Lauren Zehara Haas teaches

Guest Post from Lauren Zehara Haas: Bringing the Joy of Movement to Medical Populations

I’m delighted to introduce a guest post from Lauren Zehara Haas, a writer and dancer who is organizing the upcoming Global Hafla for Humanity international fundraiser and building an informational site at www.bellydanceu.net. Lauren is the author of the Belly Dance Journal and of the DVD Stage Presence. I hope you’ll enjoy and share Lauren’s reflections on teaching movement to people going through or recovering from illness.

Lauren Haas

The first time I taught a belly dance program for breast cancer survivors, I was a bit intimidated. Teaching movement practices in medical situations always feels like both a great privilege and a tremendous responsibility; I hoped I could give this group whatever they wanted from my class.

I arrived early and the director showed me to a carpeted room with chairs around the perimeter. I set up my sound system in one corner, sat on the floor, and started unpacking the veils I’d brought with me. Soon the first pair of women peeked into the room.

“Are you the bellydance teacher?” they asked with a giggle.

“I am, come on in! What are your names?” Turning a room full of uncomfortable strangers into a room full of laughing friends is what a belly dance teacher does best. The more women arrived, the more comfortable I felt.

About 10 women had trickled into the room and we were getting along beautifully when the first truly sick looking participant came in. She had a scarf tied over scalp and deep shadows under her eyes. She entered slowly, seeming very unsure of herself, which immediately alerted me that she was new here, and the others, so much more comfortable in this room, must be further along in their recovery.I got quite a shock when I realized I knew this woman.

“Liz? How ARE you? I’m so happy to see you, I’ve been so worried!” This woman had quietly disappeared from one of my yoga classes six months ago. Liz indicated her headscarf in response; no words were needed. I hugged her gently and told her I was so happy to see her and was looking forward to teaching her a little bellydance. My heart was filled with the honor of being allowed to teach these women who had all so recently danced with death. The purpose of this program was not to teach them to dance, but to help them reconnect with life.

Over the next hour, I gently guided the women in moving their hips and following Middle Eastern rhythms. We kept our arms below our hearts to accommodate their lower energy levels, and when I handed out the veils I taught low, one-armed movements so those who were recovering from mastectomy incisions could adapt to whichever side suited them. We sat down to practice finger cymbals halfway through the hour, so they could catch their breath. We laughed a lot, and they were all smiling when they left the room. No one had a bigger smile than me; mine felt like it was bubbling up from the soles of my feet.

If you’re ever asked to teach a movement class to a medical population, I urge you to say yes. You may never have a more rewarding experience. But you also need to take responsibility for managing these populations responsibly. Here’s how:

  • Do your homework. Start by asking the person who is hiring you “What should I know about this group’s physical limitations to teach them safely?” but also do independent research on Google. Use search terms like “How to adapt exercise instruction for people with ______.” The yoga literature offers a lot of information on adaptations, and you can usually extrapolate this to other movement forms. Ace Fitness also offers good resources, even if you’re not an ACE certified instructor.
  • Present yourself as authoritative but open. Tell the group “I’ve done some research, and I’ve brought a lot of ideas. But you are the experts on your recovery and limitations, so please stop me if there’s something I need to know.”
  • Be awkward. Uncomfortable subjects will come up in medical groups. Push through them anyway. If you avoid talking about body functions and other tough topics, they will avoid it too, so be open and create a no-holds-barred environment for them. Laugh at your own awkwardness. They will love you for it.
  • Warm up slowly. Give your students time to talk, to laugh. This is a social experience for them even more than it is an exercise class.
  • Keep it fun. Your job is not to rehabilitate, or even to give them a great workout or teach them how to dance properly. Your job is to help them reconnect with the bodies that have betrayed them. Help them have fun in their bodies. Give them laughter, and encouragement, and lots of success experiences. Measure your success by how much joy you feel in the room.
  • Encourage adaptation. It’s not enough to start the class by saying “feel free to rest at any time, or adapt the movements to suit you.” You have to prove to the group that you mean it. Humans are social animals, and they will push through pain in order to stay with the group and do what the leader asks. When you see someone sit down for a moment, or change the move to suit them, give a verbal reward like “I really like how you’re taking care of yourself right now” or “That’s a brilliant adaptation, I like that. Would anyone else like to try it that way?”
  • Continuously offer adaptations. If there are three ways to do a movement, show them all, but then return to the simplest variation for the rest of the drill. Students who feel competent can do the move without a model more easily than people who are struggling. Ask questions like “Would anyone prefer to do this move sitting down?” or “Is this move causing any discomfort for you?”
  • Monitor their energy level. Keeping arms below heart level and not lifting the feet very high will reduce the workload on their bodies. If the group seems tired, bring them back to a simple drill and talk with them for a while, or offer a water break.
  • Ask for honest feedback. You are going to love working with these groups, and you’ll want to keep getting better at it.
Joffrey ballet school's ballet-fit

Review of the Joffrey Ballet School’s Ballet-Fit

Okay, so you wrote a book on dance.

