What happens when a dance teacher tears apart your technique — and you’re pretty sure they’re wrong?
In this episode, I’m sharing a raw, unfiltered story from my return-to-dance journey that I’ve never told before — one that didn’t make it into my docuseries, but definitely left a mark. It’s about self-trust, feedback that doesn’t land, and the moment everything shifted.
Oh — and I’ve got a bonus NEW dance story involving a mirror, a tripod, and one (obnoxious) dancer’s shockingly bold move that you truly have to hear to believe. It really happened!
Check out my Dance Class Etiquette ep (referenced in the pod)!
Check out my Return to Dance docuseries!
Support my Instagram — where I post daily dance inspo, insights and fun! @backtogreat
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
[music]
(00:02):
What do you do when you're in dance class and the teacher whom you respect, by the way?
All of a sudden starts seemingly picking on you and only you
and is giving you all of these corrections.
And here's the kicker, you don't agree with anything they're saying.
Well, that is my story today because yes, that happened to me
(00:25):
and I'm excited to share this happened at the height of my return to dance journey.
And I chose not to include it in my docu-series.
I always felt like this story should be its own podcast.
And so I saved it.
Also, I'll be sharing a bonus story at the very end of a very new dance class experience.
Yes, I am back in class, inching my way back after two and a half years
(00:49):
of overcoming injury and chronic pain and doing rehabilitation.
And I've gotten a couple of DMs from people saying like, oh my gosh, Miller,
does that mean I'm going to see you in class?
And no, no, it does it not yet because I am taking it very slowly.
I found a studio that is very non-competitive, a very safe environment as I inch my way back to class.
(01:13):
But that does not mean that there aren't still dancers doing some crazy shenanigans.
And so I'll be sharing one one such story today that if you're a dancer,
you'll find relatable I am certain.
So before I get into both of those stories, make sure you are following my podcast.
Hey, dancer.
My name is Miller Daurey by the way.
(01:34):
And I just appreciate you being here.
And oh my gosh, last time I asked you if you are in another country and you've left a review on Apple
to DM it to me because I'd love to see because I can't.
I only can see what, you know, is happening here in the US.
And somebody from Germany sent me a screenshot of their review on Apple.
(01:55):
It was so cool to see.
I'll share that at the end as well.
Okay, now let's get to it.
To be clear, I am now going to be cutting to me telling the story as it happened
in the moment real time a couple of years ago.
And I'll be interjecting some context along the way with me here today.
Okay, hit it Miller circa 2022.
(02:18):
Somebody dance class.
Uh, it was a very emotional experience for me.
And by emotional, I mean, mostly confusing.
I think that's the main word.
So it's becoming a new go-to class for me.
I love it.
And there are just so many variables about the class that I'm obsessed with.
(02:39):
And for whatever reason, certain parts of the class, the teacher,
was really, it felt like he was picking on me.
But no, because I'm an adult, I understand that he's just giving direction and corrections.
But here's the thing.
I didn't know what to do with the information because it didn't make sense to me.
(03:02):
And I think, no, no, I know I'm very good at listening and taking direction
as both an actor and a dancer.
And I take it quick.
But when the direction is confusing, I don't know how to process it.
And it can become a very frustrating experience.
And that's what was happening in the class.
(03:24):
Okay, Miller here, present day.
Now, when I say or when I said certain parts of class,
specifically, it was across the floor and it was about really turns.
Anything to do with turning technique.
Now, let me give you a little bit of preamble here.
Now, if you saw my return to dance docu-series,
my very first class back after take this in for a second,
(03:46):
25 years of zero dance, zero training, zero classes.
I'm in my first class back.
It was in Orange County, California.
It's I'm the only adult there.
I found a place that specialized in kids and teens
who were these incredible technicians.
And I'm going across the floor in this leapson turns class.
And can I say it again to my first one in 25 years?
(04:08):
And I'm popping triple pierweets.
And you can see my technique is there.
And I have always believed that when your technique is there,
the foundation, you know, it lives in your body,
your body remembers, your muscles remember.
I mean, sure, it takes a while for it to come back.
But you can see right there in the episode
that I was immediately like picking it up.
(04:29):
And I could do it.
Of course, I'm not perfect.
I wasn't perfect.
I'm still not perfect.
Of course, I need direction as any dancer,
no matter how great or not great you are, would need.
And I have been in a plethora of dance classes.
I'm speaking now specifically about jazz or technique classes
where the teacher will give me a correction
and say something like, and these all have really happened.
(04:52):
I remember because they were all very, very helpful.
Hey, Miller, you know, get a little bit more deep into your plie,
prep into that pierweet.
It's going to help you.
Hey, Miller, get your pasta up a little bit.
Hey, Miller, you know, get your chest up a little bit,
you know, when you're turning.
I'm like, oh my gosh, thank you.
That's awesome.
You're right.
(05:13):
And I take it and it's, wow, I feel better.
You're an artist and you're an athlete.
We need corrections.
It just goes with the territory.
Of course, that said, what this guy was doing was not that.
He was ripping apart my foundation.
The actual like, how do I say almost the genesis of my technique?
(05:34):
Like everything was wrong from the ground up of what I was doing.
And it was so confusing.
