Faculty Advisers vs. "Professional" Advisers: The Rumble in the Academic Jungle

In the world of academia, advisers generally fall into two categories: the "professional" adviser (meaning someone who exists on campus primarily to advise students), and the faculty advisor (meaning a faculty member whose primary role is teaching, but also advises students within their department). You can easily find both good and bad examples of advisers from each of those categories, but I want to use today's blog post to explain the differences between the two. In the spirit of full disclosure, I will point out that I fall into the "professional" adviser category (why do I keep using quotes? Because "professional" is a term that is up for contention.) I am going to do my best to give you positive AND negative aspects of the professional and faculty adviser.

My school has students meet with a "professional" adviser during their first year and then transition to a faculty adviser (in most cases) for the remainder of their education experience. Why do we do this? First-year students face a lot of challenges, particularly in their first semester, and they generally benefit from added attention from an advisor. Advising programs all around the country are completely different and you (the student) should be aware of each adviser's strengths and weaknesses so you know where to go to get help.

My Professor/My Adviser: The faculty adviser is usually someone who has spent at least a year working within their specific department--so that they are at least moderately familiar with their own curriculum. The Positives: The faculty adviser is almost always a working professional in their field so they are a superb resource for areas of study within the major, internship opportunities, grad schools, and jobs after graduation. Your faculty adviser is the person you should be looking to for letters of reference (please, by all that is holy, give them at least one month early warning that you need a reference letter! Faculty advisers are busy people!) You have usually taken at least one class with your faculty adviser--they know your strengths and weaknesses as a student. If you are in an Arts program (as my students are), you are probably taking classes with your adviser on a regular basis. You have the opportunity to develop an extremely close relationship with your faculty adviser--please remember that, in most cases, your advisor is required to sign off on your graduation application...so make nice!! The Negative: Faculty advisers devote the bulk of their time to teaching classes--after all, that's what they're paid to do (most of them incurred heavy student loan debt to teach). You may find that you have problems finding time to "meet" with your faculty adviser other than a few words exchanged before and after class. Because faculty advisers are so focused on teaching, they may not be as aware of classes outside of their specific program. Remember that you have general education requirements to complete...which classes you take can be all-important! Course selection meetings can also be rather...brief. Your faculty adviser will often run through a quick list of department classes you should take and then suggest that you fulfill one or two general education requirements...and then your meeting is over. A lot of departments have specific "advising days" where each faculty member is trying to advise their entire caseload in the span of a few hours. Can you really blame them for not going in to a lot of depth?

Adviser in the Hole: The "professional" adviser generally devotes about 90% of their work-week to actual academic advising (the remaining 10% may be used teaching 1 class or in other administrative duties). The Positives: We are in our offices all the time! Most schools will try to set aside "walk-in" hours during particularly busy times (last day to add or drop, last day to withdraw, etc.), which increases the availability of the professional advisor even more. Professional advisers also spend a great deal of time (most of us have weekly staff meetings) staying up to date on the latest policy and curriculum changes. We TALK to our students (all day, every day) so we know who the "good" professors are and which are the best classes to take. The Negatives: Try as we might, professional advisers cannot be specialists in every area. Most of us are generalists who know a little something about each area. When you want specific information about a program, we HAVE to send you to the department. We do our best to know about career options (many of us having training in career counseling), but we can't connect you to jobs or internships...and we CAN'T sign off on your graduation application!!

So how do you work with all of this instead of getting swept along in the current?

• When you're meeting with your faculty adviser, take notes--and schedule a time during his or her regular office hours for more in-depth questions.
• Don't expect your faculty adviser to know anything about the "good" gen ed classes to take--talk to some upperclassmen (find out what they took and who they took it with!)
• Above all, make sure your faculty adviser knows you! If you're going to need references or career advice, you can't expect your faculty adviser to give that blindly.
• Don't be afraid to seek out information on your own. Use your academic bulletin to find out about university policies (especially if you feel like you're being screwed over!) Take your bulletin with you to your advising meeting and point out the relevant information.
• If you have personality "issues" with either your faculty or professional adviser, speak to the head of the department. Changes to your adviser assignment CAN be made!! But as amazing and awe-inspiring as advisers are, we aren't mind-readers. You need to explain your situation to us so we can help!

A Major of Infinite Jest

There is a reason my office is the loudest in the Advising wing. Few students can match my Theatre majors for sheer volume or energy. Theatre majors are capable of the highest highs and the lowest lows...in short, there is usually a lot of "drama" flitting about my office. But I wouldn't have it any other way. Why? Because I was a Theatre major myself. I grew up in Theatre (my father was a lighting designer) and I've been onstage since I was old enough to take basic direction (I believe the first was "hold this girl's hand and cry"). So it is only fitting that Theatre marks the finale of my five-part majors series.

