddenly remembers at 9:30 p.m. that they needed poster board for tomorrow.
Then comes the question I hear every year. "When should we start dance?" My answer is almost always the same. Before school starts. It may sound backwards. Most people assume they should wait until everyone settles into a routine before adding another activity. In reality, we've found the exact opposite is true. When your child begins dance or music before school starts, one part of your family's schedule is already established by the time that first bell rings. Your child already knows where to go. They've met their teacher, made a few new friends, figured out where their dance shoes belong, and hopefully discovered which parent packed the correct tights. Instead of adjusting to school, homework, dance, and an entirely new routine all in the same week, you've already checked one important thing off the list. That makes the transition easier for everyone. Even you. Dance Is More Than an After-School Activity Let's be honest. Kids have a lot on their plates today. Homework starts earlier than it used to. Expectations seem higher every year. Social media has created pressures many of us never experienced growing up, and even elementary-aged students can feel the weight of busy schedules. Adults usually have an outlet. We go to the gym, work in the yard, meet friends for coffee, or unwind with a favorite television show. Kids deserve healthy outlets too. Sometimes the best part of a student's day is walking into the studio, putting away their backpack, and spending an hour moving, laughing, creating, and not thinking about tomorrow's spelling test. Dance and music provide a chance to breathe, reset, and simply enjoy being a kid. The Arts Support Academic Success One of the biggest misconceptions about arts education is that it somehow competes with academics. It doesn't. Dance develops sequencing, coordination, balance, focus, discipline, and problem-solving. Music strengthens listening skills, pattern recognition, memory, language development, and mathematical thinking. Theater builds confidence, public speaking, collaboration, reading comprehension, and communication. These aren't separate from academic success. They're part of it. The funny thing is that students rarely realize they're building these skills because they're too busy having fun. That's often when the best learning happens. Why the Arts Matter I heard something recently that has stuck with me. Someone said that as long as schools are measured primarily by standardized testing, the arts will always struggle to receive the same attention as tested subjects. Whether you agree with that statement or not, it raises an interesting question. If creativity isn't on the test, does that make it any less important? I don't think so. In fact, I think we see evidence of the opposite every single day. We spend a lot of time talking about STEM education, and rightfully so. Science, technology, engineering, and mathematics have changed our world. But have you ever stopped to think about what most of us actually do with all that amazing technology? We stream music. We watch movies. We binge television shows. We listen to podcasts. We play video games. We admire photography. We scroll through artwork, choreography, graphic design, animation, and storytelling. Technology connects us to information. Art gives us something worth connecting to. The engineer built the iPhone. The artist filled it. Without musicians, filmmakers, dancers, actors, writers, photographers, designers, and storytellers, that incredible piece of technology becomes a very expensive calculator. The arts aren't the opposite of STEM. They're one of the reasons STEM exists. We build amazing technology because humans have an endless desire to create, communicate, and share ideas with one another. More Than Better Dancers One of my favorite parts of teaching isn't watching students become better dancers. It's watching the quiet child gain confidence. It's watching students encourage each other after a difficult class. It's seeing a child realize that making a mistake isn't failure. It's simply part of learning. Those lessons don't stay in the studio. They show up in classrooms, friendships, future careers, and everyday life. That is why I believe dance, music, theater, and the visual arts matter so much. They don't just teach students how to perform. They teach them how to think creatively, solve problems, persevere, and work with others. One More Thing to Add to the Back-to-School List So yes, buy the crayons. Buy the pencils. Buy the folders that will somehow vanish before Labor Day. But don't forget one of the most valuable back-to-school supplies your child can have. A place where they can move. A place where they can create. A place where they can discover what they're capable of. We hope Alamo City Arts Academy can be that place. Here's to a wonderful school year. We can't wait to be part of it. In the dance world, awards often become an easy shorthand for success. Titles, banners, and placements can be exciting and motivating, and competition absolutely has a place in dance education. But at Alamo City Arts, it has never been the lens through which we define excellence.
