USUALLY our beginner pupils at the studios enter themselves in a class, of either one or another of the types of stage dancing that are so popular, and proceed regularly along the lines of class instruction.
Then, in nearly every class, there will be those who "eat up" the work, who advance rapidly and get ahead of the others, because of special capability or unusual capacity along the line they are studying.
Others go along at a natural pace, developing at the average rate, and in the end come out as well schooled as their speedier companions. For them the regular routine of class instruction is sufficient and effective. Their progress is safe and sane.
Still others lag. This condition is present in every walk of life, in every school, profession, trade. Some always get behind, fail to grasp the meaning of their teacher's talk, are deficient in initiative ability and so may not interpret his steps in their own actions. I do not like to think or say that any of our pupils are lazy or indifferent; ours is no place for either laziness or indifference. But whatever the reason, the fact persists, a certain small proportion of nearly every class in our studios fails to advance as rapidly as their sister mates are doing.
If this element will recognize its own shortcomings and is sufficiently ambitious to desire to succeed, the remedy lies in the direction of private instruction.
So, too, in the case of the fast learners, those who are really getting ahead of the majority of their mates; they will profit measurably by taking our private instruction.
We have special studios and special instructors for just this purpose. Professionals come to us without solicitation, for new steps, new tricks, or new touches to old dances, and a few private lessons here sends them out with new stuff to please their public. The student who has come to an impasse, who finds she is not progressing in class as she wishes to, and the student who is very facile at her work and her learning, and knows herself capable of going ahead more rapidly than class routine permits—these are the two who will do well to consider the taking of private lessons. The average pupil may well be content with her class work if she is going along in good fashion, and for her, private instruction is not so essential. She may wish it later on as conditions change, but at present the ensemble instruction, with its unison work and the gentle competitions of fellow-students doing the same stunts, may be all that she requires.
Ask your instructor if he thinks you will best remain in class, or take private lessons, or do both. And ask me. Both the teacher and I will be perfectly frank with you and advise you for your own best interest.
At the desk in the main office you will learn what hours are available for private lessons, and you will be assigned an hour, an instructor and a private studio, if you and I decide that you will benefit by this course.