And then ultimately, I remember looking at all the dancers in his class.
And I had this epiphany kind of in the moment.
And it was that, oh my gosh, they all turn the same way.
(05:54):
And I don't like how they're turning.
I don't see anybody else turning like this.
This is very interesting to me.
And let me tell you, since that class experience,
and I'm going to cut back to me in the time,
because there's more to the story, I went back to the class,
you will hear it.
But I just want to say right now that since this experience,
(06:15):
which happened now some years ago,
I am very sensitive to this.
I am watching with a microscopic focus on all dancers
and their specific technique when it comes to turns.
How and where are they spotting?
What are their arms like in all of the above?
And can I tell you that all the dancers I think
(06:36):
are brilliant to have incredible technique?
I'm talking dancers on Broadway at Steps and Broadway Dance Center in New York.
I got my weekly series, right?
The rest of the story where I'm talking about these dance giants.
And everybody from Fred Astaire to Gene Kelly to Donald O'Connor
to just all these incredible dancers.
And I'm watching all of them turn.
(06:56):
All the dancers on social media who are like jaw dropping in their technique.
Nobody.
And I mean, nobody is turning the way this guy was telling me to turn.
I am turning the way all the people I think are amazing are turning.
And again, I'm not saying this in some sort of braggadocious way.
It's just a description.
(07:16):
This is how I was taught by people like Doug Halldwell,
Margarita Derrick's, how to turn.
You know, that's like my foundation.
Before I keep going under, because oh my gosh,
I can talk about this forever.
Let me cut back to me at the time.
And it felt almost personal like it was to me a lot.
And I'm like, hmm.
(07:37):
And I was able to step outside of myself simultaneously,
understanding like, oh, okay, Miller,
when this happens, it usually means the instructor
sees potential in you and likes you probably,
and wants you to live up to the potential they see.
So I was realizing that at the same time,
(08:01):
and just trying to be kind to myself,
but also it felt befuddling.
I mean, that's the only word I can think of.
And then we're in the combination,
and it felt really good.
The combination he had mentioned that most people in class
had done it before.
I was not one of them.
Somehow I caught it quickly.
A few dancers just came up to me after class,
(08:22):
and we're like, how do you catch choreography so fast?
And I'm like, it's kind of the opposite in most of my classes.
So maybe I'm getting better at it,
or maybe it just depends on the teacher and their style.
But regardless, I was proud.
At the end of class, I think the teacher.
And he said, is it okay if I give you direction in class?
And I was like, yeah, of course.
I'm gonna keep showing up because it is about the challenges.
(08:46):
And if he likes things a certain way,
that are kind of antithetical to how I know them to be,
I'll give him what he wants.
His way.
It's fine.
I don't care.
I just want to get better and continue to build community.
And that's all.
Okay, before I cut to what happened when I returned,
a couple things I want to add that I remember really well.
(09:08):
Like this moment, this class,
it just really lives in my head, rent free.
And by the way, I just want to acknowledge as I watch this back,
I'm proud of myself.
I handled this, I think, really maturely.
I was spiritual.
I was in the moment.
It's good to see your growth, you know, as a person as an artist.
(09:28):
And this is almost like a video diary, if you will, right?
Anyway, I remember the teacher also telling me at the time that he noticed bad habits in me,
that he himself had had when he was a very young dancer.
And I remember as he was saying this to me,
and I remember thinking, no, I don't have any bad habits,
meaning in this area.
(09:49):
Of course, I have a lot of bad habits as a dancer.
Everybody does, but my gosh, if we don't know our own strengths,
if we can't acknowledge where we're great and where we're not so great,
then I don't know what we're doing.
Like we have to be our biggest fans.
We have to know where we are good.
Sure, we can always improve, as I have said already,
many times in this podcast, and I'm sure in many podcasts before.
(10:10):
But it's okay to acknowledge, you know, where your strengths are,
to have that self-awareness, where you're strong,
where you're weak is very important as a dancer.
I've had many examples in my return to dance journey,
where dance specifically jazz teachers would call me out
to demonstrate stuff to other students.
Hey, Miller, can you show people, you know, this turning combination?
(10:32):
Like that doesn't just happen because I have bad foundation
as this guy was clearly implying.
Even just a very recent example, and I'm kind of surprised
I'm sharing this because I'm still in this sort of quandary
of how much do I share about my classes I'm taking right now,
because in my return to dance docu-series,
I'm two years behind in my timeline.
(10:53):
Sometimes I think side note, I got to take off like two months
of all the things just to catch up on that.
But I will tell you this.
In addition to the dance story, I'm going to share at the end
that happened in class.
I took one jazz class last week.
I had told the teacher, by the way,
I haven't been in class in a couple of years.
Actually, two and a half years, you know, injury,
chronic pain, I'm coming back, so I may take it slow, whatever.
(11:15):
And when I did turns across the floor,
and I'm not, why do I get subconscious with this stuff?
This is just what happened.
The class applauded, and the teacher applauded.
It was like a shane turn combination, and they applauded.
The first thing he said to me when class was over was,
Miller, because I told him my name,
he's like, you have great technique,
and your energy is just so great, and you are healing,
(11:38):
and he was very supportive, it was very, very sweet.
