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AMERICAN
TAP DANCE INSTITUTE
TEACHER TRAINING AND CERTIFICATION PROGRAM
"Be the best tap dance teacher you can be!" |

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FAQs
(Frequently Asked
Questions) |
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I'm interested in the ATDI's Tap
Teacher Certification, can you please send me a brochure?
As stated on the main page,
we no longer produce brochures because
a brochure could contain only a small fraction of the information available on this web site
and it could not be quickly updated or corrected, as a web site can be. Be sure to take the time
to READ and understand all the information that is available to you
before applying for this, or any other, higher-education program!
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How long has the teacher
training program been running and when was it set up?
This program has been in the making
since the early 1990's. It officially started in 1998.
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Approximately how many total
students have successfully been through the program, is there a list
of them somewhere?
Yes, right here.
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Why does this program exist?
In part because it is part of the national tap dance
company's
mission and obligations, but also very much because it fills part of
the enormous gap that has been existing for decades between tap and
other better-treated, better-known art forms, including things like
ballet that have little or nothing to do with our own American
culture. Just as importantly, the American Tap Dance Institute's
Teacher Training & Certification Program finally brings to our
profession the decent standards - and the accompanying respectability
- that were so long-overdue.
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I have been teaching for years but I haven't been taking
classes in a long time. What is the minimum level you require for the Institute?
Don't worry, many teachers are in the same situation. However, a solid level 4 is
recommended as an absolute minimum. Go to the TDLS
page to check your level if you haven't done so already. If you are still unsure,
please contact our director.
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I've just sent my questionnaire/application. How
long will it take before I get a final answer?
We make every effort to give you a prompt response. The Committee meets once to twice a
month between the time the dates are confirmed and the "cut off date," which is
usually about four to eight weeks before the program actually starts.
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I am also planning on attending
session 1 and the ATDI conference the same Summer. Am I eligible for some type of discount?
Yes, Institute attendees and graduates are eligible for special discounts on other programs whenever
possible. In this case you would automatically receive a 25% discount. Go to the
registration form for details.
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I have been selected for the Institute, how do I find out
about lodging, local transportation, etc?
Helpful information will be emailed to you directly. Note that NTE provides assistance
and acts as a clearinghouse for travel information but is not responsible for your own
reservations. Internet message boards are created for various
sessions exclusively for TTP participants, which makes it very easy and convenient to
exchange information about carpooling, communications, travel, lodging, etc.
Candidates often choose to share hotel rooms, especially at sessions 2
and 3, which helps to lower their overall cost.
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Will I receive a certificate?
Upon graduation you will receive an official
Letter Of Certification, your complete scores/grades as well as a framed Diploma/Certificate from the
American Tap Dance Institute. Please allow up to 6-8 weeks after your actual
graduation to receive all documents.
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Are the studies all-theory or will we actually dance?
You will do both. While this program is much less dance-intensive than for
example the National Tap Seminar, you will often be "in situation" with your tap
shoes on (of course this varies widely depending on the topic studied.) Since the
Institute stresses an interactive, problem-solving approach you will also have
opportunities to work in small groups and to "try things out" and of course you
just can't do that without your tap shoes!
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I was not selected for the last
session. May I re-submit my application for the next session?
Yes, you may. If you weren't selected because the session was already full, simply request
that our office keeps your application on file and you will be among the first candidates
to be sent an official acceptance notice for next year's session 1. If you
weren't selected because the
Committee found that you were not quite yet ready to qualify for this program or for
whatever other reason, we will be happy to provide you with additional feedback and you
will have the opportunity to re-apply accordingly for a future
session.
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How do I find out when the next session will be
confirmed?
We do keep candidates personally informed but to be on the safe side we highly recommend that you
you visit the program's main page regularly for updates.
We also recommend that you subscribe to the
Tap Dance Bulletin, which will allow you to
receive tap dance news as well as notification of confirmed program
dates via email automatically.
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If I am accepted, how much time do I have to send in my payment or
payments?
Once you are accepted and have registered, no one can take your place. It is therefore wise (and
required anyway) to submit your registration and payment(s) as soon as possible,
This is done online by most people (using a credit or debit card) and it
takes less than 5 minutes. Be sure to do this before the deadline that
will be sent to you expires or you will "lose your spot" (applications
and registrations are processed on a
first-come, first-served basis) or worse end up being prohibited from
re-applying for several years..
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I unfortunately will not be able to attend the
next session, although I passed all tests on the last one. Will I have to start all over
again?
No, you will not, but remember that you have a maximum of 2 years to complete your
training. We highly recommend that candidates try to complete
their studies and tests within one year, which allows
them to stay focused and "in touch" with colleagues from the
same class.
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I've heard that there is a lot of work required between sessions. What if I don't
have time to do it?
Organizing sessions demands a tremendous amount of work on our part and the "behind the
scenes" logistics can be considerable. Likewise, the ATDI has a very strong commitment to
providing customized training of the highest quality, which includes follow up work and
ongoing technical advice and assistance on the part of our faculty. We expect a similar
kind of commitment from selected Institute participants BOTH during sessions and in
between. However, it sounds like whatever you "heard" comes from a third party
who may not have participated in this program. Anyone who has actually been a part of it
would probably tell you that most "between sessions assignments" are DIRECTLY
related to what you do in your daily life as a teacher. Therefore many of them should not be
considered "extra work," but perhaps "more in-depth work" that is
merely an extension of what you already do (and a very good indication of the level of
commitment you may have.) Remember that participating in this program does NOT mean
automatically graduating. We suggest that only teachers who have a TRUE COMMITMENT
TO EXCELLENCE AND TO PERSONAL IMPROVEMENT apply for this program.
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How much material is covered in a given session?
There cannot be a specific answer to this question since each session has different goals. In
addition, each session's curriculum is somewhat customized to the actual participants.
However, the amount of material covered per session could be estimated as
equivalent to one to two college/university semesters.
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I noticed that you seem to hold
all sessions in certain states? Why?
Part of it has to do with where ATDI's official partner organizations are located, and part of it has to
do with complex weather and schedules issues. For example, June/July and January are among the few times of the
year when most tap teachers and/or studio owners can take off and take care of their
own needs, training and aspirations.
Session 1 was most recently held in
Chicago, Illinois, usually the week
just before or after the ATDI Conference. This
allows teachers to minimize their travel expenses by attending both
programs back to back. The Conference is a gold mine for tap dance information
and material, and has the added advantage of featuring TTP graduates on
faculty. Most are very supportive of newcomers.
Session 2 is traditionally held in San Diego, one of the
very few major cities in the country
where the weather is not a problem in January. While many cities in the North, East and
Midwest have problems due to snow, sleet or fog, San Diego experiences temperatures that
frequently reach 70 to 85 degrees (20-30 Celsius). The airport is almost always open,
which ensures that anyone can fly in. In addition, it is often possible to fly to
San Diego in mid-January for very little money (as low as $200 for roundtrip coast to
coast.)