Most people are aware that Theatre majors tend to fall into two distinct groups: Performance majors (ACTORS!--must be said in all caps, with lots of energy...and possibly jazz hands), and Techies (Lighting, Costuming, Scenic Artists, Stage Managers). These students are fundamentally different individuals but they share a love for the same medium and a lot of the same academic challenges. I'll try to delineate the challenges that are particular to each group as we progress with the post.

We all get involved with Theatre for different reasons, but the two most popular reasons given by students are: fame (heard more from Performance students), and a sense of community. A lot of actors get stars in their eyes when they first start studying theatre, or acting in general. The truth is that only a minuscule percentage of the population (about 1%) will actually achieve any notoriety for their acting abilities. There is, however, an enormous sense of community in the world of theatre. Most of us begin our theatre studies in high school--and only a small group of people (usually misfits) get involved. We don't fit anywhere else (our skills, our looks, our mannerisms)...but we fit in theatre. Theatre feels like home to us. Add in the heady allure of applause after a performance and you have a potent combination of factors that leads students to want to do more theatre. So you decide to study theatre in college...that's where the fun starts:

1). I'm Sorry, You Want Me to Do What? Just like high school dance programs, high school theatre programs are NOT created equal. If students are lucky enough to actually get Acting classes in their high schools, they often get a mish-mash of techniques. It is frequently difficult for them to "formalize" their training style. Because first-year acting classes must, out of necessity, get all of the performance students to the same level, some students will feel stifled or confused. Your first-year acting teachers need to know the scope of your abilities, your dedication to your craft, and your work ethic, before they can move you to more complex training methods. If you're feeling confused, talk to your teacher (funny, I think I've said that before...) If you're feeling stifled, push beyond the bounds of each assignment you're given--create MORE work for yourself...CHALLENGE yourself! This will prove to your teachers, beyond a shadow of a doubt, that you are ready for more complex work and that you have a superb work ethic.

2). Know the Degree That is Right For You! Theatre students the wide world over have been arguing BA vs. BFA since time began. A lot of students will tell you that a BFA is a "better" degree. I say "bullshit". The "better" degree is the degree that is the best fit for YOU! If at all possible, make sure your school gives you the option of doing both a BA or a BFA in Theatre and explore the requirements of each. Know that a BFA is a very specific degree (generally issued with a concentration area in Performance, Scene Design, Lighting Design, Costume Design, Stage Management, etc.) A BA is a more general degree and will allow you to take classes outside of theatre (should you be so inclined). You CAN go on to an MA or an MFA in Theatre with a BA so your options are totally open! Oh, and you might not want to disparage the BA in Theatre while in my office...I happen to have one.

3). Get Your A** Onstage (or Backstage) As Often As Possible! The simple fact of the matter is this: you need to be learning your craft. Classroom experience is helpful, but until you actually apply what you've learned, you're just wasting your time. If you're in a decent-sized theatre program, there are going to be a lot of productions happening during any given semester. Between mainstage productions, student productions, graduate thesis shows, and area theatre companies, you have plenty of opportunities to work. For performance students: know that you will have opportunities to audition for a lot more "avant garde" shows than you typically see out in the "real world". You also need consistent experience auditioning. If you plan to make a career out of acting, you're going to be auditioning on a regular basis...it's never going to be "fun", but it gets a lot less painful! Also remember that if you get cast in a show for a local theatre company, and that show is an "equity" show, you can begin to acquire those all-important equity points! For techies: you need as much experience as possible working in as many different environments as possible. You need to know how to deal with having only 13 dimmers and having to re-patch multiple times per show. You need to know how to create an entire set using recycled set pieces and a $200 budget. You need to know how to create the "mood" of an 18th century play with only one or two costume pieces per character. Oh, and the more plays you do, the more pictures you have for your portfolio...which is how you get jobs!

4). Time Management is Your Friend. Ok, so let's say that you've got a typical first-year student schedule (Acting, Intro to Drama, Stagecraft or Costume, English, and one other gen ed...we'll say Psyc). You've got 15-16 credits of classes and now you just got cast in a show. Congratulations! I hope you're caught up on your work because your life is about to get crazy. If you were cast in a Mainstage production here at VCU, you will be rehearsing 6 days a week, from 6-11pm each night. I bet if I check your study schedule (you DID make a study schedule, right?), you had that time marked for studying and writing papers...didn't you? Oh, and don't forget that shows inevitably wind up going into tech during midterms, or finals, or when you have a giant paper due--so you'll be spending even MORE time in the theatre, and even less time on homework! How do you work around this? Plan out your day carefully! Chances are that you do NOT have back to back classes. Use some of the time in between classes to get homework done EARLY!! Take homework with you to rehearsal: unless you're in a small ensemble show, you're probably not going to be onstage the whole time. Your presence may be required at rehearsal, but you WILL have time to work on your studies. If you are freaking out, talk to your advisor AS SOON AS YOU GET CAST!! Your advisor can look over your schedule and see if there is any "wiggle room". We can also help you plan out a study schedule so you don't feel totally lost.