My point is, they applauded when I turned across the floor.
He said I had great technique, you know?
I mean, like, I know where I'm pretty good.
And so this guy, picking on me like that,
it felt like something else was going on,
especially when you see people in class
who are not strong technicians,
(11:59):
and the teacher isn't saying really anything to them.
Anyway, let's continue the story.
I went back, I went back to the dance class from last week
that I mentioned was very frustrating for me.
I decided to just send love and just be in the moment.
And it was a good experience that teacher was saying
(12:22):
that, hey, what I'm telling you may not be correct.
It may not be right, but it's my request.
I want to see you do x, y, and z this way.
And it's going to be different than how you know to do it,
but hey, I just want to see that.
And I thought, okay, that's really good.
(12:42):
I'm really glad he acknowledged that because last time
it sort of felt like, no, this is the way.
This is the universal objective way on how to do x, y, and z.
That's what made me nuts.
But this week he was like, it's just my request
and it may not be right, but it's what I want.
I'm like, all right, I can do that.
(13:04):
I can try.
And I did.
Anyway, it was a really good class and I just wanted to share it
because hey, this class has so many more pros than cons.
And I want to keep going and I'm glad it through ego,
emotion, all that out the door and I showed up
and it was worth it.
I bet you didn't expect that 180 from the teacher.
Lord knows at the time I was shocked and pleasantly surprised.
(13:27):
And honestly, it still lives for me as one of these moments
in my return to dance journey that I just really appreciated.
And it just meant a lot to me because, you know,
you can sometimes doubt yourself as a dancer.
You can think you're crazy.
Well, maybe what I'm doing is wrong.
You can be tough on yourself as an artist.
(13:48):
So, you know, I think I needed this teacher to acknowledge
the reality.
And I said in that first click after that first class,
I will give him what he wants.
The class has way more pros than cons.
So, yeah, like no problem.
I'll turn in his class one way and I'll turn
everywhere else another way. It's fine.
(14:10):
Like, ego, shmigo, not a big deal.
But it was the fact in the first class
that he was stating it like, this is the law.
You have bad habits.
And then all of a sudden, he kind of changed his tune.
I can't create a story as to why
and what was going on with him.
All I know is that it meant a lot to me
that he had the self-awareness, I guess.
And the decency, honestly,
(14:32):
this is what I want.
And it's just what I want.
It doesn't mean it's the right way.
And I was like, yes, yes, okay.
Okay, this I can vibe with.
What did you think of that story?
Dancer, has that happened to you in your training life?
Tell me in the comments below, shoot me a DM at back to great.
And now, let's get to my brand new dance story.
Oh my god, it feels so good to have a new dance class story.
(14:57):
I've been longing for the day.
And it's here.
And, you know, this story is just so extra funny to me
because I have talked about this particular dance class
pet peeve of mine on my social media for so long, so many times.
And apparently, you know, a lot more people need to see my videos
because yeah, this stuff still happens and this was proof.
(15:19):
So I got to the studio very early as I do
to, you know, stretch and warm up my body.
And by the way, I had done my physical therapy exercises
before class, including dynamic stretches
and loading up my knees and whatever.
And so I get to class early, I am the first one there.
I walk in, the teacher walks in, the teacher is setting up.
And I want you to picture this.
(15:40):
I am alone on the dance floor.
Okay, I have a spot.
I purposely choose the middle area, right?
So if you're a dancer, you know, you can stand like closer to the mirror,
like very much up front.
So you know, during the warm up, for example,
you'll be in the front row.
Then there's the middle, then there's the back ish.
And I was in the middle front ish.
(16:02):
Kind of middle.
And I got my spot, I'm doing my, you know, stretches.
I say hi to the teacher.
And another dancer walks in.
And this dancer first sets up her tripod.
Okay, class hasn't even started.
Nobody's there yet except for me in the teacher.
The tripod she is setting up, she puts her phone in it.
(16:23):
And I'm thinking, if she recording this, I was mortified
because I don't want to be on anybody's social media,
warming up, learning the combination.
So there was that, but that's not what I'm talking about here.
But that is another pet peeve.
I thought that was really, really gross.
But that's how it began with her.
Then she gets on the dance floor.
(16:43):
And she proceeds to do, you know, her own pre-warm up.
This young lady, maybe about early 20s or so,
she is about three feet in front of me.
Now when I tell you she was three feet in front of me,
I don't just mean that, you know, I was in the middle-ish row
and she was in the front row kind of off to the side.
And I'm stretching and I can see myself.
(17:06):
And she's stretching and she can see herself.
No. If I were hearing this story, I don't think I would believe it.
But this is hands are gone the truth.
And I believe in God.
So, you know, this is saying something.
I couldn't see myself in the mirror.
She was right in front of me.
Literally in front of me, a couple of feet up in front.
I couldn't, I had no window anymore in the mirror.
(17:29):
Like she blocked me completely.
I was invisible.
I did not see myself.
Again, picture this.
The entire dance floor, the whole floor is empty.
Save for me and this one dancer
and the teacher off to the side,
getting the music together and stuff.
What?
How was I not on-candid camera?
How could this be real?
How could this young lady be that?