Teachers relax between classes just outside the San Diego studios
(typical San Diego January weather!)
Whenever possible, Session 3 is held in
the same state and location where the ATDI Conference
is held so that trainees can minimize their travel expenses by attending two
programs back to back (Conference and
TTP.)
The entire program was originally held in one location only.
We were quickly asked by many teachers to spread it geographically and we
responded by doing just that. All locations offer more than one
airport within a few hours' drive, thereby increasing the chances that
one might be able to find cheaper options to fly in and out. For those
who prefer to drive, at least one of the three locations is usually within driving distance of just about any state in the US and of many
Canadian provinces.
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What is the
"Top Tap Teacher list"?
It is the nickname for the list of people on the graduates'
own web page. Anytime the national company receives an inquiry
about where/how to find a competent tap teacher in a given area (which happens quite
often), the staff looks at the list and refers the student (s) directly to any
ATDI-certified teacher (s) who lives in that area. In an era when just about anybody can
claim to be a tap teacher - and even get a nice-looking "certificate" by
simply attending workshops offered by some organizations - this FREE REFERRAL SERVICE has particular
value for ATDI graduates but also for tap dancers and tap dancers' parents who seek qualified, properly-certified teachers
for their children's tap dance classes.
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I have several colleagues here in Australia plus one in Asia who are dying to
attend your training program for tap teachers, but some of us can't afford to make three
trips to the U.S. within twelve months. Is there any chance you could bring your
programs to us?
We are aware that flying this far can sometimes be very costly. Provided that a sufficient
number of teachers from Australia and Asia are seriously interested and that ATDI can
enter an agreement with the right hosting/partner organization in your country, we would certainly
consider it. For more details, please email the
Institute directly.
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I am having a hard time finding cheap flights to the next Teacher Training
session. Any suggestions?
Chances are very good that you will be able to book a flight at significantly lower rates if you use
the URLs in the travel section of the Cool Links page and if you
do a bit of homework (most reservation services give you an opportunity to establish a
confidential profile and then automatically email you when good flight rates are
published.) Also, make sure you participate actively on your TTP group's message board, where
you can share travel tips with your colleagues, seek shared accommodations, etc.
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I need some fresh ideas and new dances for my students. How much choreography does
your Teacher Program feature?
In the process of reviewing the fundamentals (including some classic steps and rhythms
that are most unfortunately not known or taught by the vast majority of tap teachers
today) and of acquiring or revising curriculum elements, you will undoubtedly come
across a fair amount of material that can be very useful for your own
choreography/composography projects. At session 3 and/or post-Grad courses, the TTP
may also address different ways
of composing new pieces and working effectively with various students. However, please
keep in mind that this program is not a "one size fits all" program. Its
main purpose is to produce well-trained, creative, strong tap teachers, not to simply give
them a bunch of steps and routines. For that we would suggest repertory classes at the National Tap Seminar, which complements the TTP perfectly, or at
other intensive events that provide quality rep. courses or classes,
such as the ATDI Conference.
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How many
teachers do you select for each session?
Never more than 15, as per ATDI guidelines. The Program Director actually prefers to have
5 to 10 people as a
small group allows for more personal attention (a significant portion
of the studies are customized to each individual) and greater emphasis on
quality, as opposed to quantity.
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Would
you consider applications from us foreign teachers?
Yes! So far teachers from at least half a dozen different countries have applied for the
program. Several have graduated as well.
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Are scholarships available through you?
Unfortunately this program receives no specific funding. Therefore, we in
turn cannot
provide scholarships at this time. (see also question #25 below.)
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We don't understand exactly how many actual classes are involved in
the certification program. Is it correct that teachers have to come to your
training sites 3 times, for sessions 1, 2 and 3? They can't be taken
concurrently, correct?
You are absolutely right. Taking sessions concurrently would not only be
physically impossible, it would prevent teachers from practicing, experimenting and making progress
where and when it matters most: in the dance studio, in between training sessions,
with their students at hand. In the
long run, this "journey" one makes along the way is more important than anything!!
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Do you have to take the
Conference offered before or after the teacher
training - or is the conference program something different?
They are completely different programs but they are quite complementary.
Many TTP teachers
(both graduates and in-training) choose to
attend both, simply because the
ATDI
Conference allows them to learn a tremendous amount of material,
which they can in turn take home and use every day in their
teaching. There is usually both a very large choice of repertory
courses, master classes, etc. AND many presentations, forums and
special events that are specifically geared towards tap teachers.
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I've
already signed up for the ATDI Conference but I am now considering
applying for the TTP as well this year. That would help me make the most of my time
and travel budget since it is conducted at the same location as the
Conference. If
I am accepted, can I somehow still benefit from the 25% discount off my
tuition for those who are TTP trainees?
Yes, this discount may be applied retroactively if certain conditions
are met (cannot be applied to walk-ins) Please contact our staff
for details and modalities once you have been officially accepted in the
TTP.
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Wow! I'm
thrilled. I have been been chosen for your Teacher Program. But I just got
pregnant and it may be very difficult for me to attend this year. What
should I do?
First, congratulations on your pregnancy, we wish you and your baby the very
best! Second, we would suggest that you inform the
Institute officially
as soon as possible. Whatever is happening in your life, not responding to
an official acceptance notification can be construed as a lack of commitment
and professionalism, so we would recommend that you avoid that altogether.
Let us know what's happening and we'll take it from there!
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I
work for a non-profit dance organization serves many
"under-privileged" kids by among other things offering tap
dance classes to them. Our tap dance instructors are in dire need of
guidance and training. I understand that the ATDI program does not
directly offer scholarships but are there other ways of getting
financial help?
Yes, there are. ANY corporation, business, foundation or
individual willing to support efforts such as yours can make a contribution to the American Heritage On Tap fund
(click here for details about A.H.O.T.)
that is entirely earmarked toward the program of their
choice. In your case, they would simply enter the details in the Option #3
("I
would like to make a donation to support a specific NTE educational program)
box on the donation form. For
example, they would type "American Tap Dance Institute, Teacher