5). We're the Major That Parties! Ah Crap, I Just Got Busted... Here's the thing, theatre students are under immense pressure during rehearsals and right before a show opens. It's only natural that certain forms of "steam" are blown off once opening night rolls around. I only ask that my students be as safe as is humanly possible. If you're going to party, be smart about it--do it with people you feel comfortable with and that you know, in a safe location. If I catch you driving while under any form of influence I am going to smack you so hard...
Know that there are severe repercussions for students who are caught drinking underage and having that kind of mark on your record does NOT speak well to your character. Do not (for the love of god) jeopardize the educational and creative opportunities you've been given. (side note: the blogger does not, in any way, condone underage drinking. Just because she did it in college and knows perfectly well that her students are going to do it...I mean...don't drink kids!!)

6). Remember the First Rule of Improv. For those of you who don't know, the first rule of improv is to say, "yes". But it goes a little further, you say "yes, and..." You take whatever someone has given you and you take it further. Why do I mention this? Because in theatre, you're going to be critiqued, often harshly. I wish I could give people lessons in "constructive" criticism, but the fact of the matter is that theatre students are going to have to listen to some horrible things (about themselves, their abilities, their work, etc.) The best way to deal with it is to start taking that criticism as positive...use it as a way to grow. Use each negative response to your work as a new experience that you can gain something from. If you blow off those negative responses (usually by saying, "so and so doesn't know what they're talking about"), then you're saying "no"--you're not learning from the experience. And the "and" part? Say "thank you, I'll work on that". Telling someone that you appreciate their feedback, even when it is negative proves that you are growing as an artist. Find someone you trust (preferably a teacher) and talk to them about the feedback you received. Your teachers can usually help you find some meaning in the negativity.

7). What Are You DOING to Yourself??? I've been in theatre my whole life...and I've been doing this job for four years now, so I've seen a hell of a lot. I've seen students starve themselves to get the right "look". I've seen students start doing coke so they would lose weight. I've had students engaging in some of the riskiest, most damaging behavior possible--all because they were unhappy with their physical appearance, or because they were emotionally unhappy. Yes, "lookism" is alive and well in the theatre business. A big part of the theatre program here is if the faculty believe students have a positive "professional prognosis". That prognosis includes your appearance. Now, I know I've talked about this a little bit in the Dance post, but it's important enough to stress again. Your personal, emotional, psychological, and physical HEALTH are the most important things in your professional development. You are not going to progress, as a performer (or as a human being) until you are comfortable in your own skin. A large part of acting is taking on the mannerisms and spirit of a character--my belief is that you have to know your own spirit and mannerisms in order to successfully remove them (temporarily) and "become" the character. I cannot say enough about the benefits of counseling--especially for young performers. All too often, acting pulls out some VERY difficult feelings and emotions. You need to be strong enough to deal with them. If you are just starting out in college, now is the time to make healthy choices: campus health facilities are part of your tuition, so why not make use of them? Start working out on a regular basis! Choose to eat better in the dining hall--yes, you're going to eat pizza, but do you have to eat it every day? Get a water bottle and get into the habit of hydrating yourself regularly.

Theatre students have an enormous amount of challenges that they face, not the least of which is their ability to find a job once they graduate. No matter what you end up doing, remember that theatre remains a part of your life (seriously, you've been branded...that mark doesn't come off!) Know that your experiences in theatre have already put you ahead of a lot of your contemporaries--you are far more comfortable working in groups, speaking in public, and thinking creatively. All of these are things that employers list as top skills they want employees to have.

Ok, If You Make a Right Angle With Your Thumb and Forefinger on Both Hands, Then Put Them Together, It Makes a Viewfinder...Forget it...MOVIES!

Ah, the lights, the cameras, the celebrities, the glitz and glamour that is the movie business. Other than a Mennonite student or two, movies have been an enormous part of my students' lives. If you ask your average 18 year old what they would like to do for a living, at least 8 out of 10 will tell you they want to be involved in the film industry in one way or another. Most of us get stars in our eyes when someone mentions "Hollywood" and it's easy to understand why. Just think about surrounding yourself with famous people on a daily basis, making a huge salary, and being "creative" (whatever that means) all the time...wouldn't you want to do that too? Hell, I would.

