When Can Dance Lessons Become Kid Stuff?

She was dubbed “Little Miss Miracle,” and few people have dominated the silver screen with more authority than Shirley Temple, the dimpled child star of the 1930s. How the effervescent 4-year-old sprung full-blown into stardom in the midst of the Great Depression is one of Hollywood’s and America’s own miracles.

It was Shirley’s dancing prowess that first caught the eye of a Hollywood scout back in 1932. A movie part ensued, and the rest, as the saying goes, is history.

Child stars are out of vogue in filmdom today, but there’s a new pot of gold in television commercials awaiting selected members of the small-fry set. And while dance training remains an excellent point of entry to the profession, one needn’t be bitten by the show biz bug to benefit from lessons. Dance training is a wholesome activity, and it can be a rewarding introduction to the arts.

When should the lessons begin, and how do parents choose the right dance school?

Shirley Temple started training at age 3, but most dance educators caution against attempting too much too soon. Though preschoolers aren’t ready for the rigors of ballet, some local dancing schools offer exposure to creative movement, improvisation and musicality to children as young as 3.

This unstructured form of artistic expression can have lifelong benefits for any girl or boy--if it is presented in an atmosphere of fun and acceptance.

“Creative dance is so important to children,” said Nancy McCaleb, first associate choreographer of Three’s Company. “If they start under 5, they can learn to express themselves freely and without inhibition. They usually lose that quality if they wait too long to begin.”

“If the teacher stresses rhythmic games, 3 or 4 is not too young to start,” agreed Don Ward, co-artistic director of Starlight Bowl.

But not every dance professional believes the classroom is the best environment for developing creative expression.

“I always get calls from mothers who ask me where to send their 4- and 5-year-olds who just love to dance,” Elizabeth Bergmann, director of the San Diego Institute for Arts Education and former head of the dance program at the University of Michigan.

“I tell them to hold off as long as possible--until the child is 9 or 10--and keep putting on music for the children to dance to on their own. As long as the child is creative, try not to channel it.”

Bergmann is not opposed to organized programs for young children if the accent is on creativity--and if parents have realistic expectations about the results.

“Some mothers complain to me about their child’s experience in creative dance,” she said. “They tell me, ‘The children aren’t learning anything.’ But, if they’re experiencing their bodies in space, that’s a wonderful benefit.”

What constitutes creative movement? According to Stage Seven’s Kathryn Irey, creative movement should consist of “basic locomotion, marching, skipping and jumping,” not formal steps. Stage Seven doesn’t start children off in pre-ballet lessons until age 6.

“With the influence of television, kids don’t go out and play hard anymore,” Irey said. “Many are lacking in basic coordination and movement. Creative movement can build up their bodies, teach them skills, and encourage them to use their imagination to create stories and little dances.

“And it’s important for children to be aware of their instruments,” she said. “They learn more about their bodies and they can learn self-esteem through the dancing school experience. But remember, they shouldn’t study serious ballet until they’re about 10. Even the Bolshoi doesn’t audition children until then.”

Former New York City ballerina Lynda Yourth of the American Ballet School introduces children to “a sense of movement” at age 5. “But I don’t recommend starting ballet before about 7 to 9. You can start modern (dance) at about 7 and 8.”

Some professionals feel dance is preferable to pure athletics for youngsters.

“Dancing trains the mind as well as the body,” Yourth said. “You have to think about form and finesse. It’s not just a matter of throwing the ball into a hoop. You have to pay attention to how you do it.”

“Dancing is wonderful for kids,” said Wendy Cochran, a guest dancer in San Diego County schools. “If you don’t put any pressure on them, it reinforces social and motor skills and helps spatial awareness.”

Sylvia Palmer Zetler of the Black Mountain Dance Foundation tells parents of preschoolers to find an atmosphere that nurtures young minds as well as bodies.

“Make sure the children are having fun,” she said. “They must never be severely disciplined. That can discourage a talented child from ever becoming a dancer.

“We teach them the name of the positions so children know the terminology, but no turnouts,” she said, referring to the extreme position of the hips that characterizes classical ballet.

“Just exposing them to the exercises, singing and dancing, and giving them some structure helps children,” said Maxine Mahon, director of the California Ballet School. “I do certain elements of barre work, but the young children do it on the floor because they’re not ready for ballet until about 7. They can learn creative dance and movement, muscle development and structure, and they even learn how to point their toes and stretch in pre-ballet class.”

Not all the local dancing schools offer classes in creative movement as part of their dance curricula, and ages for admission vary from program to program. Parents should shop around for a school that is right for their child. The one closest to home may not be the best bet.

Even if the goal is enrichment--as opposed to a career--the child should be taught the correct technique. Bad habits die hard, and it’s easier to learn proper technique in the first place than to unlearn the wrong way.

A neighborhood school is fine as long as the level of instruction is satisfactory, said Three’s Company’s Betzi Roe, a dance teacher in the public schools and at Idyllwild’s prestigious summer arts program.

“The most important thing to watch out for is the relationship between the teacher and the children,” she said. “And let the children ask for lessons. Don’t force it on them or they won’t stick it out.”

Denise Dabrowski, the city’s leading ballerina, began her training at a program sponsored by the La Mesa Parks Department, then transferred to the California Ballet School at age 10.

“I got to try a lot of different kinds of dance in the parks and recreation program, but when I knew I was serious about dance I looked for a company-based school, where I could perform,” Dabrowski said. “Now, I’m a teacher myself, and one thing parents should look for is the amount of personal attention a teacher gives each child.

“It’s good to have graded levels in the school so a child has something to work toward and look forward to.”

What fringe benefits did Dabrowski get from dance that extend beyond her abilities as a performer?