Training and Certification Program scholarship, session 1, Mary
Johnson (name of scholarship recipient)." Please note:
- by law you may not be the recipient of your own donation.
- only tuition may be funded as ATDI does not directly provide or
charge candidates for food, travel and
lodging.
- 100% of the donor's funds goes to the recipient and program of
their choice.
- 100% of the donor's funds is tax-deductible.
- the donor will receive an official letter or email for tax
purposes.
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I
just got accepted in the program and I wonder if tuition is likely
to increase for the next two sessions. If so, by how much?
We have a very strong commitment to keeping this program as
affordable as possible. Aside from minor increases necessary to keep
our program costs in line with inflation and other program costs, the TTP is not likely to
experience any significant tuition increase in the near future.
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How
many candidates have their pre-application and application accepted?
How hard is the program?
We now process pre-apps and apps year-round so the numbers vary, but on average about one out of five candidates is accepted in the
program (20%, but this is an average figure, sometimes it's
more, and sometime much less!) Even fewer candidates graduate, but this should come
as no surprise as the TTP is a HIGHER education program, not one of
those "guaranteed diploma" rip-offs or one of these
so-called "teacher training" programs that will give you a
certificate for simply attending a few days and sometimes a few
hours of classes.
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One
of my teacher friends says that I can deduct almost all of my
expenses for the Teacher Training Program from my taxes. Is this
true?
We are NOT tax experts but it is well known in this profession that
what one spends for continuing education or higher education is
often deductible:
- If you are self-employed or if you are salaried with another job
and teach tap "on the side" and therefore report this
income on a Schedule C form, take a look at that form and you will
see that there are several categories where you can file your
expenses for travel, meals, supplies, etc. as well as a line for all
other professional expenses like continuing education that cannot be categorized otherwise.
Most of what one spends for a TTP session may be reported
there.
- If you teach tap and are on salary, ask your employer if they have
some kind of budget for continuing education. Many employers do and
will actually pay for all or part of your TTP tuition. Some will
also cover travel and other expenses.
All of this is very easy to figure out if you use a tax preparation
software program like TaxCut or TurboTax (the "Deluxe"
version of these programs typically includes all IRS publications as
well as expert advice on all kinds of tax-related subjects.) As
always, make sure you talk to your tax advisor and/or contact the
Internal Revenue Service if you have any questions.
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I
just read the info on the upcoming American Tap Dance Institute
Conference and I just can't wait to go! If I were to start my
training this year, do I have to wait several years or could I teach
there next year?
Glad you are coming to this Conference, which is one of our
most exciting and event-filled Intensives ever! The answer to your question is simple.
There is no required "waiting period" to teach at the
Conference. All teachers who have graduated at press time (i.e. when
the Conference is publicly announced) are welcome to teach, but also learn, and
share. That's what the spirit of this major event is all about
(hence its name.)
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How late can I send my
pre-application and how long to the whole thing take for me to be
confirmed in a session 1 of your Teacher Certification program?
As stated on the main TTP page, you
must do so no later than the date indicated there (IF there's still room by then, of
course, but when there's no room left for a class, that information is
clearly listed near the top of the main page.) Remember that it takes up to
2-3 weeks for the whole process to be completed since it involves a
lot of work:
1 - reviewing your pre-app for completeness, accuracy and content.
2 - sending you the full application and giving you enough time to
complete it (only 1 week now with FAST-TRACK REVIEWS.)
3 - having the ATDI Selection Committee review the completed application and determining if you can be
accepted in the program
4 - sending you a notice of temporary acceptance and giving you time
to register
5 - processing your registration and payment (deposit or full payment,
add an extra 7 business days if you pay by check)
6 - Sending your final and official notice of acceptance.
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Why the 3 years "penalty" for
those who do not return their application or pay their tuition by the
deadlines? How would this affect one's chances to participate in other
programs offered by your company?
Simply put, there were too many
unprofessional people who would NOT READ ANYTHING or fill out pre-apps "for the heck of it"
and then fail to return their application (or to even have the
elementary courtesy to reply to official follow up notices), wasting
the Selection Committee's time AND, more importantly, occupying
precious spots on the preliminary list for each new session 1. The
higher ups then decided to give these people a 3 year "buffer" so that
they could have time to re-assess where their career is and to
determine if this program is for them after all.
The TTP is totally separate from other
NTE programs. Receiving a notice of application re-eligibility in 3
years does NOT affect one's chances to participate in other programs
offered by the national company. One does not need to be selected to
register for our seminars or conference anyway. You can actually
register online at any time, as long as there is space in the classes
or courses you'd like to attend. Class availability is always clearly
indicated on this web site.
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I
am a trained ballet professional but I started my early career in
tap, which was my first passion is now coming back with a vengeance! I
completed the highest level of teacher certification program in ballet
years ago with [NAME REMOVED BY EDITOR'S DECISION] but quite frankly
their tap training program is appalling so that is not an option for
me. I am also appalled at how the basics seem to be taught in many tap
studios, if a ballet teacher had such poor standards she would be
fired on the spot! I am re-dedicating my career to tap and I have been
offered the job of leading a new dance program at a very well-known
institution. My goal is to build a strong tap program that ultimately
produces well-rounded tappers to "feed" professional companies just
like we have done in ballet for many decades. How different is your
Certification Program from others and how could it help me to reach my
goal?
Indeed they do have an excellent ballet training program. As to
their tap, well... no comment! In general, we certainly can't blame
you for being appalled at the state of things in tap as far as basic
standards and professionalism go. We are all too aware of it and that
is one of the reasons why the national company created the
American Tap Dance Institute in the first place.
While we do not believe that it would be appropriate for us to comment
on other tap teacher training programs, the following is common knowledge, or
simply common sense:
1) The training in our program lasts a full year, not a few days or
even a few hours hours as some others do. Just as importantly, it is a
program that is intelligently designed to let each trainee grow and
develop in a very individual way all while maintaining excellent
standards and consistency across the board. This ensures the kind of
homogeneity which is key to the future of tap dance and to
properly training the "pool" of future professional tappers which we
so badly need in this profession.
2) There is no other higher-education programs of this depth and
magnitude that is strictly dedicated to tap and is provided by
one of the leading tap dance companies. None. All others are either provided