We are not a traditional competition studio. We are a performance studio. That choice has been intentional from the beginning. Awards and What Lasts I once heard Snoop Dogg talk about how he has never won a Grammy, but through a youth football program he created, dozens of kids have gone on to play in the NFL. He shared that those outcomes mattered more to him than any award ever could. That perspective has stayed with me. Awards are visible and exciting in the moment. Impact shows itself quietly, over time. Both have value, but they are not the same thing. How Competition Fits Into Our Program We do attend competitions. Thoughtfully and selectively. They are one of many experiences our dancers may have along the way. Competitions can offer stage time, feedback, shared goals, and wonderful memories. What we are careful about is not letting a single weekend define a dancer’s training, potential, or sense of worth. For us, competition is a tool, not an identity. Choosing Meaningful Opportunities Recently, one of our companies was invited to perform at the 190th Anniversary Gala for The Alamo. Accepting that invitation meant stepping away from a scheduled competition. It wasn’t a difficult decision. Performing for a historic civic event, representing our city and serving the community through the arts, offered our dancers a professional, purpose-driven experience. It placed them in a setting that required focus, responsibility, and artistry, and reminded them that dance has the power to connect, honor, and contribute. Those moments stay with dancers long after trophies are packed away. A Note on Ballet and Long-Term Training This is something I often share with families as dancers grow: Professional ballet companies, conservatories, and collegiate programs are not focused on competition titles alone. They look closely at consistency, training environment, and a dancer’s ability to handle daily class, rehearsals, and repertory. Summer intensives attended, invitations to return, and growth within structured programs often speak louder than rankings. Strong foundations, work ethic, and artistry are what sustain dancers over time. What We Focus On At Alamo City Arts, our priorities include:
A Personal Perspective As an artistic director, I try to be thoughtful about the systems I participate in and the culture we create. I have never been drawn to purchased recognition, and that belief naturally shapes how our programs are structured. From the beginning, we have made choices that balance opportunity with sustainability, and ambition with care. We are mindful of time, cost, and expectations, always asking what truly serves our students and families in the long run. Our goal has never been to build the biggest studio or collect the most banners. It has been to build something meaningful, lasting, and rooted in purpose. How We Define Success Success, to us, looks like:
Standing in Our Values There are many wonderful studios and many valid approaches to dance education. This is simply ours. We value performance over placement. Process over pressure. Impact over applause. And we are grateful to share that journey with our dancers and families. There is something special about returning to the studio. The music feels familiar, the space feels like home, and the excitement of moving together again reminds us why we dance. We are so excited to welcome everyone back and begin this next chapter of training, growth, and creativity.
As energizing as it is to jump back in, this is also the moment to be intentional. After a long performance season followed by a holiday break, it is completely normal for the body to feel a little out of sync. Muscles, joints, and even stamina may need time to wake back up. That is okay. Take it slow in those first few classes. Easing back into training helps prevent injury and allows your body to rebuild strength safely. Pushing too hard too fast can shock the system, especially after weeks of intense performances followed by rest and celebration. Progress does not disappear over a break, but it does need to be reawakened with care. Remember that dancers are athletes. Training is not just about showing up to class. It is about building strength, coordination, endurance, and mental focus over time. Just like any athlete returning from an off-season, dancers need a thoughtful approach to conditioning and recovery. Fuel matters. Healthy food choices give your body the energy it needs to train well and recover properly. Pair that with good hydration and consistent meals, and you will feel the difference in your stamina, focus, and overall mood. Sleep is part of training. A good night’s sleep is one of the most powerful tools for injury prevention and mental clarity. Rest allows muscles to repair and the mind to stay sharp, which is essential as schedules pick up again. If at any point you feel unsure, overwhelmed, or simply need extra help or guidance, please remember that we are always here to support you. Whether it is questions about pacing, conditioning, class placement, or overall wellness, do not hesitate to reach out. Asking for guidance is part of training smart. Our goal as we head into this season is simple: train smart, stay healthy, and avoid the pre-spring break burnout. This is a marathon, not a sprint. Strong foundations now lead to confident performances later. We are so glad you are back in the studio with us. Let us ease into the rhythm together and set ourselves up for a healthy, successful season ahead. October is one of my favorite times of the year in the studio. The energy starts to shift as rehearsals build, costumes arrive, and dancers begin to see all their hard work come together on stage. The holiday season is a time of magic, tradition, and community, and it is also one of the busiest times of the year for our dancers and families.