Or you produced a DVD.

Will you do me a favour, pretty please?

Give it a name that reflects what’s in it!

If you’re not sure if the name you picked fits the content, just send it to me. I will tell you. And I’ll save us both the pain.

I go on about this a lot, but it’s a real problem. I’ll be looking at some great product, but the name is just totally off for what it is. Then I go to the Amazon page, and of course half the people are annoyed that the thing they got isn’t the thing they bought.

This came about recently because I was on my way out of the house and, being a little bit obsessed with ballet as I am right now, I went to my dance bookshelf and picked a book at random. I’ve had a copy of The Joffrey Ballet School’s Ballet-Fit for years now. Years. I bought it in a mad rage I had for barre fitness — and this was in the days before a hundred barre DVDs came out. But I never really cracked it open.

It takes me a few minutes of reading to realise that this is not a barre fitness book. Yes, it has a section with exercises, but that’s totally not what this is about. In fact, when we get right down to it, it’s not even about fitness.

The Joffrey Ballet School’s Ballet-Fit is a guide to adult beginner ballet. That’s what it is. It’s for people who are thinking of starting ballet as adults or returning to it after a long time away. It’s for people who are already doing adult ballet and need tips on practice and goals. And it’s even for adults who are thinking about pointe.

And it’s excellent.

In fact, it’s a book I wanted without knowing it existed. I’ve googled “adult beginner ballet” so many times and only found superficial information. Most ballet books are for child dancers or their parents. Then there are books for pros. But adult learners are an afterthought.

Dena Simone Moss and Allison Kyle Leopold, the authors of Ballet-Fit, cover everything. They talk about reasons to start ballet as an adult, address typical fears potential students have, and give lengthy and detailed advice for choosing a school and teacher.

For the student who has started classes, there is advice on what to wear, the structure of a class, even which way to turn after working one leg at the barre (answer: towards the barre). I discovered, to my horror, that my beige-tights-and-black-shoes look that I wore to our recent recital was a no-no — the beige tights are too jazz and the black shoes cut the line. There was so much I didn’t know here!

Throughout, the authors are completely honest and realistic about what an adult ballet beginner can expect of themselves. They make it absolutely clear that with minor exceptions (men starting in their 20s), an adult beginner will never have a professional ballet career. They talk about the limitations of various body types.

But they are also positive. Adult dancers have a wealth of cultural knowledge to draw on when they’re learning — they have advantages children don’t. Adults are there because they want to be. And if they become passionate about ballet, they can still make it part of their lives by applying their dance knowledge in another form of dance, or in a dance-related career.

Some of the advice the book gives is so specific that it has to come from experience, and is completely unlike the vague and often pointless advice one finds on the internet. The authors tell you, for example, why you shouldn’t always imitate the pros (they may make mistakes or be taking shortcuts that make sense at their level), how to behave in various situations in class, why it’s worth not sitting out centre work, why private classes are often not worth the money, how often you need to go to class, how to challenge yourself if you’re taking a class below your level without annoying your peers, and so on.

Ballet-Fit explains all the basics. The positions, arm and head movements, why tendus are important, what adagios and arabesques are. I loved this section because it allowed me to look up a number of the movements we do in class.

And then there is the workout. The workout has three sections: a warmup you can use at home or even before class, a basic series of barre exercises, and a set of strength and stretching exercises for the floor.

Now here is the thing. Most of these books sell the workout as a standalone workout. Ballet-Fit doesn’t. This is clearly a practice that is meant to supplement class. The assumption throughout is really that you are taking regular class with a teacher who can correct you and other students who can motivate you.

Someone else might not like it, but I love it. I wanted a guide to what I could do at home to supplement my classes, and here it is. Including warmups, great stretches, and strength work. And it’s all dialed down the way it should be for home practice. For example, the authors advise you to put your hand on your waist at home, so you can really focus on the action of the leg. The exercises also include counts, a series of tips for proper execution, and occasionally, options for advanced beginners.