by organizations that specialize in other dance traditions and
claim to be proficient in tap as well (such as the one you are
referring to) or by dance organizations who mean well but are run by
people who do not come from the top professionals' ranks.
3) We privilege quality over quantity. We certify less than fifteen people
each year, a very small fraction of the number certified by others.
This isn't good for our budget (this program has been losing a lot of
money over the years) but we have found that it is the ONLY way to
adhere to the standards we have established.
4) Many of the people who have graduated from this program had
previously received diplomas from a variety of organizations and
institutions in the U.S., Canada, Australia, England, etc. Without
exception, all were simply shocked to discover that what they had been
taught and "certified" for did not include some of tap's most critical
fundamentals. Most were also very upset to realize that the
tap history they had been given was woefully inadequate, and in some
cases entirely inaccurate (again, something that is simply unthinkable
in ballet.) We will refrain from quoting some of their actual comments
here...
5) The TTP is offered by the higher-education division of the national
tap dance company of the USA, which is the BIRTHPLACE OF TAP. Also,
while there are two other major professional tap dance companies in
the country (and in the world) with comparable standards and level,
and while we have great respect for our colleagues' concert works, the
national company's educational programming - including ATDI of course
- is simply unparalleled (you will find a basic listing
here.) We don't just do it because it is
our duty and part of our mission, we do it because we believe that it
is high time for tap to come of age and enjoy the kind of
respectability and status that most other artistic traditions have.
6) If you feel that the many comments and quotes that are posted below
and on the various TTP
pages aren't sufficient, we have absolutely no problem putting you in
touch with the Graduates. Just follow the simple contact procedure on
the Grads Page.
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How is the ATDI qualification
rated around the world?
Both due diligence and common sense
show that there is simply no other program that comes close to
the depth, standards, content, and quality of training provided by the TTP.
As explained above, this has also been remarked by quite a few Program Graduates who
had previously attended "certification" programs that they
later realized offer nice
diplomas but little or no substance.
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Why is the training over a one
year period, could you make it shorter?
FYI the studies have already been
"compacted" down to one year from the initial two-years TTP
curriculum. Unfortunately, reducing them further down to less than a
year is simply not possible without losing significant program content
or quality. It's also really important that you understand that this
program is as much about the studies themselves as it is about the
discoveries, experimentation and transformations which the trainees go
through. This is a personal journey that takes time and can't be
"skipped'" (nor can it be "done on the Internet.") Many TTP graduates will tell you that for them
the professional and personal growth they experienced were the most important part of
the program, more important in fact than the diploma itself!
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Don't you think the tuition is
high? I can get my certification for much less money elsewhere.
Kindly allow us to disagree in the strongest terms.
Usually, you "get what you pay for", but in this case not only is this
program NOT expensive, we believe it is fair to say that you get MORE
than what you pay for. Here is why:
1) Quality and Standards
Please see #31 above as well as the considerable amount of feedback
below and on the main TTP page. The bottom line is: people have
PARTICIPATED in this program say that there is NOTHING EVEN
CLOSE TO THE TTP, ANYWHERE IN THE WORLD.
2) Low tuition
Yes, LOW! Let's do the math together... What trainees pay per
intensive session amounts to about $15 per hour spend in training, and
actually much less if one takes into account, as one should, the many,
many hours spent by ATDI customizing the program and providing each
trainee with unlimited FREE advice, support and guidance between
sessions. Now, what does $15/hour represent today? It is about what
STUDENTS, i.e. non-professionals, pay for a tap class at many studios,
and it is far less than what many organizations or tap festivals,
including ours, charge for master classes or tap intensives.
3) How does it compare in general terms?
FACT: This program costs less than $600 for one week (5 days) of
intensive training plus FREE support and guidance for the next six
months and has NO equivalent anywhere in the world, as opposed to a
cost of anywhere from $250 to $1,000+ PER DAY ($1,100 to $5,000+ per
week, with additional fees of all sorts due for additional and/or
personalized support) in the corporate world or in other fields, even
though the instruction level and quality often pales in comparison
with what ATDI offers in the TTP.
More importantly, may we suggest that top-notch professional training
with a proven track record is not really a "cost" – especially since
most of the money spent on it can often be written off your taxes- but is rather
an INVESTMENT. And WHAT MATTERS IN AN INVESTMENT IS WHAT ONE GET IN
RETURN! A much greater cost would be paying the price of not training and not
keeping up with the times, or worse, getting sub par training that
does not really provide substantial, IN-DEPTH IMPROVEMENT IN YOUR
TEACHING. Many TTP graduates have said flat out that they had
previously ENTIRELY
WASTED THEIR TIME AND MONEY getting "diplomas" only to find
out during their first TTP session that these diplomas had not even
begun to provide them with what should be considered the most basic,
elementary knowledge (one remarked that it would be akin to her piano
teacher never mentioning that the keyboard was made of 88 keys, or
that there were such trivial things as chords or scales.)
AN INDIVIDUAL'S COMPETENCE AND SUCCESS ARE DIRECTLY
PROPORTIONAL TO THE KNOWLEDGE AND TRAINING SHE/HE HAS AND HOW WELL THEY ARE
APPLIED ON THE JOB. In turn, whatever employer this individual works for
(studio, university, school, etc.) will GREATLY benefit from top-notch
training, as has been abundantly documented in the case of the
American tap Dance Institute's Teacher Training and Certification
Program.
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Why can't I find the feedback from
program grads on that page anymore?
As more and more people graduate - and since we provide
their pictures on that page as
well - people were complaining that their web page was taking too long
to load. We therefore moved that whole section below (at the
bottom of this page.)
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If I am accepted but end up
with scheduling problems, can I skip one of the sessions and fulfill
the requirements of the program through some other technological means
(via email, internet, faxing, phone, etc.. or some combination
thereof)?
Sorry, this is not possible, it would be like
skipping a year or semester in college. It is even more true in this
case as the Institute considers the "human factor" i.e. direct
feedback/analysis of what the teacher does In Situ, on the dance
floor, to be a CRITICAL element of the certification process as a tap
dance teacher's skills and success CANNOT be determined or evaluated
on paper of via electronic means." ATDI does use technology
extensively but in this particular area we think this would be very
unwise and quite frankly unethical.
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Where do the teachers that are
selected for this program come from?
They literally come from all over the world. It is not
uncommon to have people from 3, 4 or 5 different countries and very
different cultures, in the same class/year. This makes training
sessions even MORE exciting and interesting.
If you have a question which you feel should be answered
on this page, by all means email it to the
Institute staff.