To help make this season as smooth and joyful as possible, I’ve gathered a few tips to set everyone up for success. 1. Focus on Physical Preparation Consistency is key right now. Encourage your dancer to attend class regularly and give their full attention during rehearsals. This is the time to strengthen technique, build stamina, and maintain flexibility. Simple habits like proper warm-ups, cool-downs, and hydration go a long way in keeping dancers healthy and performance ready. If your dancer is feeling tired or sore, that is normal as the workload picks up. Encourage them to listen to their body, rest when needed, and fuel themselves with nutritious meals and snacks. 2. Cultivate a Rehearsal Mindset The rehearsal room is where the magic happens, even when it does not feel glamorous. Mistakes are part of the process. They are how great performances are built. Remind your dancer to stay patient, trust the process, and focus on progress, not perfection. Visualization, quiet focus, and a positive attitude can make a big difference in how dancers carry themselves through long rehearsals. 3. Costume, Shoes and Logistics Matter Too A polished performance is not just about the choreography. It is also about the details. Now is the time to check that costumes fit properly, shoes are broken in, and accessories are performance ready. Make sure your dancer has everything labeled, packed, and in good condition. This small preparation helps avoid stress later when performance week arrives. 4. Support from Home Makes a Difference Parents and families are an essential part of every performance. Creating a calm, supportive environment at home helps dancers stay focused and confident. Some simple ways to help:
Encourage your dancer to set small, achievable goals each week, whether it is nailing a tricky sequence, improving a turn, or simply feeling more confident on stage. Celebrate the wins, no matter how small. These little moments build momentum. As we head into performance season, remember that every rehearsal, every count, and every moment matters. Our dancers shine brightest when they feel supported, prepared, and proud of their work. I’m so excited to share the holiday stage with each of you. Let’s make this season one to remember! One of the hardest parts of running an arts academy is knowing when to say enough is enough. We had to do it today. We love our students and families, and we want everyone to feel welcome here. But welcome does not mean we will accept toxicity in favor of growth or capitalism.
There’s a book I love called FIRE Your Customers by Humza Chowdhry. The message is simple: not every customer is worth keeping. Some drain time, morale, and resources and letting them go frees you to focus on the ones who bring real value. A few of the takeaways stick with me: quality is more important than quantity; disrespect and constant negativity are red flags; bad customers lower morale and drive away good people; and most importantly, staff should know that leadership will always back them up. By “firing” bad customers, you create more room for the ones who truly value what you do. If you have an issue or concern, come talk to Cory McRae, our President and CEO, or to me as Artistic Director. Don’t be a toxic presence in the lobby. Don’t take it out on our staff, volunteers, or dancers. We can talk it out, and yes, you can be upset with me, even rude to me if that’s where you are that day. We’ll have a bad day together. But I will not allow that energy to fall on the people who are here to teach, to give, and to learn. Cory and I have both witnessed firsthand what a toxic dance environment can do to students long before we came onto the board to Alamo City Arts. We have also seen how a toxic lobby environment can discourage parents from wanting to be a part of a program. Those experiences shaped us, and we are committed to making sure Alamo City Arts never becomes that kind of place. That means we have clear boundaries:
At Alamo City Arts, our mission is bigger than productions and classes. We are here to build community, to inspire creativity, and to help people discover themselves through the arts. That only happens in an environment where people feel safe, valued, and respected. So when I have to choose between tolerating toxicity or standing by my people, I’ll choose my people. Every. Single. Time. A behind-the-scenes look at why summer might be the most important season for young performers.
As the school year wraps up and families begin to shift into summer mode, it can be tempting to hit pause on structured activities like dance, music, and voice lessons. After all, kids need time to relax — and so do parents. But while a break is important, what often gets overlooked is just how much growth can happen in the summer months when students stay engaged in the arts. At Alamo City Arts Academy, we see summer not as a time to slow down, but as a season of opportunity. Summer classes offer a unique environment where students can build momentum, refine their technique, and explore new artistic challenges. With smaller class sizes and a more relaxed pace, instructors can give more personalized feedback. That focused attention often leads to breakthroughs in both skill and confidence. One of the most important benefits of summer study is consistency. Whether your child is a dancer, singer, or musician, progress requires regular practice. Extended time away from training often means students return in the fall needing to rebuild stamina and technique. Summer helps maintain that foundation — or even strengthen it. Summer is also the best time to prepare for upcoming auditions. At Alamo City Arts Academy, we hold auditions in August for our major programs: The Nutcracker, Alamo City Ballet Folklorico, and Alamo City Stage Company. Students who train during the summer enter the audition room physically ready, mentally focused, and ahead of the curve. Audition day is not the time to shake off the rust. But it’s not just about discipline and technique — summer at the Academy is fun. We build our schedule with energy and creativity in mind. Students can look forward to theme weeks, special treats, and early access to choreography for major productions like The Nutcracker, the Ford Holiday River Parade, and Las Posadas. They get to be part of the magic from the ground up, which creates a deeper sense of ownership and excitement for the season ahead. Summer also gives students the freedom to try something new. Whether it’s musical theatre, contemporary dance, or vocal ensemble work, our summer programs offer a variety of classes that aren’t always available during the regular year. This is a time to explore, take risks, and stretch creatively in a supportive environment. Ultimately, summer isn’t just a bridge between seasons — it’s a launching pad. The skills, confidence, and community built over the summer carry forward into the fall and beyond. Enrollment for summer classes is open now. We’d love to help your child keep growing, stay inspired, and have some serious fun along the way. For more about our philosophy, summer offerings, and audition prep, visit the Director’s Corner at AlamoCityArtsAcademy.org. Let’s make this summer one to remember — in and out of the studio. At Alamo City Arts Academy, we’re deeply invested in the growth and success of every student. When we evaluate whether a dancer is ready to move to the next level, it’s not just about talent—it’s about readiness, responsibility, and consistency.