But none of these fanciful imaginings will actually prepare you for a career in the movie business--or for majoring in film or cinema. What do you really need to know? Here are some helpful hints:

1). The Old Studio System Is Dead. Like it or not, the old way of establishing a career in films is no more. People used to be able to work their way up from menial positions (from intern to director)--that's not the case anymore. Most of the major movie studios are owned by large corporations now and the primary goal of those corporations is to make money on their films. Movie tie-ins with products are a HUGE portion of film revenue. The major players and executives at the studios have MBAs from Harvard...they didn't "come up the hard way". If you are serious about a career in film, recognize what kind of industry you're moving toward and prepare yourself accordingly. If you are interested in the administrative aspects of film, consider getting that MBA. If you are looking at a more specific career (lighting, camera, sound), plan your educational path to suit that field.

2). Consider Supply v. Demand. Think about how alluring the movie industry is to you. Now multiply that by millions and you'll understand the sheer number of people who are vying for a select number of jobs in the film industry. It is absolutely vital that you stand out amongst your peers. It is enormously helpful if you have a degree from a well-established film school (if you are considering directing or screenwriting especially)--NYU and UCLA are at the top of the list. Because these programs are highly selective (just like the film industry in general...funny how that works), an undergrad degree from one of them isn't always possible. If you can get a degree in film from a remotely decent program, you are doing yourself a favor. Do yourself another favor and really push yourself. Add in a second major that will compliment your area of interest in the movie business (interested in screenwriting? Consider English. Interested in producing? Look at Business as a second major.) No matter what you do, make sure you do something you are actually interested in! Your grades are incredibly important because chances are very good that you will apply to grad school at NYU or UCLA.

3). Prepare Yourself! Yes, we have this ideal of movie sets being incredibly glamorous. We picture a life of relative ease in the movie biz...but that's simply not the case. If you've spent any time at all in the entertainment industry, you will know that 18 hour days are not unheard of. If you're doing a location shoot for a low-budget film, you will have a very limited amount of time in any set location. You have to work quickly and efficiently. There is no time for lounging, or coffee breaks. You work until you're done (you're not an "hourly" employee on a set, you're paid for the shoot as a whole).

4). There Are More Jobs Than Just "Writer" or "Director". We often spend too much time focusing on "above the title" jobs (people whose names and job titles appear above the title of the film in the credits). But let's be honest, most Hollywood writers end up writing by committee (one writer will have an idea and then the script will be re-worked and then re-worked again...every person who touches the script will, providing they have a savvy enough agent, get "written by" credit). Some of the "big name" Hollywood directors actually allow their assistant directors to do all of the major work on a given film. Once they have reached a certain level of status, their name is enough to ensure an audience. Finding a job in film is the same as finding a profession elsewhere...look for something that highlights your strengths! Know as much as you can about the types of jobs within the industry and then pursue an educational path that will help you in that direction. For a listing of "studio" jobs, look at EntertainmentCareers.net (http://www.entertainmentcareers.net/data/studiostructure.asp) This site has excellent descriptions of careers within the studio system. ProductionHub (http://www.productionhub.com/) breaks down film/television jobs into categories (Crew/Technicians, Pre-Production, Production, Post-Production, Equipment/Gear, Digital Media, Support Services, and Talent Services) and is a subscription job search site.

5). Experience, Experience, Experience. Let's be honest, you have no idea what working in film is like until you actually do it...so do it as much as you can. Don't get bogged down with the idea (at least for now) of getting paid for your work...that will come with time and experience. Get yourself behind the camera and start learning the equipment. Talk to as many people as you possibly can, take notes, read everything. Get comfortable with the format of screenplays (they take some getting used to)--try your hand at writing them. Write down images and situations that interest you, that make you laugh, that make you think. Watch every movie you can get your hands on (seriously, you're going to meet some ridiculously pretentious people who will want to talk about tons of obscure little films. Won't it be fun to know what they're talking about...and tell them their ideas are totally wrong?) Yes, I know you've heard all of this advice before, but I'm repeating it because it matters, and because it's going to make your life easier in the long run.

More than anything else, you need to be smart about your career and education planning. There isn't a huge percentage of the population who makes a living working in this business...and there's a reason for that. Like all of the arts majors I advise, you have to love what you do (and exclude a lot of other things from your life) in order to be successful.

Fashionistas Unite!

