About

Crickets dance is owned and operated by a mother daughter team,  Cricket and Jan Radcliff.  The mission of Crickets dance is to  offer  dance consulting, and provide informative views, opinions, and instruction, regarding competitive and technical dance training and drill team.

Crickets Dance serves a diverse clientele of dancers ages K-12 (and adult).  Our clients are often self-referred, and seek out our services for technical training in ballet, contemporary, and jazz  performance dance.  Our client relationships are generally long term, and involve face-to-face instruction in a studio type environment.  Our clients are looking for that edge in technical abilities that will help them or a team better prepare and perform at state and national dance competitions.

Our secondary clients include local dance studios who hire Crickets Dance to work with their students in a studio setting to instruct them in ballet and other forms of dance technique, and with instructional choreography.

 Who we are

C r i c k e t  R a d c l i f f ,  O w n e r

Cricket  Radcliff  received  her formal education from Utah State University.  She holds  two degrees including a degree in  business  from the Huntsman’s School of Business.

BALLET

Cricket began retraining to become an instructor for beginner ballet classes, under the tutelage of Belinda Hurst, who studied at the University of Utah Department of Ballet (Ballet West). She assisted in ballet, pre-pointe and pointe classes. She studied under Belinda Hurst since age 3 ½, for a total of nearly 15 years, and went en pointe at age 9, and began assistant teaching at age 15.

In high school she  studied summer intensives under Kelly Hudgins, former professional  ballerina for the Texas Ballet.

JAZZ/LYRICAL/MODERN

The portion Crickets team preparatory-instruction in jazz, was through Becky Ripper at the Red Rock Stars Dance Studio. Lyrical instruction was through Belinda Hurst. She  also took individual instruction one-on-one with top solo instructors from the Moab area for over 10 years.

Cricket was responsible for training and testing students on the dance challenge routines from beginner through advanced. Students leveled up by passing off all the technical skills on each level including combination skills in ballet, jazz, and tumbling. There are eight technical levels to advanced. She is well versed in classroom training, and has worked many years as a smalls team instructor/choreographer. She has  worked with and instructed classes as large as 45 students, learning entire camp routines and teaching them to students and other instructors. She also has assisted in both team and production/novelty choreography for both regional and national dance competitions.

SOLO INSTRUCTION

Cricket has worked with dozens of soloists and a numerous duet groups. Her studies in this area were a reflection of teachings from former top instructors, Stephanie Davis, and Charlotte Walden.  She specializes in individual  training.

TUMBLING

Cricket began tumbling at age 6 with American gymnast instructors. She later was instructed by Belinda Hurst at the Red Rock Stars Studio. She works with students who can show a level of skill and confidence necessary for solo competition.

Cricket has recently taught at the Moab Academy of Dance as a team and solo instructor.  She also continues to work independently providing summer intensive camps, and individual technical and solo training.

J a n   R a d c l i f  f ,  D i r e c t o r   

10847957_10152659628058422_6578456198006827301_nJan  Radcliff received her undergraduate degree in Business Management from the Huntsman’s School of Business. She also holds an advanced master’s degree in Instructional Technology and Learning Sciences from Utah State University.  Her expertise is in “learning how people learn”, and then developing training platforms for them to learn from.  Her abilities to communicate and collaborate effectively both in person and at a distance are some of her leading strong points.  She has  experience building productive and positive relationships with diverse dance partners.   Jan’s understanding of dance is admirable, and she truly enjoys co-assisting with choreography.  She thrives in a dance setting, and works efficiently for Crickets Dance as a dance consultant and web developer.   As Jan would say “I love to color – digitally”.

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Our methods

  1. The Cecchetti method is a ballet training method devised by the Italian ballet master Enrico Cecchetti (1850-1928). The method is a strict training system with special concern for anatomy within the confines of classical ballet technique, and seeks to develop the essential characteristics of dance in its students through a rigid training regime. The goal is for the student to learn to dance by studying and internalizing the basic principles, in an effort to become self-reliant rather than imitating the movements executed by their teacher.

Working with technical instructors

06 photo shoot2 055Students who work with technical instructors fair better than with  the non-technical.  The problem comes when the student has to work with too many non-technical trainers.  That is when you start to see your student falling behind. When the non-technical teachings override the technical, you are setting your student up for failure. The effects are almost immediate.