If your dancer wasn’t promoted this time, it’s not a reflection of failure. It’s a sign that we want to give them the time and structure they need to thrive. Here's what we look at and why it matters: 1. Attendance, Timeliness, and Uniform Are Non-Negotiables Before technique even comes into the conversation, we start with the basics. These are the first and most important markers of readiness:
We know younger dancers don’t drive themselves. So if a child is often late or missing class, we also consider whether the family as a whole is in a position to support the expectations of the next level. That’s not judgment—it’s part of the reality of managing growth and success. 2. Technique and Development Take Time Once a dancer shows consistency, readiness, and respect for class, we evaluate their technical development. Not all dancers progress at the same rate—and that’s okay. We want students to feel confident, strong, and capable in their level. Moving up too quickly can do more harm than good. Students blossom at different times. Some need an extra semester or season to fully develop strength, coordination, or maturity. Holding a dancer in the same level allows them to master their foundation and step confidently into the next phase when they’re truly ready. 3. We're Partners in Your Dancer’s Success Our goal is never to hold anyone back—it’s to set every dancer up for success. If your child wasn’t promoted this time, it’s because we believe they’ll benefit from more time to grow, refine, and build the habits that lead to long-term success in dance—and in life. Have questions? Reach out. We’re always here to have a conversation and partner with you in your dancer’s journey. At Alamo City Arts Academy, we get asked all the time, “When can my 7-year-old who has danced for a year do pointe?” or “I’m 13 and just started ballet—why can’t I go on pointe?” We know it’s exciting to dream of dancing en pointe, but the truth is, pointe work is not just about age or enthusiasm—it’s about physical readiness, strength, and proper technique. That’s why we have strict criteria to ensure our dancers are prepared before making this big step.
Why We Do Not Allow Dancers Under 12 to Begin Pointe The bones in a dancer’s feet don’t fully develop and harden until around ages 13-15. If a dancer starts pointe too early, before their feet and muscles are strong enough, it can lead to serious and even permanent damage. That’s why we require dancers to be at least 12 years old and meet other specific criteria before they are considered ready for pointe. We follow international ballet guidelines set by organizations like the Royal Academy of Dance (RAD) and the American Ballet Theatre (ABT) National Training Curriculum, which emphasize that pointe work should not begin before a dancer is physically prepared. Even the Youth America Grand Prix (YAGP), one of the world’s most prestigious ballet competitions, does not allow dancers under 12 to compete en pointe, reinforcing the global standard for pointe readiness. Pointe Readiness Criteria To safely advance to pointe, a dancer must meet the following requirements:
One of the biggest factors in pointe readiness is consistent training. A dancer who only takes one or two ballet classes a week or frequently misses class will not develop the strength, technique, and muscle memory needed for pointe. Pointe work is demanding and requires a strong foundation built over time. By attending class regularly, dancers ensure they are strengthening their feet, ankles, and core to handle the extra stress of dancing en pointe. Exercises to Prepare for Pointe Work If you’re eager to get on pointe, the best thing you can do is focus on building strength, flexibility, and balance. Here are some key exercises to help prepare: Strengthening Exercises
We know that many young dancers are eager to go on pointe, but we always prioritize safety and long-term success over rushing the process. Our goal is to guide dancers through this exciting milestone when their bodies are fully prepared, reducing the risk of injury and setting them up for a strong future in ballet. If you have questions about our pointe readiness criteria or how to prepare, talk to your instructor—but please respect their decision and remember that they are looking out for your safety. |
AuthorKatie Rodriguez Hall is Artistic Director for Alamo City Arts Academy, dedicated to inspiring growth, creativity, and connection through the power of dance. Archives
September 2026
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