The top 10 things DCO provides that make Dance Centers of Orlando a cut above the rest

	Welcome to Dance Centers of Orlando... the first dance center of it's kind in central Florida. This corporately funded studio has put together an executive board comprised of an artistic director and professional teachers with over 100 years of teaching experience behind them. They are not "kids" who have danced at one or two studios and now fancy themselves as teachers. They are trained professionals with degrees and decades of experience as dancers. Then we have the parents. They bring superior business experience and sense (or is that cents?). Put them together, working in harmony, and watch your children flourish like they have never done before. If you've tried other studios in the area and have experienced any disappointment, try Dance Centers of Orlando and see how good things can and should be.

One: Our instructors are never condescending or sarcastic. They never use put-downs, or are insensitive to safety and health/weight issues.

Two: Classes are never out of control - little ones know what is expected of them, what the rules or expectations are and older ones don't chatter, lean on the barre, etc.

Three: Classes are just right for small children and long enough for older dancers. (An ideal class length for ballet in particular is an hour-and-a-half. For dancers over 12 or who are preparing for pointe work, classes should be no less than an hour-and-a quarter.)

Four: Pointe work is never offered to students who take less than 3 hours of ballet per week and dancers are assessed for pointe readiness. Three hours is the absolute minimum, and should include those in pointe prep classes who are not yet wearing pointe shoes. Hours, days, weeks, and years spent doing ballet have no true bearing on if someone should or should not be doing pointe, however. The quality of the training itself is essential and great care must be taken to assess each individual's core, turnout, and foot strength to determine if they can begin pointe work. Ask to observe a pointe class. If the dancers look unstable and precarious when away from the barre, it is not simply because pointe work is hard - more likely, their training thus far in ballet has not been sufficient for working at this level. A truly quality establishment will not place dancers en pointe before they are ready, or at all if they cannot provide an appropriate course of instruction to safely prepare their ballet students. Some dance studios feel pressure to make pointe available to those who want it, even if it is not in their students' best interest. Sometimes otherwise good schools succumb to this pressure. I encourage you to evaluate or re-evaluate if a pointe program is really right for you or your school.

Five: Our classes do not consist of only drilling or repeating "tricks" (turns, jumps, leaps, etc.). This is only conceivable outside and in addition to a normal, thoughtfully planned technique class.

Six: Our teachers use proper terminology for movements with children older than 7 or 8. Even in preschool or creative dance classes, children can be taught the correct term. Imagery can, and absolutely should be applied for these young dancers, however we see no need to completely replace the vocabulary used by older dancers.

Seven: Our teachers do not spend more than half the class on choreography and/or spend more than half the year preparing for recital dances. If this amount of time is required, the dances are too hard for the students. And it is probably too hard because the dancers have not been given a consistent opportunity to improve their skills and technique. Rehearsal for competition choreography should take place outside of regular technique classes. We feel the choreography should be a representative of what the class has been doing (the purpose of a recital); and therefore, composition of the dance need not be overly invasive and can take place during the last 15 or 20 minutes of class which would normally be spent learning combinations or variations.

Eight: We pledge to be upfront about our costs. Many schools charge extraneous fees for costume purchasing (on top of what you pay for the costume), recital fees, competition fees, required purchase of dancewear from their own store, etc. We will clearly present what you are expected to pay, tuition included, and tell you what your monies will be used for.

Nine: Our teachers are professionals who understand the body and this aids us in keeping our dancers injury free. If students are not trained properly in technique or are consistently attempting skills that are beyond their technical ability injuries can occur. We see this often at competitive schools that are recreational in nature. In order to keep up and win medals they work and drill "tricks" that only advanced dancers should attempt. Sadly, these students may be awarded despite poor technique at a competition and encouraged in this behavior (remember the nature of many competitions is that judges must choose the best from those competing). No matter the type of school, the occurrence of multiple students with chronic or serious injuries is a clear sign that something is missing or not as it should be within the training.

Ten: We have supreme sprung flooring for all dance styles and safety. A proper dance floor is extremely important to the well-being of the dancers. Dancing on anything directly over concrete sub-flooring is unacceptable as a long-term situation and instructors must demonstrate precaution for the sake of their student's bodies in the interim.