(17:50):
You know, you don't know who this is.
I'm not showing you videos of this person.
I would never speak ill of somebody ever in a million years
and show you their face or their name.
That's not going to happen.
But seriously, how could she be this stupid?
And how could she be this inconsiderate?
And oh my God, when I tell you that I stood there
(18:11):
and I was just giving her this look.
And she was in her own world.
I just talked about this on a recent podcast
about my, you know, dance class etiquette tips
or something to that effect.
I'll link to that below.
And this was one of them.
Like my pet peeve when somebody, you know,
takes away your reserved spot in the mirror
because it is an unspoken reservation.
(18:33):
I am standing here.
I got here first.
You are now coming in to the area
and you will now make your own window.
So as not to, you know, block me from seeing myself.
And then I always make sure that the person behind me
can see themselves.
It's like just a respectful thing.
When I tell you and you can judge me for this if you want,
I don't care.
(18:54):
I had a lot of, let's just say,
unkind feelings toward this dancer.
And when I tell you that I was giving her this side eye
throughout the entire class,
I just kind of kept shooting daggers
with my eyes at her.
The entire class.
Ooh, she really got on my last nerve.
The disrespect.
(19:14):
I remember I stood there and I just looked at her
as she standing right in front of me
and I cannot see myself in the mirror.
I can see her right now in my mind's eye.
And I'm just staring at her and she was oblivious.
It was as if I was not, that's the thing.
It was as if I were not there.
You gotta laugh at it.
Now, tell me in the comments,
(19:35):
what would you do in a situation like this?
Now, I have talked about this often on social media.
I've had people say, you tell them to move.
But it felt a little bit like,
well, we're the only two people here.
If I make a big thing of it,
or if I even say something respectfully,
because honestly, if she doesn't know, she should know.
She should have a dancer like myself telling her.
(19:56):
Like, she would be better off for it.
Maybe she'll actually pay attention
and have some spatial awareness and look around,
you know, her surroundings.
Like, she should know and do better and learn from it.
But I just didn't feel like I wanted to go there.
I felt more in the mood to just give her the side eye
in the entire class.
And what I did was, is I just moved over a little bit.
(20:18):
So I could see myself in the mirror again.
How are people peopleing?
How are people doing that thing that they do?
So, disrespectfully, is if they're the only one on the planet,
somebody explain.
Anyway, that's all I got today.
I'm so grateful for your presence here.
Thanks again for showing up,
for getting all the way to the end of the podcast.
If you did make it this far and you haven't yet,
(20:41):
make sure you're following the show.
And leave a comment and like and share with your dance fam.
Every dancer can relate to this in some capacity.
And if you know a dancer,
ooh, if you know a dancer who does what I'm telling you,
this woman just did to me who is always blocking your space
in the mirror.
Why don't you send them this podcast
and don't mention this part of,
(21:02):
and just talk about the first story.
Like, you gotta hear the story of the teacher
talking about the technique.
Oh my god, it was crazy and stuff.
And then, they'll get to hear this part of the story
and they'll never know this is why you sent it.
And maybe then, they will get a clue and maybe then,
they will never block your space in the mirror again.
I'm just trying to be of service to all dancers here
(21:24):
and do the Lord's work.
[laughs]
By the way, when I did that shane turn,
combination across the floor in the class just the other day,
first of all, please again, keep in mind,
I haven't danced now in over two and a half years, okay?
I'm just getting into yoga a bit.
I've been doing some physical therapy,
but no dance.
And for me to show up to this jazz class
(21:45):
and do turns across the floor and be strong and get a pause,
I can't even begin to tell you what that did for me,
how I took that in.
And it's just for me, another sign from the universe,
yeah, you are supposed to be dancing, Miller.
You are supposed to be on this journey
and you are gonna keep on fighting.
And oh my god, I can get so passionate about this.
(22:07):
It's so important to me and wait until you see
in my Docky series what I have done to ensure
that I'm getting back on the dance floor.
And let me also just say after doing those turns across the floor,
I was so dizzy.
It is just crazy when you haven't done it in so long
and then you start getting back into it,
I thought I was going to fall over the dizziness.
(22:30):
I have, by the way, some tricks I do that I learned in my youth
with how to combat the dizziness,
I will share that sometime.
Lastly, the review I got from Germany,
so a lovely supporter by the name of Vivian,
who follows my Instagram and my podcast, sent me a DM
and said, "Hi Miller, and by the way,
(22:51):
if you're on YouTube or Spotify, you will see this."
Hi Miller, I just listened to your latest podcast
and you asked us to send a screenshot
if we have written a review on Apple outside of the US.
I'm from Germany and find your podcast super inspiring.
Keep up the great work.
How nice is that?
And then the review from Germany via Apple looks like it's five stars,
(23:18):
so the review says, "I love listening to Miller,
talk about what dance used to be versus what it is now
and sharing his observations and experiences
in the professional dance world."
100% recommended.
So how sweet is that?
I mean, my god, it really just touches my heart.
(23:38):
Thank you so much Vivian for
following up for reaching out after my podcast
and sending the DM and the review.
And I'm telling you, I look at all the reviews if I can
and if you are from another country, please DM me at back to great
and I will always shout you out.