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TEACHER TRAINING AND CERTIFICATION PROGRAM
FEEDBACK FROM GRADUATES
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No one is more qualified than the
graduates of a training program to evaluate the very program or institution that
certified them. So, what was the TTP grads' experience like? What do they think
of the training program offered by ATDI? You will find a few quotes on the main
program page, and many more just below.

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"I loved having the time in between sessions to apply the concepts!.. I will cherish what I have
learned, taking the responsibility to continue my development as both a teacher and tap
dancer. Chris Baker was an incredible teacher and I enjoyed all of his insights... He was very good at guiding us
all individually towards our strengths (especially with the last
session). I humbly applaud the institute for its aspirations. I know that the world of tap would be greatly
improved if more teachers could get through the TTP."
Ann Bergeron |

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"Throughout my years of teaching, I found myself asking the same
questions over and over again. You know, the "what ifs" and "can I do this
or this?" And the list goes on! Then I attended the ATDI and found answers
to those questions and a gazillion others I hadn't even thought about asking. I learned so much! It was amazing!
Each of the three sessions became
increasingly important and more in-depth. I feel more confident and knowledgeable about my
teaching abilities as a direct result of the ATDI
program. And now I can share that knowledge with my students and that makes
it all worthwhile!"
Cindy Hsu |

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"Explaining the anatomy of a tap shoe is WONDERFUL! All ages seem to
enjoy finding out where the sounds originate in relation to the
foot... Applying relevant history to tap gives the dance style more meaning
and depth and I know my adults really appreciate this in their classes...
Polyrhythms are a lot of fun!"
Debbie Jones |

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"This was all excellent material which I appreciated at the time we learned
it, and I appreciate it now as I review my notes...
At this stage in my dancing career, to encounter something new and
significant is a wonderful and exciting benefit. My teaching has
improved and my dancing has improved. I am more accomplished and
more knowledgeable. I believe this improves my confidence, and
improved confidence makes me a better teacher.
...I was exposed to tap
teaching material I probably would not have encountered were it not for the Institute... I
appreciate deeply that somebody cares enough about tap dancing to try to raise the level
both of teaching and performance of tap."
Gene GeBauer |

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"At the close of Session 1, I left for home with a notebook full of
information, several cassette tapes of rhythms, and my brain full of
historical anecdotes... The session started off wonderfully well. In every class I had
something meaningful to teach. Most of my students were aware that I was attending the TTP, and were
eager to hear about what I'd learned, so implementing technique changes
went pretty well... The use of fundamental position is also working well. They all move to
that position on command, and can explore their weight shifts and center
more intelligently... Knowing more about the history of tap dancing and its evolution has made
class more interesting for me and my students. By associating new material or changes in technique with an historical period, I present
the students with a good reason to try things another way. For instance, saying that the emphasis was on sound, rather than on large
movements, has made my students eager to try the 1920's version of the
buck time step... I came back from Session 2 wondering, “why hadn’t I ever tried this
before?.. I was an enthusiastic teacher before, but I approach my work with a
renewed energy this year."
Tracy Lawson |

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"My students love the history and style angles of tap. During a level 3
class, we took one 8 bar phrase and experimented with it in the styles of
Fred Astaire, Gregory Hines and Gene Kelly... I'm very pleased with the direction that my teaching is going. I'm inspired
by what I'm learning and digging into tap history and its legends. My
students are very consistent and seem to be learning at a more rapid
rate than ever before. "
Cathy Lozano |

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"The past twelve months have been a journey in which my whole concept of
tap dancing has changed... As kids, we were taught rote memorization of
steps. We were taught to remember the names of the steps, and to perform them in time to the rhythm of a simple orchestration of a simple
song. Our idea of a different rhythm was waltz time. We were not encouraged to experiment, and I notice in my “dances” I made up as a
young teen, it was really nothing more than spitting out steps I had
learned in class in one order or the other. I see now that I was bound
by the restrictions placed on us... The student is a product of the teacher. The teacher’s level of
enthusiasm, their knowledge of the subject matter and the effort they
put into their job all contribute to what the student takes away. I
suppose I was merely a product of my teacher, just as she was a product
of the time when she was a student... Since I started in the TTP, so many things have changed in my teaching
style. First of all, my confidence level has increased one hundred percent. I never floundered around in class not knowing what I was
doing, but now I approach class with so much more serenity because I’ve
realized that I actually do know what I’m doing. I’m never nervous...
I am also much more at home teaching things I never learned as a
student... On top of all the great new things that are going on the classroom this
year, I got a great performance review at the end of the season — they
especially liked that I took the initiative to find a place like the
TTP, where I’d have a network of teachers, and a place to hone my skills."
Tracy Lawson |

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"...Any
time I had contact with the office staff, they were professional,
courteous and prompt in any reply... The networking we did simply by being with other teachers; sharing notes,
thoughts, and ideas about classes, steps, and students was definitely
invaluable to me... I now feel more confident in what I say and do in a classroom situation... I feel privileged to have had this training and I am proud of the
accomplishments I made during the journey."
Megan McDaniel |