I hate television. More specifically, I hate reality television. Even more specifically, I hate reality television that gives my students an unrealistic idea about their future professions. My Fashion Merchandising majors can often be found watching Project Runway (ok, I admit it, I love Tim Gunn), The Rachel Zoe Project (why does she TALK like that???), and Running in Heels (does EVERYONE in fashion talk like that???) Yes, there is glamor, there are famous people...but there is also a hell of a lot of work and a hell of a lot of misconceptions. Let's clear those up, shall we?

Misconception #1: Fashion Merchandisers are just students who couldn't get in to a Fashion Design program. Yes, there is some overlap between the programs (Merchandisers should have an understanding about how garments are constructed, Designers should understand how to market their clothes) but the people who pursue these degrees are totally different. Merchandisers have to be strong academically because they will be taking a lot of "business"-based courses. As a Merchandising (or Fashion Marketing, depending on your program) student, you will be looking at Fashion from a business prospective. Most Design students have only a peripheral interest in business--they would much rather be sketching. If you are having a hard time making up your mind between Design and Merchandising, think about how you would rather spend your time. If you have strong analytical and writing skills, consider Merchandising. If you would much rather be drawing, focus your career path on Design. That being said...

Misconception #2: You Can't Be "Creative" as a Fashion Merchandiser. Pull out one of those glossy fashion magazines at your local newsstand...chances are, a Merchandiser had something to do with the layout. Walk in to an Ann Taylor store, chances are, a Merchandiser designed the store layout. Merchandisers need a lot of the same knowledge that graphic designers and marketing experts possess...they just apply it to fashion.

Misconception #3: Your Job Opportunities Are Limited With a Degree in Fashion Merchandising. The only thing that limits ANY student's job prospects are his or her ideas and willingness to work. Fashion Merchandising graduates have worked in magazine editorials, as stylists (perish the thought), as upper-level executives for major-label design houses, as buyers for department stores, as business owners...the list goes on and on. With any career, your work experience while you are in college (especially internships!) will help build your resume...so the more you work, the better off you are. I encourage my students to explore as many possibilities as possible. If a student is interested in retail as a profession, get some retail experience (preferably in fashion!) on your resume! If a student can earn a management position while still in college, they are more likely to be allowed certain "creative" freedoms in the store (like, I don't know, designing store displays??)

Of course, there are also certain truths that each Merchandiser must face throughout the course of their academic career.

Hard Truth #1: Academics are Crazy Important! There is a reason why I put this one at the top of the list...and why there is a gpa requirement to get into our Merchandising program here at VCU. Merchandisers have to be incredibly well-rounded in order to complete the degree here. As a professional, it is absolutely imperative that you possess strong writing and speaking skills (both are essential components in almost every class you take in the major). You will also need some basic business skills, like accounting, and economics, and marketing. Oh, and you will also need to understand Art History. Wait, what? Yes, Art History. A lot of fashion has its origins in historical design--so understanding where the idea for a piece came from is incredibly important.

Hard Truth #2: You Might Be Limited in WHERE Your Future Job is Located. Yes, you have a lot of job options, but the simple fact of the matter is that a majority of the jobs in fashion are located in major cultural hubs (i.e. New York, Los Angeles, etc.) If you are looking to make a big impact in the fashion industry, prepare yourself for living in the big city.

Hard Truth #3: Hope You Like Macs! Computer equipment tends to fluctuate from industry to industry, but the simple fact is that most people in fashion use Macs, so you should probably get comfortable with them now. If money is an issue in college, I recommend using a pc during college (where most of your school programs are geared toward pcs anyway) and then getting a Mac as a graduation gift. Making the switch from pc to Mac is fairly easy and it's another skill to add to your resume!

Belly Up to the Barre

In part two of our series (I'm cleverly calling it: "Majors I Advise"--what? You've got a better title in mind?) I'll be focusing on Dance. This post is for all the little girls in tutus out there (and a few of the little boys as well).

When you consider a major in Dance, you have to be more aware of the physical aspects than almost any other major. Dance students often come from a background where they have been taking private lessons (ballet, jazz, tap, and occasionally modern) from the time they were zygotes, but they don't often have any "academic" dance experience. A few students are lucky enough to attend "performing arts" high schools, which means that they spend actual "class time" doing dance work. What is the difference? A student taking private lessons will get (if they are lucky) 1-2 hours of dance class a week. A student in the "performing arts" high school will have regular dance classes worked into their weekly class schedule (at least an hour a day of dance). The constant physical demands of a university dance classroom (4-5 hours of dance classes a day) are going to be a lot more difficult to adjust to if you are switching from 1-2 hours a week, instead of more regular rehearsal time.