The final section is on pointe: how to tell when you’re ready, how to build towards it, how to buy and tie shoes, and what to expect from a pointe class. I can’t imagine ever being on pointe, but I found this section fascinating, especially the explanations of how doing pointe clarifies why we learn the technique at barre.

You might not like this book if you react badly to the authors’ occasionally stern tone. They are very clear on what’s possible and what’s not, what’s appropriate and what’s not. Ballet has its traditions, and while the authors of Ballet-Fit acknowledge that some things (like in-class wear) will be looser for adult beginners, they still uphold those traditions.

I, for one, love it. It’s the perfect accompaniment to my regular ballet classes.

Kyria bellydancer Netherlands

Guest post: Kyria’s top ten DVDs for intermediate and advanced bellydancers

Dear readers, I’m thrilled to bring you today’s guest post from Kyria, a bellydancer from the Netherlands. Kyria and I have chatted online about our shared obsession with bellydance DVDs, and I asked her if she could provide a professional dancer’s perspective on how and which DVDs to use for at-home training. 

This is the first installment: a guide to Kyria’s favourite DVDs and how they fit into her practice. Which of these do you use? Are there others you also recommend? 

Kyria bellydancer Netherlands

I started bellydancing fifteen years ago, when video instruction was practically unheard of in the Netherlands. At best, dancers who travelled to Egypt brought back bootlegged VHS videos of famous dancers. We played these over and over again and tried to copy the moves and figure out what the dancer was doing.

I learned to bellydance through weekly classes from various live teachers, which was invaluable because beginning dancers need corrections and feedback in order to learn correct form, posture and technique. And boy, did I need correction! I still do, that’s why I take weekly ballet classes and go to workshops. Being a professional dancer means being a lifelong student.

I enjoy learning new things and believe that regular practice and exercise not only make me a better dancer, but they also keep me sane and healthy. However, due to work and life I sometimes don’t have the opportunity to follow classes with a live teacher. That’s why I build my instructional bellydance DVD library. Not dancing or not learning is simply not an option for me.

Streaming, downloading and the good old hardcopy DVD

Lately the market is expanding into streaming live classes and services that allow subscribers to download or stream instructional classes. This is a great way to try out classes, and it is very flexible and suited to individual needs. For me streaming doesn’t work as I hate it when the connection falters, but if your internet connection is fast and flawless, it’s a great service. I am also pretty hardcore in the sense that I like to own material. If the mood strikes me and I want to practice or research, I want it to be available and in my possession. That’s why I prefer DVDs.

What DVDs I would recommend for practice at home for an intermediate to advanced dancer? Here are my criteria for regular practice:

  1. I pick DVDs that are intermediate level or up. I have a need for speed and quality and want my practice to be as effective as possible;
  2. I like to shop around in (belly)dance styles so sometimes I use an Egyptian DVD, other times ATS. Don’t get me started on my fitness DVDs!
  3. I like to go through a DVD at least 5-7 times, to really absorb the concepts, technique and choreography. It’s like following a semester of real classes: one class is not enough to fully understand and learn the material. I revisit my DVD collection as often as I can;
  4. Sometimes I have fifteen minutes, sometimes I have 90 minutes. I like DVDs that offer me flexibility to create a session that fits my time schedule.

My DVD recommendations for at-home practice:

Jillina – Shape Up n’ Hip Out!

This is my go to DVD if I want to do some cardio, dance and be challenged by some combinations. The brilliance of this DVD is that it contains three twenty-minute work-outs: beginner, intermediate and advanced. All three are good. When I am in a hurry I do the intermediate and advanced one. Jillina is a very generous and warm instructor and I’ve taken multiple workshops with her through the years. She delivers every time with exciting and interesting choreographies and has excellent didactic skills.

Rachel Brice – Serpentine

This dancer knows how to teach! I hope to do a weeklong with her someday. In the workshops I took with her in the past she hadn’t advanced yet to where she is now as an instructor. The two-DVD set contains drills, choreography and some talks and information on several subjects like the backbend. This kept me busy for months. Easy to pop in and choose what you want to do for the day. My only minor negative point is that the yoga warm-up and yoga cool-down are too long for my taste.

Jenna – The Heartbeat of Bellydance

Rhythms, a couple of choreographies and live drumming. What’s not to like about this one? The performances are taped in a cramped studio so I don’t think they convey well on this DVD. Great for intermediates to get to know rhythms and dance to the different rhythms. As a professional dancer, repetition of rhythms is always a good thing. The choreographies are not that complicated but Jenna has a personal style that is different from mine (so lots to learn) yet similar in musicality that I keep coming back to it because it is fun.