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"[The
adjudicators] knew what they were talking about, had definitely looked and listened in my class, and were trying (again) to help me be the best teacher I could be. I also trusted your organization to find
such people. I had already had that kind of experience with Mr. Baker... I was more than pleased with the instructor, his qualifications, his level of professionalism, and his
communication... I felt that he had a genuine interest in us as teachers and wanted us all to improve, not only for us but for our students... he was very supportive and just encouraged me to keep trying
hard! He challenged, but never berated or belittled."
Heidi Eber
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"[What is
on the web site] is a completely accurate and up to the minute
picture of what the course is like. Everything in your program
description is true and informs possible candidates of the
"homework" and real commitment that will be necessary on
their part... I really enjoyed going over the correct technique of the
fundamentals. Now I am aware of the correct pedagogy connected with
each step and can pass this on to each one of my students. I will be
sure that they have the proper foundation so that from there they
can advance without technical flaws... It is so difficult to put into words how wonderful Chris Baker is
as a teacher ...He was a person of endless knowledge and his love
for the art of tap was so evident in every exercise, every note we
heard, every sentence he uttered. He truly inspired me to take a
closer look at my teaching and myself and to determine my weaker
areas ...Meeting and studying under him was truly a once in a
lifetime experience... I was very nervous going into my final class and found the judges
to be very kind and unobtrusive. They were very quiet and within the
first five minutes of my class I had forgotten they were there
...The vital information they gave me during the feedback was
absolutely wonderful... Everything they said was geared to making my
classes more successful. They made me feel that I am on the right
road to becoming a good tap teacher... The TTP made a PROFOUND
difference in the way I teach and the methodology I use. My warm-up is
now is actually that, a warm-up and my class flows so much better than
it did before... My musicality has improved drastically. I truly feel so much more
confident going into class... My students are now receiving a
well-balanced knowledge of tap.". "
Justine Coulon |

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[Answer to a letter from a
colleague who contacted
Ms. Eber, reprinted
here with permission]
Jim,
I hope that you have taken a look at the NTE page lately. There are
several things available. If you really want to know how to teach tap,
then you should do the ATDI TTP certification
program. You'd see just by the first session that it's totally
different from other "Certification" programs. This is a serious
approach to changing
1) the fundamentals of tap instruction to be more reflective of the
history of the art form
2) the quality of tap instruction to produce better dancers and tap
enthusiasts
3) the instructor into someone with more high quality resources both
outside and inside themselves.
You can talk to the persons involved in delivering this program
directly by attending one of the upcoming tap sessions in June in
Hagerstown. At these sessions you won't get instruction in "teaching"
but you will learn some fresh choreography and probably new
combinations that you haven't seen before. If you use any of their
choreography, they just ask that you acknowledge the source (NTE or
the individual choreographer), just like any other reputable
student/teacher/devotee of the arts. At one class Cassie was going
over a piece from Bill Robinson and Shirley Temple, that we could do
in time with the video. In this case, she never claimed it was "her
own." I respect that. I stayed for all four classes the last time,
each 1hr 15min, and I was well worked. It was a great workout for a
dance instructor, with interesting and challenging choreography. The
final class was all a series of different time steps. It was really
cool. Check out what they're offering this time, and I'll venture to
guess that there are several things that would benefit both you and
students.
As to styles and schools of tap... let me refer you to better sources
than I. If you want a quick read, there's Savion: My Life in Tap. This
is great for us as well as kids. It really takes you to the heart of
tap, which is not as much a "showpiece" as it is a performance of
music. If you look at some videos, make sure they are old.... the only
new one I've liked is "Juba: Masters of Tap and Percussive Dance."
Although there is a good one out about PegLeg Bates, with Gregory
Hines talking about the tap masters (but it's from the early 80's I
believe, no longer "new"). You have to go to a quality library and
check out their collections. I found several by going to the free
library in Baltimore. Washington is a great resource for you. Other
books: TAP! by Rusty Frank; and Jazz Dance by Marshall and Jean
Stearns. They are longer reads, but discuss the development and
styles, changes, etc. of tap from the basic beginnings to recent
history. I could give you my understanding in a nutshell, but this is
what I'd leave you with: tap is rhythm first, foremost, and last.
Anyone that tries to tell you that Rhythm Tap is a "style" of tap is
ignorant of the reality of this art form. All tap should be rhythm
first. And if you want to give it a particular "style" by use of
music, costume, upper body work, props, or anything else you can think
of.....that's fine, but if you do so to the neglect of the rhythms you
are trying to create, then you have HURT the art form rather than
enhanced it. Does that make sense? It kills me when I see little kids
being cute (or being given too difficult material), when they can't
come up with a basic rhythm on their own. You can tell the kids that
are being pushed into doing a number of steps/combinations before they
can control their own bodies. And it is my contention that Jazz and
Tap go hand-in-hand for a while... little kids should be learning tap
in jazz shoes for several years. And I could go on and on about what I
think.......just suffice it to say, I enjoy all styles of tap
performance, when it's done correctly and age-appropriately.
This is the kind of stuff (banter, information, etc.) you get when you
connect with other dance instructors through the TTP program. If you
want just material.... you should go to the NTS
(The Seminar) out in Colorado. There you will learn LOADS of stuff.
And you can take students with you, so they can have a total immersion
week.
Anyway, I didn't want to leave you hanging forever waiting for some
more input from me. I hope this answers any other big questions you
might have. I don't waste my time with other "tap" seminars or
workshops (like Al Gilbert), as some of my colleagues have. This is
way beyond that. Well, good luck, and I hope to meet you sometime at
an NTE event.
Wherever you go, whatever you do, keep on dancing!
Heidi Eber
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"I am a
better teacher and person because of the training I received... I
enjoyed learning the history and watching videos. It was fascinating
to me... I am now more confident, creative and knowledgeable. My
teaching has drastically changed for the better, and I hope to
continue my education in post graduate classes... I am confident that
I will be able to reach more students with the knowledge I obtained
through the TTP... I feel that the program was thorough and extremely
educational. I would recommend it to any one of my colleagues."
Krissie Odegard Geye |