Students will also need to acclimate to different teaching styles. While I'm sure that these students had lovely, supportive teachers, the skill level of said teachers is not always equal. Every student comes in to a university setting with a different ability level and having had different training styles. These discrepancies can often cause difficulties when a Dance student enters a university dance setting. I can't tell you the number of times I have heard a student say, "my dance teacher from home would NEVER ask me to do that!" Or, "my old teacher doesn't do things that way!" A spirit of flexibility and an openness to trying new things is vital every time you enter a new classroom.

Regular blog-readers have heard me talking about non-verbal cues before (those physical things you express with your body without saying a word)--Dance majors have to be extra careful about the signals that they send. Performing Arts people pay a LOT of attention to physical cues and you can send very significant messages to your teachers by the way you stand, your facial expressions, and even where you rest your hands when you aren't actively dancing. So what are some big no-nos?
1). No eye rolling! In any dance classroom, you're going to be in a big room full of mirrors, I can pretty much promise that your teacher is going to catch you.
2). No crossing your arms in front of your chest. Seems silly, doesn't it? But crossing your arms is a defensive posture and in the world of physical gestures, you're essentially closing yourself off from what your teacher is trying to tell you. Don't do it!
3). No standing with one hip cocked, hands on your hips. When reading body language, this is a very "sarcastic" stance--it implies cockiness. Just remember that Dance is the art of gesture and movement, so all of your teachers are going to be paying attention to every physical gesture and movement you make...and be careful about the signals you send!

I would be remiss if I didn't mention how dreadfully, abysmally small the art world is and that your professional reputation follows you everywhere. If you start your college career by missing classes and rehearsals, you will get the reputation as a lazy dancer--you will never get cast in junior and senior dance pieces and will never have the chance to improve as a performer. More to the point, the people that you are dancing with now will become your contemporaries in the professional world. You could be the most amazing dancer on earth, but you won't work if a negative reputation follows you wherever you go. Establishing good work habits (showing up early, being warmed up, knowing your steps) goes a long way to establishing a good professional reputation.

I can't finish this post without discussing the ugly side of dance. We've talked about the physical toll that dance exacts on the muscles, but we also need to consider the emotional and psychological toll. If you study ballet, you are spending hours in front of a mirror perfecting tiny little gestures, foot placement, arm alignment, etc. The possibility for distorting your body image is incredibly high. We have certain physical expectations of what a dancer "should" look like--and I have heard Dance faculty critiquing the weight of students. The most important thing (and yes, you've heard me say this before) is that you (the dancer) are healthy and happy. You should be physically fit enough to handle the rigor of dancing 4-5 hours a day. If you are able to do that, does it really matter what the scale says? Try to remember that my Dance students are the only students on my caseload who regularly run out of "swipes" on their meal plans because they constantly need to re-fuel.

If you can handle all of this...plus your academic classes (you didn't think you were going to get away from those, did you?) then you've got what it takes to be a Dance major. Remember that you'll be taking English, Math, Science (consider Biology--knowing HOW your body works is a GREAT thing for dancers!), Social Science, and Dance History. Don't forget one of my favorite mottoes: you have to learn the rules before you can break them!

Every Time You Write Parallel Fifths, Bach Kills a Kitten

Today's blog post marks the start in a five-part series. I will be writing a blog detailing the particular challenges for each major I advise (Cinema, Dance, Fashion Merchandising, Music, and Theatre). We begin with Music.

There are few programs more alluring than any type of degree in music. After all, I don't think I've ever had a student tell me that they avoid listening to music. Music is a part of our daily lives...it's ingrained in our culture. We're inundated with music from the time we're born and music shapes our life experiences.

Most of us are pressured (in one way or another) to study some form of musical instrument when we are children--I can personally recall dreadfully painful piano lessons at the age of 8 (all because my mother thought I had long fingers and so would naturally be suited to piano greatness). I went through a number of instruments before I figured out a few very important things about myself: 1) I had no musical ability whatsoever, and 2) I couldn't abide the sound of improperly struck notes (I have what musical people call a "good ear"). These two things combined to ensure that I never wanted to hear myself practice and would promptly give up the instrument as soon as I started playing.

Most of us have bands and orchestras in our high schools (if we can move beyond the early stages of musical learning). Bands and orchestras rarely practice for more than an hour or two a week--if you add in practicing for private lessons, you may be working your way up to playing your instrument four to five hours a week. Great (you think)! I'll study music in college! I love music, I love playing! All this stuff is easy! I won't have a lot of "academic" classes and college life will be sweet!

