Punctually at each new academic year stand protest chants and sounds exasperated against the proliferation of masters without art or part, or makeshift schools often do not comply.
Every year is like this, and this, too, 2016, despite the crisis that prevails in the world of dance, sees the birth of new masters and attends opening of new courses that offer the disciplines most imaginative and delusional.
Sobered up demonstration lessons, the rumors however quiet and the motto "COSI fan tutti" the controversy end up in the attic, waiting to reappear the next year.
As for me, I got peace of mind because it believes that the first to not wanting to be a code of ethics or rules are their teachers, many of whom have not and would not have any interest to a true ballet master craft regulation.
On the other hand our Constitution speaks clearly: "art is free and free is teaching" so anything we can do, unless you establish a self-regulation but will never arrive, just because it's us masters (most of which already has another job) to not want to.
The real problem in my opinion is, however, another: many times we persist in not understanding that a student doesn't choose a master based on his skill, his competence and his ability but according to personal criteria that sometimes elude any apparent logic.
If the student would owe the quality then there would be no need for any type of self-regulation, no Diploma or any certificate issued by any Federation or competent body. It would be enough just to do their jobs well, offering a highly professional service able to outperform all competition.
Unfortunately it is not so because most pupils not based his decision on the case. Indeed, at times the master too good scares a certain kind of audience that in fact more than one master is looking for a facilitator.
Staying a long time in Puerto Rico, I observed that this phenomenon is happening even there in what has again become the cradle of the sauce. While it is true that most Puerto Ricans do not attend a dance school, it is also true that those who do not necessarily choose the master who is universally acknowledged best in piazza (like maybe make Italians more motivated ranging in Isla del Encanto precisely to improve).
Not by chance also to Puerto Rico are many protesting against proliferation of masters, though, many times, the scarcer of them and definitely more prepared than some of our (if no one else knows what's a conga, a clave or a Bongo)
In the end, if we think about it, the fault is not so much about those daredevils who put themselves to teach without having the necessary qualifications. No, it is the fault of their students (and in this get you peace) never, you would choose a maestro, precisely because they have no desire to learn seriously.
Who knows, maybe just try a legitimate and understandable way to fill a void or affective passion and rest assured that once filled, probably, will stop dancing …
So keep on doing your job with passion, without selling your dignity in fear of not finding more students for your courses. Maybe the quality does not always pay, but rest assured that consistency often rewards those who are not afraid to go against the grain …

About Stefano Bognolo

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