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"Every
tap teacher should go through this training.
My confidence grew immensely from my training with the TTP. I began to
explore things that I never thought were possible. My students
responded well to my thoughts and experiments, and were overjoyed to
be learning the
history of the dance form they loved so much. They too felt more
well-rounded by understanding the past occurrences of the tap greats.
Because of the TTP, I have completed the puzzle of my dance career. It
began as an infant and lost some pieces along the way. The knowledge
and confidence that I have gained from the program has allowed me to
reshape the pieces of the puzzle and heal the patchwork of scars and
negative experiences from my past... I can't wait to tell everyone I
encounter about all that I have gained through the program... I now
have the tools to be a competent, skilled, knowledgeable, passionate
instructor... And, most importantly, I feel confident, knowledgeable
and truly excited to share all that I have learned through the TTP."
Krissie Odegard-Geye |

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" ATDI has given me the confidence and education to begin my
learning process in a positive way as far as history goes. History
was not something I paid enough attention to... I have made myself
do the homework and research to find out the answers. This
motivation on my part would not have been possible without the help
of ATDI at session 2. I have come to realize the more I inform
myself of any tap dance education, the more my students can absorb
my knowledge. This is why a teacher takes a teaching job, to educate
students...
The more I learned, the more I wanted to teach others. Session 1 was
great for educating me personally, but session 2 was a definite wake
up call, as an instructor, to figure out what and why I was teaching
the curriculum I had put so much effort into... I never thought of
tap within the business aspect of a studio before session 2....
Learning how ATDI worked with challenged children made me want to
give more to my community. Too often, children with disabilities are
left out of special activities such as tap. ATDI has always promoted
"special" classes and I agree. These special children need an
outlet as well. This is another situation I would not have tapped
into if not for ATDI."
Trish Rowley |

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"...My teaching
continues to grow and develop with the information gained from my ATDI
training... Participating in this program has helped to keep me on a
path that improves my teaching and helps me grow in my career."
Karla Grotting |

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"Switching over
from Al Gilbert’s curriculum to my own was a big change for me. For
the past two decades that is the curriculum I have used, but I know I
am going to be a lot happier with my new curriculum because it will be
covering every aspect of tap and in the long run will help me to
produce better tap dancers... I am very thankful for the privilege of
being able to take part in [the ATDI] and glad to see that there is an
Institute such as this. I have learned a lot about myself, and most
importantly, how to become a better tap teacher along with invaluable
knowledge about this American art form we call tap. I want to continue
my tap education with the classes, workshops, and conferences that are
offered through the NTE and to always persevere on my journey at
becoming the best tap teacher/dancer that I can be."
Linda Zapf |

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"I feel that I
am truly fit now to be a tap instructor and that I have stronger tools
as a dancer (for myself.) ...Deep down, a part of me wished that I
would have learned these concepts years and years ago so that I would
have had other opportunities with my tap talent, and then settled down
to teach... I do know one thing for sure; I can go to sleep at night
now not worrying that I might not be a good enough tap teacher. I am
confidant in my abilities and capabilities of providing the correct
knowledge. My students are aware of this too because they have seen
the benefits in forms of
quality of sounds, understanding more complicated rhythms and
especially the confidence of being able to achieve something that
sounds so wonderful."
Tonya Goodwillie |

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"TTP is
a great program, offering an all-round tap teacher education.
I have definitely become a more confident teacher. Having had
access to the experience of my fellow TTP students has allowed me to
broaden my horizon. It has often confirmed and enforce ideas I had
about teaching, and so I am now more at ease with ideas that I was
unsure about before I started TTP training. It has also allowed me to
learn new approaches, new teaching techniques, new teacher
practices... I now allow my creativity to come out... I now feel
better able to get out of students what's in them... [my student] felt
so invigorated by this form of tap-dance (new to him) that he came and
thanked me at the end of class. I've never seen him as happy with
himself, and since he has also become more confident in the set
exercises... [The TTP] has so enriched my teaching abilities."
Karin Dierckx |

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"I have grown
tremendously as a Tap Teacher since I began the ATDI Teacher Training
Program... I notice a huge improvement with my classes who have been
introduced to tap using the fundamentals and their order as compared
to
those taught the BATD (British Association of Teachers of Dance)
style. They learn much quicker and have more precise foot movements.
My BATD students have sloppy footwork and have a difficult time
progressing... This year, the classes who have been taught using the
fundamentals are doing extremely well... The improvement rate of these
students has passed previous results and they are at par with my third
year tap students because I started them off correctly."
Kelly DeBouver |

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"I started
slowly at first, but it was important that I got my students to think
about more than just step after step. With tools and techniques I was
able to be confident in what I said, and had a certified position on
such aspects as floors, shoes, and teaching strategies. I talked about
the positive impact on myself, students, an added in parents. As a
Canadian it is such an interesting and fantastic opportunity to take
part in the TTP. I feel I had gained more respect from the people at
the studio. I had many aspects that were taught at the first session
work well for me... I have got the counting secure now and I think
more of such things as child behaviors, balanced classes, teaching
strategies, and how to run a reputable successful business. I also
have a deep interest in the history involved in a well-rounded tap
education. I understand the importance of these more mature aspects...
I feel I have got out of the TTP what I had originally hoped for and
so much more.
Gained knowledge from my learning’s at the ATDI program has been
unbelievable. I feel I have been given a great gift. Not many
Canadians will take the time to learn the great American art of tap
dance from the most original source. As I have said the learning never
stops. I now feel that I have a guideline, and endless help through
the grad connections, to feel I can explore more history, musicality,
and techniques... The one thing that has worked really well for me is
that fact that I have a certified position. I don't feel like other
teachers or parents second-guess what I do in class, but should they I
am proud to explain where I was trained. The program is one of a kind
and delivers a great end product.
I have been fortunate enough to be offered a position with The Young
Canadians in a more prominent and full time position. I will be
teaching tap and jazz for them. I have also been able to apply many
ATDI ideas of teaching to my jazz classes and have created a very
interesting position for myself as a well-rounded teacher...
Experimenting has been a gigantic part of achieving success in this
TTP. Making mistakes is truly the best way to learn and improve
yourself... Overall the TTP has been a wonderful experience. I trust
that I have been lead down the path to learning more about tap, how to
effectively teach, and why we pass down our knowledge as teachers to
another generation in a complete tap education. The actual session
were timed well to allow for growth at home and in the studios. My
outlook and teaching has been affected indefinitely and I feel I have
been given a code of ethics and standards in teaching tap. All of the
changes that have been made have been positive and beneficial to my
students, their parents, and myself."
Mark Eriksen |