*my personal pet peeve is that I am big on musicality. DVDs that use awful music, that are edited with the dancer being out of sync with the music or dancers that have a musical interpretation that opposes mine are not on this list. I grind my teeth and put up with blegh music if the quality of the instruction is high or the content is awesome)*

Ranya Renee – The Baladi

The elusive baladi is captured on this DVD set. It is hard to videotape, explain and show baladi on a DVD but Ranya does an excellent job. She shows the instruments, explains the progression in the music, and offers nifty visual explanations on what muscles to engage and on to the actual dancing. I love that this is an instruction for improvisation and the baladi is one of my favourite styles. I have to be in the mood for this DVD and let the material simmer a while to get results, but it is one of the few DVDs that aim to create a strong connection between dancer and music. Improvisation and musicality are essential for a professional bellydancer.

Aziza’s Ultimate Bellydance Pratice Companion

Buy it. Now. I’ve been using it for over seven years and I enjoy it every. Single. Time. Aziza is engaging, charming and knowledgeable and makes a 21-minute shimmy drill fun. This DVD can be used by beginners, intermediates and advanced dancers, making it rather unique in the world of instructional DVDs. Her workshops and Dreamcamp are also amazing and I highly recommend her. I took my first workshop with her in 2009 and I still go as often as I can as she keeps on working on new material and concepts.

Suhaila – Bellydance for Beginners 4 Volume Set

Suhaila Salimpour’s style might be your cup of tea, or it might not. This DVD set gives you a taste of her philosophy, in bite-sized work-outs. Each one contains a bit of drilling, combinations, and a short choreography. I did a three-day intensive with Suhaila which is much more focused on her method and philosophy. But, as a dancer with limited time, this set gives me a taste without needing to emerge completely in her concept. Even if Suhaila’s dance style is not your thing, her ideas about drilling, muscle isolation and layering are fascinating and quite useful. Plus glute squeezes can be done anywhere! Her glute squeeze technique has brightened up many long meetings at work.

Jillina – Instructional Bellydance with Jillina 3 DVD Set

For the choreography junkie in me, Jillina delivers excellent material that satisfies my hunger for surprising combinations, music interpretation, and footwork. Her footwork patterns are influenced by ballet, modern, jazz, and the Reda Troupe style of dance. Footwork is what I need to create my own improvisations and choreographies and beginner DVDs usually include a very basic level. If you are at a point where you want more, try this DVD set.

Jenna – Bellydance – The Next Level

I like this DVD because the warm-up is perfect for my body and Jenna is very good in explaining concepts. The drills section is great for an oriental style drill, and there are two choreographies I can work with to internalize the material. The drum solo is fun. My only comment is that the music is hard to come by as a European dancer, so I stream it from a Spotify playlist for my own practice.

Zoe Jakes – From A to Zoe

Lots of drills and classes with Zoe Jakes, with great tips on flutters and abdominal isolation. The nice thing about Tribal Fusion is that it has a different way of using and combining moves, and the stylisation is completely different compared to bellydance. When I feel like going out of my comfort zone, this is a good one.

Michelle Joyce – Killer Ziller

I didn’t include specialty DVDs in this list because I wanted to give a general list. I am not going to include DVDs on veilwork, assaya, khaleegy, Turkish, etc. I make an exception for zills as they are not specialty but a basic piece of knowledge for a professional bellydancer. They are a musical instrument that need to be trained as often as possible while dancing. I like to slip on my zills during regular DVDs and play basic zill patterns to get them into my system. This DVD offers a range of zill drills, combined with dance moves. It is perfect for regular practice and increasing awareness of playing zills while dancing.

Interesting links

Learning to bellydance from video – Shira

Eight dvds for home practice– Ananke

Learning bellydance by DVD – Jade

Online bellydance classes that I used, liked and recommend

Datura – Good stuff, from various teachers. Includes video’s in different styles, and you can choose between renting one video or subscribing for full access.

Suhaila Salimpour school online (if you are into her format. if you don’t know what her format is, try her DVD set first!)

Cairo Bellydance – For the experience of a workshop in Egypt from the comfort of your own home. Mostly juicy Egyptian bellydance, straight from a dancer living and performing in Egypt.

Sources for DVD’s

RaqsTv – Hard copy or digital download

Cheeky Girls Productions – A huge collection of instructional and performance DVDs (sometimes available in download). By dancers, for dancers.

