Etiquette in the Ballet Studio

It occurred to me recently that one of the many things I’ve learnt unconsciously is that there is an etiquette in the dance studio. It’s not something teachers will talk about explicitly, unless driven to, which can make it difficult if you’re relatively new and suddenly you find yourself being GLARED at by the stalwarts.

(Thanks to Google for this image. I don’t know where it’s from, but it made me laugh.)

I am a confessed Glarer, but when I’ve gone away and thought about it, it’s rather silly. We are all adults, we are all paying equally to be there—why then do some of us prance around with an air of superiority and “I know what I’m doing”?

I think this etiquette derives, yes, from some of us experiencing more disciplined classes and bringing that expectation with us, but it also comes from seeing how to make things work efficiently. That is, we have seen that if you do things a certain way, it creates more space, gives more time and means that your arm is not flung in someone’s face.

Yes, the Glaring can be excessive on occasion, but there is also some sense behind it.

And so I thought it might be useful to put together a few helpful tips for anyone braving a new studio and wishing to become a Glarer and not a Glaree*. (*Wherein the writer enjoys the excuse to make words up.)

At the barre

The barre is a funny place. It’s a bit like a favourite coffee shop in that we all have our ideal spots, where we feel the most comfortable and at ease. When we stagger cheerfully to our seat and Someone Else is sitting in our seat, it’s very unsettling. How DARE they?

At the barre, some like to be at the front where there is a decent view of the teacher. To others, such as myself, being in the middle is much more comfortable—when I forget what comes next there is someone ahead, on either side, who can lead the way.

I haven’t yet met any mad person who actually likes being right at the end. This is because, whilst at the front and on the first side, there is the chance the teacher will demonstrate the exercise, but by the time everyone has turned to the back to repeat on the second side the teacher thinks you’ve got it. In reality, many of us haven’t, so who do we look to? The person now at the front.

You might well be rethinking your favourite spot now, if you are indeed that mad person.

But the point of it all is that we have our favourite spots and as we become accustomed to a class and studio, we get used to who likes to go where.

Enter the Newbie.

Now Newbie is perfectly lovely, if and when people take the time to know her, but in a fit of enthusiasm she takes Stalwart’s place at the barre.

GLARING ensues.

It is here I would like to say, most particularly to the Glarers amongst us: it doesn’t actually matter. And most Stalwarts shrug and find somewhere else, but there are some who instead Glare.

So, if you’re braving a new class, perhaps wait a few beats before finding a spot and let the Stalwarts take their place. Soon enough, you’ll be Stalwart and everyone will know where you like to be.

Spatial awareness

Spatial awareness: find it.

That sounds dreadfully blunt, but to illustrate the point, imagine, if you will, the bullet evading scene in The Matrix, except with one dancer bending backwards to avoid another dancer’s flying limbs.

I can’t tell you how often someone new has backed into me or started so close behind me in an across-the-floor variation that I’ve almost been bulldozed.

Please remember to give those around you enough space to move properly. Give yourself that space to really dance an exercise.

And do not move backwards at any point without looking to see who’s there. Most particularly, when you have finished an exercise across the floor, keep moving forwards and out of the way of the next group.

Standing at the front

I have admitted in the past that I am one of the ‘misfits at the back’ during centre work. The reason is quite simply that I do not like the idea that someone might follow me—I want to figure the exercise out in peace.

However, the back is also the most ‘tactful’ place for someone newer to the class and newer to the level.

Dancers with more experience and confidence can often be found at the front and, actually, this is quite helpful to those of us in need of following someone who knows the steps. But I do understand that there is a need to see the teacher, and ourselves in the mirror, and being at the back might make this awkward.

Hopefully other dancers in the class space out relatively evenly and those in the rows behind can find a spot with a clear line of vision to the teacher and the mirror.

If you find yourself in a position where you can’t see, perhaps there is a place with a better view or a ‘Would you mind moving a little to the left?’ has not ended in any fisticuffs that I’m aware of.

The other problem with standing at the back

The trouble with standing at the back is that many of us are inclined to do so, whether we’re new or not. It’s a comfortable place to hide.

This ‘trouble’ combined with that of spatial awareness, or a lack thereof, often means there’s a cluster of dancers all trying desperately not to be seen and it begins to feel a bit like this:

So here’s where logic needs to be applied. If there is no space at the back—and by ‘space’, I mean room to dance—do not force yourself in.

You will be Glared at. Possibly by me.

Look for a decent gap, perhaps in the second row from the back and be content with that.

Across the floor

“From the corner!”

This is a familiar cry heard in dance studios all over the world. It’s the point in the class where we move from the slower centre work to exercises that move from the back corner across the floor. These exercises might be pirouettes and posé turns or, later on, grand allegro.

Depending on the size of the class and the studio, dancers perform the exercise in small groups. Everyone lines up near the back corner and there’s a sort of conveyor belt of dancers progressing up the line, into the corner and then across the floor (of course, with grace and energy).

There are three points of etiquette to note here. First, do not get in the way of the group that is about to go. I know that often we are trying desperately to figure out what the steps are and we feel the need to mark the steps, following the dancers in the groups ahead. It’s perfectly understandable, but make sure you do this where you’re not likely to have someone fall over you.

The second point: if you find yourself at the front of the line, do not shriek and clasp your hands in horror. GO. Keep that conveyor belt moving smoothly. The chances are you will have another opportunity to try the exercise and the teacher will most likely go through some steps to help clear up any confusion. But please don’t hold everyone else up.

And third, if you really don’t know what you are doing, wait until the end. Try not to get in the way of dancers who do know what they are doing. Although it sounds a little harsh, it is not fair to disrupt another’s turn. It is also a question of safety, not tripping up anyone else or being tripped yourself. Being at the back also means you can take your time, get behind the music if you need to, to figure the steps out. It is perfectly acceptable and something we’ve all done.

Now, my wonderful editor worried that such a piece might make someone nervous about going to a class for the first time, so I wish to assure you that this is not my intention at all.

But perhaps it is worth finishing with an apology. As a Glarer, I would like to apologise to any Newbies who have felt the sting. Please do not be intimidated. You are welcome; you deserve to be there. However, please do remember that the Stalwarts have an inkling of how to keep things running smoothly and safely for all. Because, ultimately, Stalwarts and Newbies alike just want to DANCE.