So you decide to audition for a local music program. If that program is anything like that of my school (VCU), the audition itself is intense. You need to have at least two solo pieces from the western canon prepared (and a solo improv piece if you're a jazz musician), you'll also have a keyboard skills test (basic competency on the piano is a must for most musicians), an interview with music faculty, AND a music theory and aural skills test (we'll talk about theory in just a little bit). Are you getting a sense of how rigorous this is yet? You cannot fake these skills...you cannot fumble your way through on charm. You have to know the material. Oh, and don't forget that the adjudicators WILL be looking at your high school transcripts to determine if your grades are high enough to get in.

If you survive the audition without acquiring a bleeding ulcer, and you get accepted to the music program, you're about to start a trial by fire. Every music student takes lessons in their primary instrument (hour and half lessons once a week). For those lessons, you will be required to practice three to four hours A DAY. You will have an instrument "Master Class" that you will need to prepare specific pieces for (oh, and that class doesn't have any credits so you'll be working your ass off and taking up valuable time in your schedule for a grade that won't affect your gpa). You will also have another round of auditions once classes start for large and small ensembles (Large Ensembles: Orchestra, University Band, Chorus, etc. Small Ensembles: Small Jazz, Jazz Orchestra 2, Woodwind Ensemble, String Quartet, etc.) You will meet with each of your ensembles at least another hour and a half a week...plus roughly two hours of practice time a day. **Now, I'm not very good at math, but I can already tell that you have quadrupled or quintupled your daily practice time from high school...and we're not done yet!** You're also going to have a Keyboard Skills class (your level will be determined by that placement test you took at your audition)--so add in some more practice time. You have to complete three levels of Keyboard proficiency in order to register for your Junior Recital, so this isn't something you can blow off!

And did I mention Music Theory? Music Theory is probably the most dreaded class in our Music program. It's a four credit class that meets every day of the week. If you had any kind of theory training from your private teachers before college, you're going to be in far better shape than if you didn't. Here at VCU, we combine Music Theory (how music works) with Aural Skills (sight reading and sight singing). There are actually four levels to our Music Theory courses (MHIS 145, 146, 245, 246) and if a student is not rock solid in their understanding of the information covered in the first class (generally any grade below a B), they will be hopelessly lost as they progress to further courses.

And we can't forget your actual "academic" classes! Yes, you have those too. Your first year, you should expect to have (at least): the two-semester freshman english class, math, and possibly a social science.

Music students regularly carry 17-18 credits (not including 2 non-credited classes), and that does not include rehearsal time. Students often feel incredibly tired and "burned-out" well before the end of their first semester. I have had a lot of students come to me and tell me that, after a few months of this schedule, they no longer enjoy picking up their instrument to practice.

Some students thrive in this rigorous environment, but it is vitally important that you be as informed as possible about the program you are entering before you take the leap. A number of Music programs are vigorously "classical" in their structure (like VCU)--talk to students in the department and find out what your program is like. If you are interested in stepping outside of Music and exploring other options, consider a school that has a BA in Music option (but know that you will likely NOT be able to get a Masters in Music Performance--that degree is reserved strictly for people who have completed a Bachelor of Music). If you are interested in Music Production, find out about the course offerings: how much time will you actually be able to spend in a music studio and what degree is offered? (some schools that offer this degree, like Full Sail, only offer an Associates). Are the schools you are looking at well-connected in the music industry? If you are looking at a career in classical music, are there alums of the program actually working in the field?

The best preparation you can make for a degree in music is to be as informed as possible, and as prepared as possible. And then be as flexible as possible when you get thrown a curveball.

A Tale of Two Quotes

On the wall in my office, I keep a quote...usually meant to inspire my students as they go about their scholastic lives. I've never been fond of the typical guidance counselor themed inspirational posters (kittens hanging out of trees admonishing students to "hand in there!" just don't work with my decorating scheme) so I find more obscure quotes that speak to my young artists and the difficulties they face in their first year of college.

Until about a month ago, the quote that hung on my wall was this: "Every task involves constraint, solve the thing without complaint; there are magic links and chains forged to loose our rigid brains. Structures, strictures, though they bind, strangely liberate the mind." (James Falen) I wanted my students to understand that the creative process had, until this point in their careers, been intuitive and without restrictions. In college, we were going to set limits on the creative act. We were going to give them rules and force them into little artistic boxes. While that form of control is incredibly difficult at first, artists CAN learn to work within a system. An artist CAN find freedom in restriction. My favorite piece of advice for students is that you have to actually KNOW the rules before you can break them.