The trade off for glittery  glamour and fancy costumes are no substitute  for technique. I find this hits home a lot in the ballet and technique courses taught at some studios.

A  good  rule of the thumb is that everyone should teach the same form of technique.  You must  be consistent.  However,  if you allow someone who has no formal background in ballet technique to be your lead,  you do your students a disservice. You are in a business, and you are supposed to hire the best, and to offer the best product you can.  Emotions and feelings will not build your studio.  True talent will.  

Take a good look at your studios top dancers.  Did you really train them or did someone else?  Have you taken the credit for someone else’s work?   What would happen if you lost that instruction?      I can tell you that your level of technically trained dancers will decrease.  If you aren’t teaching proper technique, you may have a nice sparkly show, but it won’t pay off in the end at competition.     As a competition judge – I’ll bust you on the technique score sheet.  Because I can, and because I should.  Dance is a discipline after all  – and you are there to compete and be judge.  If it weren’t for judging you wouldn’t show up.  Think about it. 

 I’ve watched this technique formula unravel recently as a newer off shoot studio had its dancers level up, and in many ways is beginning to pass the older studio.  It’s about being willing to WORK!  If it were a popularity contest there would be a lot more people beating down the doors to work for you.  At some point studio owners have to face the hard cold facts.  What is technique, and how does it effect my bottom line in the long term investment of my business?  What a concept “long term investment”. 

Studio’s need to hire the best.  But if the best is only versed in one style of dance, and  has little or no formal back ground in ballet, you only have short term profits to look forward too.  Dance styles change constantly, technique is here to stay however.  Your long term investment is in investing in someone who will discipline your students to be consistent and hit those movements every time.  That investment should include training the trainers as well. If your instructors are not on the same page from preschool to 3rd grade levels, your top levels will be weak and sporadic to say the least.  Those per former years are mandatory for  so many reasons.  From 3rd grade through 9th grade, you will have growth issues to content with.  You must have instructors who understand those growth spurts and can help student to re-learn technique. Their young bodies are developing, and muscle and bone growth is tremendous.  Example: The bones in the foot of a point ballerina.

Chances are, if you have neglected technical training for your dancers, your top dancers are getting training from someone else outside your organization.  So, back to the questions “Take a good look at your studios top dancers.  Did you really train them or did someone else.  Have you taken the credit for someone else’s work?”  Are you giving a non-technical short term instructor credit for years of someone else’s instruction. Possibly destroying hard learned technical disciplines to boot.

Look at your business as “a business”.  New and shiny is always enticing, but the true and proven, hard core disciple of dance is rough, and controlled, and has long term payouts.

 

Turns and Leaps!  Dance on !

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Crickets Dance Camp 6/16-17 Father’s Day Special!

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It was fun to see everyone today.  Had a lot of fun!  Tomorrow is hip hop – yea!!!  Thanks to Malina (Grand County High School Devilette) for helping out!  It is fun to get together on the off season and work together.

Learning the dance to Bombay was a good experience.  I was proud to see everyone remembered most of the dance at the review at the end.  You guys looked awesome.  Can’t wait to see what you do with the Hip Hop tomorrow.

I look forward to working with may of you this next year with your individual solo’s , team and ballet  classes.  

 

Inexperience vs. Experienced

Be careful when you choose who you will dance with, and where.   Also, know something about the different type of dance degrees available , and how they compare against other degrees, or up against an experienced dancer/instructor.

Someone with a two year degree in dance (associate level), has basically taken pre-dance classes. “PRE”…or the general ed’s of dance. They have only taken the pre-classes that might help them gain entry into a bachelors (BFA), or masters (MFA) program. A two year degree is no guarantee you will make it into a real dance program. Most professional schools of dance require a tryout / audition(uofu’s modern department link), as well as a host of other preparatory physical skills.

A number of two year programs really do not offer all the prerequisite skills  that will be necessary to enter into a four year and/or major university dance program. Two year programs offer very little real technical  dance experience above the entry level.

You would be better off  going to a university and auditioning, and getting into a real program.  Auditioning is the only way in, and if you do not have the necessary technical dancing skills, the competition will be overwhelming to you.