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"I feel that I
am much better at teaching technique and the proper executions of the
steps... My classes are far better than before starting this program.
I am even frequently complimented by other teachers and students and I
have a kind of fan club which consists of other dance students who
come early or stay later so they can watch some of my class! Other
teachers have also started asking me for advice on certain things that
can be applied to other dance classes also. At the moment mine is one
of the most animated classes in my school, and is the one with the
best attendance average!
I am much more confident because of the knowledge I have gained
through the ATDI... There are far less, almost no, dead moments in
class... Students are progressing much faster than before (a lot
faster!) and staying interested. This is the first time I've had a
class where not one single student gave up! (In Portugal it is common
for any dance class to start with let's say 10 students and after a
couple of months half of them have disappeared!) They are now a very
enthusiastic and solid group... I was sincerely thrilled when they
asked me if they could come anyway and use the studio to practice and
play games during my absence!"
Pollyanna Jazzmine |

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"What attracted me to ATDI was that they were interested in teaching
teachers how to "teach". It is one thing to be a great dancer and
another to be a great teacher. I had seen so many poor tap teachers
that I thought this would be a chance to see what it meant to be a
good teacher.
I was quite nervous on my way to Session I. What if I wasn't good
enough as a dancer? What if it was too hard? What if I was the only
one that didn't teach full-time? What if I had so little training as
a student compared to everyone else? What if, what if what if???
However, when I met my colleagues, I was pleasantly surprised. We
all came from various backgrounds and had our own strengths and
weaknesses. And as soon as I understood the mission and curriculum,
I realized that the ATDI is where I needed to be.
I have made many changes because I have learned so much since
beginning this program... I create an understanding with my students
that there are several styles of tap and that one style is not
necessarily better than the next., it is just different. I prepare
my students to take classes elsewhere... I definitely share more
information on the History of Tap with my students than I ever did.
I have always mentioned various artists including tap masters and
their contribution to tap dancing. However, prior to ATDI, I didn't
have the knowledge I now have. Therefore, I am painting a more
accurate picture of Tap History in my current classes.
We learned many exercises and fundamental techniques in ATDI, that I
have used to improve the quality of my students and their sound.
Swaps are a perfect example of something that I just didn't know how
to really teach. Teaching them correctly shows results...
Implementing call and response into my lessons has helped my
students to make significant improvement with their listening
skills... I can't say enough about "switcheroos". I definitely have
used these in classes... The first and only time I have seen this
type of exercise used is at ATDI."
Kelly Gagliardi |

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"In all the places that I can I include historical information about
where something came from. This is something that I did not do
before. Mostly because I did not know enough to bring it up. Another
reason is that I now see a need for this information to carry on.
This technique is something that is passed down from one generation
to the next. The transmission of this information has always
happened between the teacher and the student. We are becoming
farther removed from the history be time that has passed, but that
is not a reason why information of the passed should not be shared
with the future. If inherently in the tradition part of the exchange
is historical, all teachers of this should be able to discuss it.
Also it is their responsibility to bring it into class..
One strong thing that I have received from the program is a much
better understanding of tap technique. I understand the steps much
more than I did before. I also have a much clearer idea of going
about teaching this material. For example on the shuffle I know what
parts of the body need to be active, and what parts need to relax. I
know where the body should be relative to the plumb line. Also I can
describe to my students where their weight should be to accurately
perform the step... My students are becoming much more knowledgeable
about what they are studying. They improve on their technique in
every class. For the class at the university the improvement was
very dramatic because the class periods
were about an hour and a half, and they met twice a week. The
application of material happened at a faster rate. By the end I put
the class in my senior concert and the most common comment I
received was that people could not believe that was a beginning
class... One of the comments that I received on my end of the year
teaching evaluation was, "I can't believe four months ago I had
never tapped, and now I can."
The best thing that I have found is that in applying what I have
learned I see great things come from my students. I have many more
things to learn, and much more experience to be gained. I have many
things that I have to work on more, and see the best way to find
success with them in class. This will come with time. What I see too
is that there are a lot of people in this area that see what I am
doing and they are pleased. They want something new in this town,
and because of this there are some new opportunities that will be
coming my way this summer and into the next year. To me that means I
will have the chance to work on many more things. The teacher that I
could be is only going to come with experience."
Christina Holt |

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"My entire outlook upon tap has changed and now that I am aware of
so much more technique and history of tap, I am mentally in a
completely different reference point as I approach my classes.
First, there is a wonderful joyfulness inside my soul that I am
eager to share with all of my students. I no longer look at class as
just a series of exercises to be mastered by the students and then
have them perform a choreographed dance utilizing those same
skills... I now enter class with a plan of what I would like to
accomplish for that lesson and how I am going to approach the
lesson... My
warm-up has completely changed since I started the Teacher Training
Program and now I feel it flows better, has no interruptions,
definitely warms the body up aerobically and instills the tone of
the class to follow... My teaching methods have expanded
tremendously in so many ways. I utilize every moment I have to its
fullest and avoid stopping at all costs. My greatest interest is
perfecting the fundamental tap dance posture and having my students
perfect the basic fundamental tap skills. I am now looking for
quality and clarity of sounds and then progress the students' speed
once
those are mastered.
As a teacher, I have changed drastically. In the past, I was
concerned with teaching certain exercises and “flash” steps. Now I
am focusing on the quality of the students’ movements and the
artistry to go along with the movements. I want the students to
dance with “soul” and I want them to develop the same passion for
tap that I have. I want them to be curious
about the different rhythms that can be made and how we can use
dynamics and shading to bring a whole new dimension to our tap. I
want them to feel that exploration is a favorable thing and that
through practice and experimentation they will become fabulous tap
dancers in their own right... I feel like a totally new teacher with
an enormous amount of information, which I eagerly want to give to
my students. I hope that I am a sincere and giving teacher who
inspires my students to thoroughly enjoy the art of tap and allows
all of my students to develop their own wonderful relationship
with this fascinating art form. "
Justine Coulon |
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