I was having a conversation with my counterpart in the Art Foundation program yesterday about a class she is teaching for seniors. The seniors have been asked to write an "artist statement" regarding their body of work and the students are having a lot of problems with the assignment. I thought back to my first "artist statement"--in my program it was called a "manifesto" and it was one of the most difficult things I've ever done. We were working with a training style called "via negativa"--simply put, you eliminate all of the bad qualities (the failures) until only the good remain. With each attempt at the manifesto, I was sure I had finally got it right...I handed it in to my advisor, only to be told "no". My advisor would frequently take what I had written and cross out all but one sentence--telling me to start again from that point. If my advisor was feeling particularly kind, he would say, "that was good, now take the suck out of it." But when I got it, when I finally understood what he wanted (and what is nearly impossible to articulate because the statement has to come from YOU, the artist) it was the best feeling in the world. These experiences reminded me of the quote that now hangs on my wall. "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." (Samuel Beckett) As artists, we are never able to achieve perfection. Every work we attempt is an uphill battle (whether or not we perceive it as unequivocated failure or not is irrelevant)--we can only learn from the mistakes we made, and "fail better."

This is all particularly relevant as we head into finals season. My students are working on final projects and preparing for their final exams and this is the time for them to "fail better". My students have made mistakes this semester, but no matter. That doesn't mean that you shouldn't try again...and again, and again.

Transferring

We are fast approaching the end of the Spring semester and I've had a few students enter my office and tell me (with averted eyes and mumbling speech) that they were planning on transferring to another school. Why the shame? Why the embarrassment?

I will often jokingly ask these students why they want to leave me, but the simple fact is that this boils down to one equation. Your education=your choice. If you aren't happy with your current school, then you need to do what feels right for you. There are hundreds of different factors that make up your college experience (family, money, programs, school location, etc.) and an academic year is a disastrously long time when even one of these things is out of whack.

My first priority is the happiness of my students...and I want to make sure that you're making INFORMED decisions about your education. So let's talk through some transferring issues:

1). The Major Change. I have a lot of students who have decided to change their major this year--and quite a few of those students are coming from out-of-state. If your home state has a school with a good program in the major you are interested in, I'm certainly not going to fault you for saving a hell of a lot of money. But do yourself a favor (heck, I'll even help you!) do a little research first. Find out about the professional reputation of your current school. If you're interested in Psychology, how well is your school's Psyc program ranked nationally? Talk to some current Psyc majors (or grad students). If you can avoid essentially having to re-do your freshman year (which is what happens when you transfer), why not avoid it??

2). Little City/Big City Blues. Let's say that you love your classes, you love your friends, you love all of the services offered by your current school--but if you have to spend one more minute in this godforsaken town you are going to go postal. Everyone falls into a type; some people love big cities, some people die a little death if their town has more than 1,000 people in it. It's important for you to know what kind of person you are. It's also important for you to realize that, as magical of a place as your school is, it can't pick itself up and move to a location of your choosing. So you can either open yourself up to new experiences in the big city (or, conversely, learn how to survive in a small town)--or you can transfer. But when you check out the new school, really make sure you get the lay of the land first.

3). Ain't Got No Money, Honey. Let's face it, the economy is in the crapper. Your parents may have had to cut back on luxuries. One, or both of your parents may have lost their jobs. If you are currently attending a private school, you may be asked to switch to a public university. If you're going to an out-of-state school, you may be asked to return home for a while. Before you do anything, TALK TO SOMEONE. Yes, university budgets are tight, but retaining students is a huge priority for most schools and someone will try to help you (additional financial aid, grants, scholarships, etc.) If there is no way for you to stay at your current school, consider going to a community college so that you can retain those academic skills you worked so hard to achieve during your first year. If you're already attending a state school in the area, move back home to save money and become a part time student. Both of these options will keep you out of student loan repayment (remember that you are eligible for financial aid as long as you are registered for at least 6 credits and you don't have to start re-paying your student loans until 6 months after you stop attending school!)

4). I GOT IN!! Some students didn't get into their first choice school on the first go-around. If you cared enough to apply again, then that says a lot to me about your dedication to that school. If you do get accepted to your top choice, remember that you are going to be starting over--but that's not necessarily a bad thing.


I can't stress enough how important it is for students to make INFORMED decisions at every point in the learning process. If you are considering transferring, learn as much as you can about the other school. And you might not want to trust the school's admissions website. Remember that Admissions events and materials will only show you the best parts of the school...they're designed to make you want to go there so you aren't necessarily seeing the reality. Consider using www.unigo.com (a website of college reviews written BY THE STUDENTS WHO ATTEND THOSE COLLEGES!!) You are going to get a far more accurate depiction of the school by talking directly to the students.

Above all, remember that I don't stop being your advisor just because you aren't stopping in to my office. I'm always available for questions and freak outs.