World Dance New York – Plenty of bellydance instructionals, world dance dvds and pilates/yoga. Great value for your money.

Hollywood Music Center

About Kyria:

Kyria is closing in on celebrating her first decade as a professional bellydancer. Her (Dutch) dance website is at www.buikdansereskyria.com.  She lives in Utrecht, The Netherlands with her husband and dog and eagerly looks forward to a new addition to the family at the end of 2015. She is a member of two belly dance troupes: Sense of Bellydance (Utrecht) and the Dalla Dream Dancers (The Hague), teaches weekly classes at the Utrecht University and enjoys making belly dance costumes. She blogs about her costuming projects and all things belly dance at kyriascostumes.com.

Mistakes to avoid when producing a dance or exercise DVD

Maybe you’re producing your very first video, maybe it’s your fiftieth. Chances are, you’re going to make some mistakes… mistakes that have been made before by other people, and that you could have avoided. Mistakes that will lead either to customers ignoring your DVD, or to them being unhappy with it.

Wouldn’t you like to make a DVD that your customers will buy, and then be so satisfied with they’ll leave positive reviews online and recommend it to their friends? In writing this blog, I’ve looked at a lot of videos, and I see the same problems come up. I sometimes wonder why producers don’t think of these things, but I suspect it’s because those of us who use dance and workout videos have a different perspective on them than the people who make them.

This checklist is primarily intended for producers of dance DVDs, but quite a few of the tips apply to general workout videos too.

Content

Quality and Length of Content

Think about what you have to offer: are you covering ground that’s already been covered by a million other videos, or do you have something new to offer? Do your research, whether on Amazon, or by reading reviews in blogs and magazines. Moreover, do you have enough content? I’ve loved some shorter DVDs because they had a unique approach or taught me something truly new, but there is a line below which it’s not really decent to ask someone to pay full price for a DVD. Don’t count performances or non-instructional extras when you figure out what you’re offering.

Content in DVD Sets

If you’re putting out multiple videos, make sure the overlap between them is minimal, so your most loyal customers — those buying more than one — will not feel ripped off. If the sets build on each other, make it easy to see that. If they work independently, make it easy to figure that out too.

Skill

Your technique should be perfect. This should go without saying, but alas, it doesn’t. If you don’t have amazing technique, you probably should not be demonstrating moves for instruction on a video. In a class environment, you can correct mistakes you see even if you still haven’t mastered the move, but with a video you can’t. And if you have special knowledge you want to share, either make a lecture video, or get someone with better technique to do the demos. But here’s another thing: if you choose to have backup dancers/yoginis/etc. doing the moves with you, make sure their moves are also carried out exquisitely, even if they’re modified for difficulty. We learn what we see, and if we see you do bad technique, we’ll absorb just that.

Guidance

Don’t leave your students in the lurch — give them some advice about how to use the video, what they need to make it work, how to plan their practice sessions. This is especially true if you have a lot of material, if it’s especially difficult, or if you’ve made a complicated DVD menu. This is also an opportunity for you to teach them how you approach practice, which is often just as valuable as technique.

Warmup and Cool Down

People disagree on this one — not everyone thinks there needs to be a warmup and cool down on every video. I get that. But I will say that I think it’s pretty great if there is one, and if it’s easy for me to press “play” and get a full practice session, with warmup, instruction and/or drills, and cool down.

Space and Supplies

Imagine yourself buying your video, and trying to use it. What does it require? Does someone need lots of special props and supplies to do it? You’re probably filming in a studio — are you doing large traveling moves that someone might not be able to do in a small living or rec room? I’ve often seen cardio workout videos that require you to cover lots of room, which is possible in a gym, but difficult in the space I’ve cleared out in my living room. What about flooring? If you have a lot of spins or moves on the floor, have you thought about the fact that your audience’s practice space might be carpeted? It doesn’t mean you can’t include them, it just means you have to deal with that issue, either by suggesting a hardwood floor, or by providing a variation of the move.

Music

Please, please make sure your movements match the music. This is as true for exercise videos as it is for dance instructionals. It’s just that much easier to follow along if everything is in time. And if you’re teaching dance, dancing to the music is something you’re also teaching whether you address is explicitly or not, so make sure that part of things is perfect. Perfect.

More Music

If you’re teaching a choreography, please for the love of God choose music that’s currently available, and ideally, available without too much effort. Your customers should not have to order a CD from abroad to get the track — try to choose things they are likely to be able to buy online, or at least in the same country. Then provide credits, so your customers can find that music easily. If you’ve cut the track to make it fit the choreography, then give your customers easy-to-follow instructions to edit the track, or make it possible somehow for them to get a legal edited version.