“You learn a lot,” she said. “You learn how to work with a group, how not to get discouraged when you’re going through a difficult period, and you learn to set goals for yourself,” she said. “Dance teaches you to discipline yourself. But it’s also important for dance to be fun.”

Although not even the experts agree on the best course of action or the right timetable, they do agree on the value of exposing children to dance training, whether or not a career in dance is on the horizon.

Intuition and a little homework can clear up some of the confusion. Even if parents don’t know a thing about the art of dance, there are some basic steps that can help in making a more intelligent choice.

How does one select a dance school?

Check out the teachers, the experts say. Look at their credentials and see what type of training they bring to the classroom. Not every good dancer can teach children.

Observe the classes. Parents may not be welcome underfoot, but they can learn quite a bit by watching from a quiet corner. See how the teacher handles the children and if there is good communication and rapport. How much time is available for individual instruction?

Do the students seem to be enjoying the class, or is there too much emphasis on perfect placement, turnout and alignment? Is the teacher encouraging the students to develop an awareness of their own bodies?

Look for undue strain on the lower back, knees and feet. The notion that it is necessary to suffer through class is as dead as the dinosaur.

Is there any creative time in the classroom? Or are the lessons so structured they are likely to stretch a child’s attention span to the breaking point?

Look at the older students as well. If musculature appears overdeveloped, maybe the training is too harsh. Well-trained dancers’ bodies don’t have bulging thigh and calf muscles.

As Mahon recalled: “When I was 16, I had to reshape my legs because of my old-world training. Teachers should understand anatomy and physiology and know how to create good bodies.”

How do the teachers interact with the children? Are they strict and critical, or is the atmosphere congenial and conducive to having fun? Teachers should be instilling a sense of style and aesthetics to their young charges and communicating the sense of joy and fulfillment in dancing.

The question of putting girls on pointe is often a controversial one. Most professionals agree the bones of the feet are not strong enough for pointe work before a girl is at least 12 1/2 to 14 years old.

What about the special needs of boys? As porteurs of the ballerinas, they require extra body-building activities, and they should have a different “look” from the girls when they move.

“Boys should be taught differently. They need to use their arms and legs in a different way. The program should be geared to them,” said Zetler.

Cement floors are murder on the feet. Look for a wooden floor with spring to it. Vinyl coverings on cement won’t provide enough protection for the dancers.

Cochran suggests parents confront the question of their own values when selecting a dance program.

“Do you only want your kids to perform in recitals with glitzy costumes, or do you want artistic integrity? For many parents, dancing school means recitals in cute costumes, nothing more. But it has much more to offer.”

Performing is an integral part of most dance programs. And it can be a big confidence builder, even for youngsters who don’t aspire to professional status. However, look behind the scenes as well. There is more to evaluating a dance program than sizing up its annual “Nutcracker.”

Plenty of dance schools are scattered around San Diego County, so take the time to find teachers who are knowledgeable about their technique and about the human body. Talking to other parents about their experiences can help. Find out what they like or don’t like about the programs. Check several schools before making a choice.

Despite a plethora of dance styles, most of the schools that cater to children in the county focus on ballet. Some offer tap, jazz, acrobatics, modern and other combinations, along with the classical training. And a few specialty schools teach ethnic dancing.

How much do lessons cost?

Most of the local schools are competitively priced--in the $7 range for beginners for hourlong classes. But as the child progresses, the lessons increase to two or even three or more times a week, and the hourly rate drops in proportion to the frequency.

Tuition costs need not be a stumbling block for any child, however. The San Diego Civic Youth Ballet, housed in Balboa Park, offers training in pre-ballet, classical ballet and even modern dance (if there is sufficient enrollment). And this city-sponsored school offers eight-week sessions for beginners for $20. The rates are even lower for disadvantaged children.

Insiders rate this program on a par with many of the private schools, although there may be less individual instruction. The children perform twice a year at the Casa del Prado.

Some of the private schools offer scholarships for promising youngsters. And boys are in such short supply that a talented young man can often receive his training at a top-notch, company-related school on complete scholarship.

Despite ever-expanding opportunities for male dancers, however, girls still outnumber boys in dancing school by a wide margin. The stigma of dance as “sissy stuff” remains a barrier, even in this post-Villella, Nureyev and Baryshnikov age.

Paradoxically, ballet dancers consistently rank higher on strength and endurance than any other athletes. And even football players are encouraged to build up their bodies at the ballet barre.

Enrichment is one thing, but how do parents decide if their child should pursue a career in dance?

“Basically, it comes down to the decision of the kid,” said Yourth. “Sometimes a gifted kid isn’t motivated for a career, even though they are well-suited for it. Others would kill to make it, but they don’t have what it takes.”

When the time comes to decide, remember that the dance program should be responsive to the special requirements of the serious student, without neglecting the needs of the others.

Most upper-level dance programs veer in two directions. As Yourth noted: “We take kids out of the pressure cooker if they’re not serious about a career. They’re not ostracized, but we have two different programs.”

Irey warns that “if a teacher makes an emphasis on a career, it can destroy the experience and give the kids a guilt trip.”

Again, take cues from the child. But be prepared for a heavy commitment if the budding ballerina aspires to professional status.

While frequent lessons can become costly, dance training compares very favorably to music lessons, which can cost anywhere from $10 to $25 per half-hour of instruction.

San Diego is not a dance capital. Nonetheless, its track record for turning out trained dancers is impressive. Alumni from local dance schools are performing with professional companies all over the country and throughout Europe. Others have hit it big on Broadway. Visiting artists working with local dancers generally praise their technique and professionalism. Apparently the schools here are doing something right.

For every youngster, regardless of his or her goal, the study of dance can be an enriching artistic experience that builds body and mind, friendships and self-confidence.

However, the bottom line, as with most things involving kids, is that it’s fun.