It just really, really means a lot to me.
(23:59):
Okay, until next time.
[Music]
[music]
(00:02):
What do you do when you're in dance class and the teacher whom you respect, by the way?
All of a sudden starts seemingly picking on you and only you
and is giving you all of these corrections.
And here's the kicker, you don't agree with anything they're saying.
Well, that is my story today because yes, that happened to me
(00:25):
and I'm excited to share this happened at the height of my return to dance journey.
And I chose not to include it in my docu-series.
I always felt like this story should be its own podcast.
And so I saved it.
Also, I'll be sharing a bonus story at the very end of a very new dance class experience.
Yes, I am back in class, inching my way back after two and a half years
(00:49):
of overcoming injury and chronic pain and doing rehabilitation.
And I've gotten a couple of DMs from people saying like, oh my gosh, Miller,
does that mean I'm going to see you in class?
And no, no, it does it not yet because I am taking it very slowly.
I found a studio that is very non-competitive, a very safe environment as I inch my way back to class.
(01:13):
But that does not mean that there aren't still dancers doing some crazy shenanigans.
And so I'll be sharing one one such story today that if you're a dancer,
you'll find relatable I am certain.
So before I get into both of those stories, make sure you are following my podcast.
Hey, dancer.
My name is Miller Daurey by the way.
(01:34):
And I just appreciate you being here.
And oh my gosh, last time I asked you if you are in another country and you've left a review on Apple
to DM it to me because I'd love to see because I can't.
I only can see what, you know, is happening here in the US.
And somebody from Germany sent me a screenshot of their review on Apple.
(01:55):
It was so cool to see.
I'll share that at the end as well.
Okay, now let's get to it.
To be clear, I am now going to be cutting to me telling the story as it happened
in the moment real time a couple of years ago.
And I'll be interjecting some context along the way with me here today.
Okay, hit it Miller circa 2022.
(02:18):
Somebody dance class.
Uh, it was a very emotional experience for me.
And by emotional, I mean, mostly confusing.
I think that's the main word.
So it's becoming a new go-to class for me.
I love it.
And there are just so many variables about the class that I'm obsessed with.
(02:39):
And for whatever reason, certain parts of the class, the teacher,
was really, it felt like he was picking on me.
But no, because I'm an adult, I understand that he's just giving direction and corrections.
But here's the thing.
I didn't know what to do with the information because it didn't make sense to me.
(03:02):
And I think, no, no, I know I'm very good at listening and taking direction
as both an actor and a dancer.
And I take it quick.
But when the direction is confusing, I don't know how to process it.
And it can become a very frustrating experience.
And that's what was happening in the class.
(03:24):
Okay, Miller here, present day.
Now, when I say or when I said certain parts of class,
specifically, it was across the floor and it was about really turns.
Anything to do with turning technique.
Now, let me give you a little bit of preamble here.
Now, if you saw my return to dance docu-series,
my very first class back after take this in for a second,
(03:46):
25 years of zero dance, zero training, zero classes.
I'm in my first class back.
It was in Orange County, California.
It's I'm the only adult there.
I found a place that specialized in kids and teens
who were these incredible technicians.
And I'm going across the floor in this leapson turns class.
And can I say it again to my first one in 25 years?
(04:08):
And I'm popping triple pierweets.
And you can see my technique is there.
And I have always believed that when your technique is there,
the foundation, you know, it lives in your body,
your body remembers, your muscles remember.
I mean, sure, it takes a while for it to come back.
But you can see right there in the episode
that I was immediately like picking it up.
(04:29):
And I could do it.
Of course, I'm not perfect.
I wasn't perfect.
I'm still not perfect.
Of course, I need direction as any dancer,
no matter how great or not great you are, would need.
And I have been in a plethora of dance classes.
I'm speaking now specifically about jazz or technique classes
where the teacher will give me a correction
and say something like, and these all have really happened.
(04:52):
I remember because they were all very, very helpful.
Hey, Miller, you know, get a little bit more deep into your plie,
prep into that pierweet.
It's going to help you.
Hey, Miller, get your pasta up a little bit.
Hey, Miller, you know, get your chest up a little bit,
you know, when you're turning.
I'm like, oh my gosh, thank you.
That's awesome.
You're right.
(05:13):
And I take it and it's, wow, I feel better.
You're an artist and you're an athlete.
We need corrections.
It just goes with the territory.
Of course, that said, what this guy was doing was not that.
He was ripping apart my foundation.
The actual like, how do I say almost the genesis of my technique?
(05:34):
Like everything was wrong from the ground up of what I was doing.
And it was so confusing.
And then ultimately, I remember looking at all the dancers in his class.
And I had this epiphany kind of in the moment.
And it was that, oh my gosh, they all turn the same way.
(05:54):
And I don't like how they're turning.
I don't see anybody else turning like this.
This is very interesting to me.
And let me tell you, since that class experience,
and I'm going to cut back to me in the time,
because there's more to the story, I went back to the class,
you will hear it.
But I just want to say right now that since this experience,
(06:15):
which happened now some years ago,
I am very sensitive to this.
I am watching with a microscopic focus on all dancers
and their specific technique when it comes to turns.
How and where are they spotting?