To better understand, think of  dance levels as categories, starting with beginner, then intermediate, advanced, elite/varsity, and then pro. A two year course is pretty much beginner to intermediate. I doubt any instructor at a two year institute would lead their students to believe they were anything above that level.  You don’t see a lot of two years dancing on college level dance teams and performing before large audiences of 40,000 or 50,000 people.  Two years are the beginners, and may perform at recitals.

Be careful, don’t let someone lead you into something that will cause you to embarrass yourself.  Chances are they have political and/or money motives in mind, and not your best interests.

A four year bachelors of Fine Arts (BFA)will give you a much better understanding of what will be  necessary  for you to learn as you embrace the dance profession.  A masters degree (MA) (MFA) is a specialty degree.   To teach at a university, a masters degree or higher is required for undergraduate courses.  Graduate level courses are generally taught by instructors who have doctoral degrees.  You will probably train with a number of  tenure- track associate professors, who have  both teaching and research experience at the graduate level.   Full tenured professors have PhD’s, which qualifies them to hold the position of Dean’s.

A professional or semi-professional dancer may have a combination of dance experience and/or academic training.   Or, they may never have gone to school, but rather learned their craft from years of experience on the competition floor, and studio training well beyond basics.    Participants of SYTYCD are a good example of  studio trained and street competition dancers.

Semi-professional and professional dancer generally have a dance portfolio, or dance history that they can present.  It is a chronological history of events, trainings,  areas of expertise, and current status, be that in training, judging and/or teaching.  Many have a list of accomplishment and/or  published works.

Fake or for Real?

Be careful of the dance institutions that make promises they really can’t deliver on. They can be a rip off, and the training can be extremely poor; as they suck in unexperienced students. The degrees can amount to no more than a certificate that is non-transferable. That’s another aspect to look at. See if they are an accredited facility of higher education. Meaning….their credits will transfer to other colleges or universities. You will be surprised at how many do not.  Two year colleges lack a lot of credibility in this area.

Two year graduates might be able to skim by working at a studio that doesn’t really care about what your academic training is; or with directors that just want to control their own environments, and don’t want or need any competition that makes them look “different”.

Basically, no experience is necessary to own a studio if you want to.  But to be good – that takes skill – a skill that is recognized by the community and dancers.

Experience is what matters.  Dance is an art, and dance is a sport, you can’t learn technique with your head in a book.  It takes years to develop skill and knowledge.  You might memorize terminology and be able to recite after reading a book, but you would do better to practice what you preach. 🙂

Be warned if you are trying to fabricate your way up – that those dancers and instructors who are highly involved in dance can spot a fake a mile away.   They probably won’t tolerate your behavior.

Your claims will be under the microscope.  It DOES  matter in the dance community, what you do, or don’t do. When people pay money for you to train their children, and you can’t even teach them to do a simple turn correctly or teach them to point their toes – you let them down.

Getting serious
If you are serious about setting your life ambitions to be a dancer, you have options.  One, you can go the university route, or two, you can develop a  life time of dance performance through  precision studio training and upper level competitions.  A lot depends on the style(s) of dance you wish to perform.

Dancing on a university team is also a  good choice to help you develop your skills along side of  dancers  your own age and of equal ability. Many pro’s and semi-pro dancers dance(d) on university teams.  It’s a whole different level of expertise that complements your former training, be that in ballet, contemporary, hip hop or jazz.

Learning to dance with a partner is a challenge for many.  Do it!

Serious dancers know when another dancer is their senior, and they acknowledge that. Equal dancers also acknowledge the level of each other. When you dance with equal level dancers you really are a team. You recognize each other, and respect each other. That is the way it should be. Yes, there is competition – but it is a recognizable merit of skill.

Deciding where you dance is as simple as acknowledging your own level, and being honest about yourself.

What’s out there for you?
What is available for  teachers, choreographers, directors, cheerleaders, experienced coaches, ballerina’s, and hip hop artists?

There are so many wonderful programs available for the person who wants more of a professional background rather than a recreational one.

Many top organizations offer franchises and specialty training. Masters level classes, memberships, and more.

Check out some of the Utah links on our website, and start to explore or branch out in your dance career.

~”A great dancer is not great because of
their technique,  They are great because of
their passion.”

Author: Martha Gram