Why Your Dance Students Are Acting Out – And What You Can Do About It!

At some point in their career, even the most accomplished of dance teachers is going to run into an unruly class. It can be incredibly frustrating as an educator when you feel like you are giving it your all, but your students are just not having any of it! Disruptive behaviors are not only irritating to the teacher, they can ruin the class experience for the other students and even lead to injury or other safety concerns.  There are many reasons why dance students misbehave in class, some of which are out of the instructor’s control. That being said, there are a few real, concrete steps that a teacher can take to help manage their classes’ behavior more effectively.

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Here are my top 6 reasons why your dance students aren’t behaving – and what you can do about it:

1.) The students do not know the expectations. We take for granted that dancers know how they should act in class, but too often that is not the case. This can apply to students of all ages! For example, teaching an adult ballet class a while back, I assumed that the participants would know not to walk back through the dance space while another group was dancing. This was not the case, and we only nearly avoided disaster! Making assumptions about students’ knowledge of studio etiquette can lead to unintentional negative behaviors.

  • What you can do about it: Explain the expectations for appropriate behavior at the beginning of the season, and remind students of them often throughout the year. I recommend taking a multi-pronged approach, with rules posted prominently in the studio, sent home to families in a handout and email, and explained verbally to students and parents.

2.) The expectations are not enforced consistently. Pre-school and middle school students in particular are often hyper-attuned to the idea of “fairness.” They are very aware when some students get away with negative behaviors and others don’t. When they see that expectations are not enforced consistently, either within a single class or across the studio, then they are more likely to try to test the limits themselves.

  • What you can do about it: Be consistent – which is not as easy as it sounds! It can be tempting to let certain things slide now and then, whether it is because a small infraction doesn’t seem like a big deal in that particular moment, or because you are tired and frazzled and don’t want to get into a big discipline thing, or because you are worried about fallout from the students’ families. I promise you, though, that it is far easier in the long run to deal with negative behaviors immediately and consistently across the board. It is also important to make sure that all faculty are on the same page with behavior expectations and consequences. If students are used to “getting away with” certain behaviors in one class, it will naturally feel “unfair” when another teacher tried to correct those behaviors.

3.) The students are bored. In a perfect world, students would have the self-motivation to engage themselves in every lesson, regardless of the content or presentation. But we all know that isn’t the case. Boredom can be the result of a number of issues, which vary based on the students’ age and development. Younger and less mature students often don’t know how to handle boredom, and act out as a result. When even one student is feeling bored in class, the resulting behavior can spread like a bad cold and infect even our most well-behaved students.

  • What you can do about it: Keep things interesting and keep class moving. Unfortunately, we are working against a societal culture that is fast-paced, instantly gratifying, and overly stimulating. We want to help our students learn to slow down, to self-motivate, and to focus, but need to meet them where they are at in order to reach them with these lessons. Don’t be afraid to change things up frequently, especially when students are showing signs of boredom. This can be as simple as changing facing away from the mirror, incorporating partner activities, playing unexpected music, or “gamifying” an exercise to give it an aspect of playfulness. Research has proven that students learn through play –  so don’t be afraid to embrace it!

4.) The level of the class is not appropriate. When students are not feeling challenged, or when they can’t keep up, they are likely to act out. It is critical to make sure that you properly evaluating and assessing students throughout the year, and adjusting class material accordingly. As I like to say, “You have to teach the students in front of you, regardless of what the schedule says.” This may mean stepping back to review basic concepts until students feel comfortable with them, or challenging them with more advanced material from the curriculum if appropriate.

  • What you can do about it: Sometimes it is impossible to avoid a situation where there are mixed ages and levels in the class. In this instance, differentiation is key. Differentiated instruction is an educational term that essentially means the teacher tailors teaching methods and activities to meet individual needs. In the dance studio, some ways I use differentiation are:
    • Providing multiple versions of the same exercise and either assigning students to or letting them chose the easiest, intermediate, or most advanced option.
    • Mixing students up for group work, so that sometimes the more experienced students have a chance to work together and push one another, and other times they work with less advanced dancers and become leaders in the group.
    • Using highly structured improvisation to help students make their own personal discoveries about their technique and artistry.

5.) Your expectations are not realistic. A group of five year olds is just not going to be able to stand quietly at the barre for 30 minutes or drill choreography for an entire class. It is vital to take into consideration the students’ age, development, and maturity when designing curricula, lesson plans, and behavioral expectations.

  • What you can do about it: Use educational standards, such as the National Core Arts Standards in Dance, to make sure that you are teaching content that is age and developmentally appropriate. Consider the students’ maturity when making your lesson plans. A pre-school class or group of adolescent beginners, for example, will need shorter exercises, more frequent change-up of activities, and more clearly defined transitions between the parts of class. Experienced dancers can be expected to concentrate longer and more intently on a single concept or exercise, and might need more relaxed transitions to give them a “break” between periods of focused work. Younger students who are still developing critical social and emotional skills need lots of positive reinforcement and gentle correction and redirection when they break the rules. Pre-teens who are trying to test boundaries need rules to be enforced strictly and consistently, as they often secretly crave order and structure even as they rebel against it.

6.) There is something deeper going on. When all of the above fail, it might be a sign that there are underlying issues at home, in school, in other classes, or with their peers. Part of our job as educators is to cautiously and compassionately address these concerns and help our students navigate them through their dance training.

  • What you can do about it: Talk private with the student first, then their family if appropriate. Bring the studio owner, program director, or other teachers in as needed. Always be sensitive to the students’ privacy and never share confidential information with their peers or other families. Direct them to support services you are able. Most importantly, be a supportive, positive force in their lives.

When students act out, it can feel overwhelming, disheartening, and frustrating. We as teachers put so much of our heart and soul into every lesson, and when students respond with unruly behavior it can even feel like a personal attack. It is important to realize that kids act out for a variety of reasons, but with simple adjustments to how we teach, we can often address the roots of these behavioral issues and help our students make better choices in the future!

If you are interested in more information, including a personalized system of behavior expectations and consequences for your studio; student assessment and evaluation tools; strategies for incorporating creative movement, play, and games into your technique classes to improve technique, artistry, and behavior; or professional development in behavior management for your faculty, contact me!

 

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