What are their arms like in all of the above?
And can I tell you that all the dancers I think
(06:36):
are brilliant to have incredible technique?
I'm talking dancers on Broadway at Steps and Broadway Dance Center in New York.
I got my weekly series, right?
The rest of the story where I'm talking about these dance giants.
And everybody from Fred Astaire to Gene Kelly to Donald O'Connor
to just all these incredible dancers.
And I'm watching all of them turn.
(06:56):
All the dancers on social media who are like jaw dropping in their technique.
Nobody.
And I mean, nobody is turning the way this guy was telling me to turn.
I am turning the way all the people I think are amazing are turning.
And again, I'm not saying this in some sort of braggadocious way.
It's just a description.
(07:16):
This is how I was taught by people like Doug Halldwell,
Margarita Derrick's, how to turn.
You know, that's like my foundation.
Before I keep going under, because oh my gosh,
I can talk about this forever.
Let me cut back to me at the time.
And it felt almost personal like it was to me a lot.
And I'm like, hmm.
(07:37):
And I was able to step outside of myself simultaneously,
understanding like, oh, okay, Miller,
when this happens, it usually means the instructor
sees potential in you and likes you probably,
and wants you to live up to the potential they see.
So I was realizing that at the same time,
(08:01):
and just trying to be kind to myself,
but also it felt befuddling.
I mean, that's the only word I can think of.
And then we're in the combination,
and it felt really good.
The combination he had mentioned that most people in class
had done it before.
I was not one of them.
Somehow I caught it quickly.
A few dancers just came up to me after class,
(08:22):
and we're like, how do you catch choreography so fast?
And I'm like, it's kind of the opposite in most of my classes.
So maybe I'm getting better at it,
or maybe it just depends on the teacher and their style.
But regardless, I was proud.
At the end of class, I think the teacher.
And he said, is it okay if I give you direction in class?
And I was like, yeah, of course.
I'm gonna keep showing up because it is about the challenges.
(08:46):
And if he likes things a certain way,
that are kind of antithetical to how I know them to be,
I'll give him what he wants.
His way.
It's fine.
I don't care.
I just want to get better and continue to build community.
And that's all.
Okay, before I cut to what happened when I returned,
a couple things I want to add that I remember really well.
(09:08):
Like this moment, this class,
it just really lives in my head, rent free.
And by the way, I just want to acknowledge as I watch this back,
I'm proud of myself.
I handled this, I think, really maturely.
I was spiritual.
I was in the moment.
It's good to see your growth, you know, as a person as an artist.
(09:28):
And this is almost like a video diary, if you will, right?
Anyway, I remember the teacher also telling me at the time that he noticed bad habits in me,
that he himself had had when he was a very young dancer.
And I remember as he was saying this to me,
and I remember thinking, no, I don't have any bad habits,
meaning in this area.
(09:49):
Of course, I have a lot of bad habits as a dancer.
Everybody does, but my gosh, if we don't know our own strengths,
if we can't acknowledge where we're great and where we're not so great,
then I don't know what we're doing.
Like we have to be our biggest fans.
We have to know where we are good.
Sure, we can always improve, as I have said already,
many times in this podcast, and I'm sure in many podcasts before.
(10:10):
But it's okay to acknowledge, you know, where your strengths are,
to have that self-awareness, where you're strong,
where you're weak is very important as a dancer.
I've had many examples in my return to dance journey,
where dance specifically jazz teachers would call me out
to demonstrate stuff to other students.
Hey, Miller, can you show people, you know, this turning combination?
(10:32):
Like that doesn't just happen because I have bad foundation
as this guy was clearly implying.
Even just a very recent example, and I'm kind of surprised
I'm sharing this because I'm still in this sort of quandary
of how much do I share about my classes I'm taking right now,
because in my return to dance docu-series,
I'm two years behind in my timeline.
(10:53):
Sometimes I think side note, I got to take off like two months
of all the things just to catch up on that.
But I will tell you this.
In addition to the dance story, I'm going to share at the end
that happened in class.
I took one jazz class last week.
I had told the teacher, by the way,
I haven't been in class in a couple of years.
Actually, two and a half years, you know, injury,
chronic pain, I'm coming back, so I may take it slow, whatever.
(11:15):
And when I did turns across the floor,
and I'm not, why do I get subconscious with this stuff?
This is just what happened.
The class applauded, and the teacher applauded.
It was like a shane turn combination, and they applauded.
The first thing he said to me when class was over was,
Miller, because I told him my name,
he's like, you have great technique,
and your energy is just so great, and you are healing,
(11:38):
and he was very supportive, it was very, very sweet.
My point is, they applauded when I turned across the floor.
He said I had great technique, you know?
I mean, like, I know where I'm pretty good.
And so this guy, picking on me like that,
it felt like something else was going on,
especially when you see people in class
who are not strong technicians,
(11:59):
and the teacher isn't saying really anything to them.
Anyway, let's continue the story.
I went back, I went back to the dance class from last week
that I mentioned was very frustrating for me.
I decided to just send love and just be in the moment.
And it was a good experience that teacher was saying
(12:22):
that, hey, what I'm telling you may not be correct.
It may not be right, but it's my request.