Mirroring

I think of this as the mark of the pro. Either film yourself (or the talent) facing the audience, but move your left arm when you say “right” so they can follow along, or film yourself from the back facing a mirror. Bonus points if you’re teaching dance for showing a move both from the front and the back, and drilling it both ways.

Formatting and Production

DVD chaptering

The first rule is to do DVD chaptering, unless you really just mean for the program to be done as a single workout or practice session. But even better is sitting down and thinking about how someone might use the DVD the first time around, and how they might use it a second, or tenth time. Make it easy to skip the introductory bits. Make it easy to do all the drills without the instruction. If you can provide different built-in programs so they can choose a short version or a long one, even better. I’ve even seen dancers include different angles of the same program.

More chaptering

Have frequent chapters, it makes it easier for us to repeat a section. Put all of them in the menu, or in submenus, so we can get to them easily.

Timing

Write down the exact length of each section/program/workout both on the DVD cover and in the menu. Make it easy for people to see if they have time to do the DVD, or if they can fit one section of it into their day. Make sure this timing is accurate — on many DVDs I see it’s not.

Visibility

Ahem, cough, cough. If you’re wearing green, don’t film yourself against a green background. If you’re wearing black, don’t film yourself against black curtains. I’ve seen both of these, from dancers I adore. Again, this is a matter of putting yourself in the customer’s shoes. Maybe she has weird lighting in her practice room, or is using a laptop that doesn’t show contrasts as well from a distance. Maybe she’s using a projector, and the contrasts are also not that strong. Maybe she’s taken off her glasses, and can still see pretty well without them, but not every detail. (Maybe all of these examples are from my own experience…) Make it easy on her eyes, please. In fact, I’m going to go out on a limb and say that while I think black backgrounds look cool and modern up close, they should be avoided for the home video market altogether. Put your dancer against a bright, light background, either a studio or plain white, and have them wear clothes that make movements easy to see.

More Visibility

Camerapersons are wild creatures, and need to be led with a firm hand, lest they go astray. You’re teaching a choreography, and there they go focusing just on your abdomen. You’re demonstrating hands, and suddenly the camera is pointing at your feet. Did he get tired? Did his head and arms droop and bring the camera downwards? I don’t know. But look, during this complicated traveling move, suddenly the camera has become intensely interested in your facial expression! Discipline your cameraman — or woman — and make sure that camera is pointing where it needs to at every single moment.

Marketing

Trailer

If you have enough time to make a video, you have enough time to make a trailer for it, and make it widely and easily available. Put it on your site, put it on YouTube and on Amazon. Oh, and in the trailer, I don’t want to see you dancing or see shots of you looking pretty — what I want is to get a sense of what material is covered by the video and see a clip of how you teach or demonstrate. This should be the substance of the trailer, not the performance or your general thoughts on the dance, because the instruction is what I’m going to love or hate when I use the video.

Title

Make sure the name of your DVD really fits what it offers. Don’t call it a beginner DVD when the moves are advanced, or when you only have a very fast breakdown of them. Save the word “beginner” for people who have never done whatever it is you’re teaching in their entire lives, ever, and are now standing in their sweat pants in front of their tv learning their first steps from you. Use “advanced beginner,” “intermediate,” etc., as appropriate, if you’re expecting a bit of background.

Promises

Don’t make BS promises. Look, I know maybe it’s good business sometimes to make them, but please, just for me, don’t. Don’t tell your customers they’ll lose weight doing your program when they almost certainly won’t. Don’t promise them enlightenment or goddess-hood, unless you can guarantee it. Don’t tell them they’ll be a perfect dancer after one DVD. Because you know what will happen? They’ll find out that you were lying, and will leave unhappy comments all over the internets. Maybe you were offering something of value, but you misrepresented it, and so you didn’t do your own work justice either. You can promise them fun, you can promise them a new experience, or quality instruction, or a great tool to use in their practice. You can promise them relaxation, and you can even say, “if you do this x number of times a week, and pay attention to your diet, you’ll have positive results.” You can promise them a challenge. But be honest.

Your Thoughts?

Consumers of dance and workout DVDs, have I missed any big mistakes? What do you wish producers knew?
Producers and artists, what are the big mistakes you learned from? Anything here you disagree with? What do you wish customers knew?

photo credit: GS+ via photopin cc