I want to see you do x, y, and z this way.
And it's going to be different than how you know to do it,
but hey, I just want to see that.
And I thought, okay, that's really good.
(12:42):
I'm really glad he acknowledged that because last time
it sort of felt like, no, this is the way.
This is the universal objective way on how to do x, y, and z.
That's what made me nuts.
But this week he was like, it's just my request
and it may not be right, but it's what I want.
I'm like, all right, I can do that.
(13:04):
I can try.
And I did.
Anyway, it was a really good class and I just wanted to share it
because hey, this class has so many more pros than cons.
And I want to keep going and I'm glad it through ego,
emotion, all that out the door and I showed up
and it was worth it.
I bet you didn't expect that 180 from the teacher.
Lord knows at the time I was shocked and pleasantly surprised.
(13:27):
And honestly, it still lives for me as one of these moments
in my return to dance journey that I just really appreciated.
And it just meant a lot to me because, you know,
you can sometimes doubt yourself as a dancer.
You can think you're crazy.
Well, maybe what I'm doing is wrong.
You can be tough on yourself as an artist.
(13:48):
So, you know, I think I needed this teacher to acknowledge
the reality.
And I said in that first click after that first class,
I will give him what he wants.
The class has way more pros than cons.
So, yeah, like no problem.
I'll turn in his class one way and I'll turn
everywhere else another way. It's fine.
(14:10):
Like, ego, shmigo, not a big deal.
But it was the fact in the first class
that he was stating it like, this is the law.
You have bad habits.
And then all of a sudden, he kind of changed his tune.
I can't create a story as to why
and what was going on with him.
All I know is that it meant a lot to me
that he had the self-awareness, I guess.
And the decency, honestly,
(14:32):
this is what I want.
And it's just what I want.
It doesn't mean it's the right way.
And I was like, yes, yes, okay.
Okay, this I can vibe with.
What did you think of that story?
Dancer, has that happened to you in your training life?
Tell me in the comments below, shoot me a DM at back to great.
And now, let's get to my brand new dance story.
Oh my god, it feels so good to have a new dance class story.
(14:57):
I've been longing for the day.
And it's here.
And, you know, this story is just so extra funny to me
because I have talked about this particular dance class
pet peeve of mine on my social media for so long, so many times.
And apparently, you know, a lot more people need to see my videos
because yeah, this stuff still happens and this was proof.
(15:19):
So I got to the studio very early as I do
to, you know, stretch and warm up my body.
And by the way, I had done my physical therapy exercises
before class, including dynamic stretches
and loading up my knees and whatever.
And so I get to class early, I am the first one there.
I walk in, the teacher walks in, the teacher is setting up.
And I want you to picture this.
(15:40):
I am alone on the dance floor.
Okay, I have a spot.
I purposely choose the middle area, right?
So if you're a dancer, you know, you can stand like closer to the mirror,
like very much up front.
So you know, during the warm up, for example,
you'll be in the front row.
Then there's the middle, then there's the back ish.
And I was in the middle front ish.
(16:02):
Kind of middle.
And I got my spot, I'm doing my, you know, stretches.
I say hi to the teacher.
And another dancer walks in.
And this dancer first sets up her tripod.
Okay, class hasn't even started.
Nobody's there yet except for me in the teacher.
The tripod she is setting up, she puts her phone in it.
(16:23):
And I'm thinking, if she recording this, I was mortified
because I don't want to be on anybody's social media,
warming up, learning the combination.
So there was that, but that's not what I'm talking about here.
But that is another pet peeve.
I thought that was really, really gross.
But that's how it began with her.
Then she gets on the dance floor.
(16:43):
And she proceeds to do, you know, her own pre-warm up.
This young lady, maybe about early 20s or so,
she is about three feet in front of me.
Now when I tell you she was three feet in front of me,
I don't just mean that, you know, I was in the middle-ish row
and she was in the front row kind of off to the side.
And I'm stretching and I can see myself.
(17:06):
And she's stretching and she can see herself.
No. If I were hearing this story, I don't think I would believe it.
But this is hands are gone the truth.
And I believe in God.
So, you know, this is saying something.
I couldn't see myself in the mirror.
She was right in front of me.
Literally in front of me, a couple of feet up in front.
I couldn't, I had no window anymore in the mirror.
(17:29):
Like she blocked me completely.
I was invisible.
I did not see myself.
Again, picture this.
The entire dance floor, the whole floor is empty.
Save for me and this one dancer
and the teacher off to the side,
getting the music together and stuff.
What?
How was I not on-candid camera?
How could this be real?
How could this young lady be that?
(17:50):
You know, you don't know who this is.
I'm not showing you videos of this person.
I would never speak ill of somebody ever in a million years
and show you their face or their name.
That's not going to happen.
But seriously, how could she be this stupid?
And how could she be this inconsiderate?
And oh my God, when I tell you that I stood there
(18:11):
and I was just giving her this look.
And she was in her own world.
I just talked about this on a recent podcast
about my, you know, dance class etiquette tips
or something to that effect.
I'll link to that below.
And this was one of them.
Like my pet peeve when somebody, you know,
takes away your reserved spot in the mirror
because it is an unspoken reservation.
(18:33):
I am standing here.
I got here first.
You are now coming in to the area
and you will now make your own window.
So as not to, you know, block me from seeing myself.
And then I always make sure that the person behind me
can see themselves.
It's like just a respectful thing.
When I tell you and you can judge me for this if you want,
I don't care.
(18:54):
I had a lot of, let's just say,
unkind feelings toward this dancer.
And when I tell you that I was giving her this side eye
throughout the entire class,
I just kind of kept shooting daggers
with my eyes at her.
The entire class.
Ooh, she really got on my last nerve.
The disrespect.
(19:14):
I remember I stood there and I just looked at her
as she standing right in front of me
and I cannot see myself in the mirror.
I can see her right now in my mind's eye.
And I'm just staring at her and she was oblivious.
It was as if I was not, that's the thing.
It was as if I were not there.
You gotta laugh at it.
Now, tell me in the comments,
(19:35):
what would you do in a situation like this?
Now, I have talked about this often on social media.
I've had people say, you tell them to move.
But it felt a little bit like,
well, we're the only two people here.
If I make a big thing of it,
or if I even say something respectfully,
because honestly, if she doesn't know, she should know.
She should have a dancer like myself telling her.
(19:56):
Like, she would be better off for it.
Maybe she'll actually pay attention
and have some spatial awareness and look around,
you know, her surroundings.
Like, she should know and do better and learn from it.
But I just didn't feel like I wanted to go there.
I felt more in the mood to just give her the side eye
in the entire class.
And what I did was, is I just moved over a little bit.
(20:18):
So I could see myself in the mirror again.
How are people peopleing?
How are people doing that thing that they do?
So, disrespectfully, is if they're the only one on the planet,
somebody explain.
Anyway, that's all I got today.
I'm so grateful for your presence here.
Thanks again for showing up,
for getting all the way to the end of the podcast.
If you did make it this far and you haven't yet,
(20:41):
make sure you're following the show.
And leave a comment and like and share with your dance fam.
Every dancer can relate to this in some capacity.
And if you know a dancer,
ooh, if you know a dancer who does what I'm telling you,
this woman just did to me who is always blocking your space
in the mirror.
Why don't you send them this podcast
and don't mention this part of,
(21:02):
and just talk about the first story.
Like, you gotta hear the story of the teacher
talking about the technique.
Oh my god, it was crazy and stuff.
And then, they'll get to hear this part of the story
and they'll never know this is why you sent it.
And maybe then, they will get a clue and maybe then,
they will never block your space in the mirror again.
I'm just trying to be of service to all dancers here
(21:24):
and do the Lord's work.
[laughs]
By the way, when I did that shane turn,
combination across the floor in the class just the other day,
first of all, please again, keep in mind,
I haven't danced now in over two and a half years, okay?
I'm just getting into yoga a bit.
I've been doing some physical therapy,
but no dance.
And for me to show up to this jazz class
(21:45):
and do turns across the floor and be strong and get a pause,
I can't even begin to tell you what that did for me,
how I took that in.
And it's just for me, another sign from the universe,
yeah, you are supposed to be dancing, Miller.
You are supposed to be on this journey
and you are gonna keep on fighting.
And oh my god, I can get so passionate about this.
(22:07):
It's so important to me and wait until you see
in my Docky series what I have done to ensure
that I'm getting back on the dance floor.
And let me also just say after doing those turns across the floor,
I was so dizzy.
It is just crazy when you haven't done it in so long
and then you start getting back into it,
I thought I was going to fall over the dizziness.
(22:30):
I have, by the way, some tricks I do that I learned in my youth
with how to combat the dizziness,
I will share that sometime.
Lastly, the review I got from Germany,
so a lovely supporter by the name of Vivian,
who follows my Instagram and my podcast, sent me a DM
and said, "Hi Miller, and by the way,
(22:51):
if you're on YouTube or Spotify, you will see this."
Hi Miller, I just listened to your latest podcast
and you asked us to send a screenshot
if we have written a review on Apple outside of the US.
I'm from Germany and find your podcast super inspiring.
Keep up the great work.
How nice is that?
And then the review from Germany via Apple looks like it's five stars,
(23:18):
so the review says, "I love listening to Miller,
talk about what dance used to be versus what it is now
and sharing his observations and experiences
in the professional dance world."
100% recommended.
So how sweet is that?
I mean, my god, it really just touches my heart.
(23:38):
Thank you so much Vivian for
following up for reaching out after my podcast
and sending the DM and the review.
And I'm telling you, I look at all the reviews if I can
and if you are from another country, please DM me at back to great
and I will always shout you out.
It just really, really means a lot to me.
(23:59):
Okay, until next time.
[Music]
Popular Podcasts
Bookmarked by Reese's Book Club
Welcome to Bookmarked by Reese’s Book Club — the podcast where great stories, bold women, and irresistible conversations collide! Hosted by award-winning journalist Danielle Robay, each week new episodes balance thoughtful literary insight with the fervor of buzzy book trends, pop culture and more. Bookmarked brings together celebrities, tastemakers, influencers and authors from Reese's Book Club and beyond to share stories that transcend the page. Pull up a chair. You’re not just listening — you’re part of the conversation.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.