Dance Advantage

Outside the Bubble: Encouraging Students to Develop Their Own Dance Community

Heather Vaughan-Southard — Thu, 10 May 2012 13:30:51 +0000

Photo by SocialmediaVA

Nowadays, social media is a way of life and a way of interacting in a community. Online communities provide a sense of identity, belonging, and opportunities that don’t exist in traditional communities the way they once did.

Personally speaking, I find it easier to find like-minded colleagues online than in my own neighborhood. Here, I am one of a minority group of dance artists that may or may not share the same expectations, aesthetics, approaches, and standards. However, communicating online has led to relationships, brainstorming networks, and opportunities that have benefited my work in my actual community.

Why shouldn’t it be the same for kids?

Developing a community of dancers within any classroom depends on multiple dynamics and sometimes thinking outside the room can nurture relationships inside.

Facebook, Twitter, and fan sites can spur students to follow and interact with their favorite dance artists in ways they may never have a physical opportunity to do. Tracking the commentary and posts of these same artists can lead to a developed sense of trust in the teachings you offer in the classroom. It also opens the door for you to discuss modes of communication, etiquette, and networking.

I always appreciate when a guest artist shares the same information I do but in a new way. With tools like Facebook and Twitter, now the reinforcement of my “truth” can come when I need it and not just when I have someone in house.

In the classroom:

As the instructor, establish a professional account for Facebook or Twitter, and use this account to interact with artists on behalf of the class. In this way, you could follow artists whose work is relevant to your class studies. As the responsible adult, you may contact this artist and inquire if they would be willing to set some time aside to “talk” to your class in an interview type format. This could be done in a real-time chat or in an email exchange.
What to do:

Survey the class for questions ahead of time.
Discuss which questions would be important for basic information and which might the artist be excited to answer.
Create a final list of inquiries.
Invite students to pose potential answers based on research they conduct on the artist.
Conduct the interview.
Compare what they expected to learn to what they actually learned about this artist.

On their own:

Thinking of kids exploring the internet unsupervised is, well, scary but there are distinct benefits. Students can start to interact with other dance enthusiasts, including some their own age. Soon they will establish their own group of dance colleagues that can offer support in ways their actual friends may not.
Consider the following in keeping kids safe and engaged:

Explain to your students the etiquette and risks of interacting online and emphasize that an agreement should be reached with their parents before starting this line of activity on their own time. Parents can help monitor conversations to assure not only appropriate communication, but also thoughtful and productive questioning.

Discuss the appropriate way to get an adult’s attention in real life and how it relates to online engagement.

Emphasize mannered lines of discourse- using please and thank you, a respectful tone, and knowing when enough is enough.

Establishing Boundaries:

Just as we want students to demonstrate appropriate behavior, it is important to remember that adults need to do the same. Sometimes we can get so involved with our students that the lines between personal and professional lives can start to blur.

Remember your role. You are a teacher, a role model, and a source of information.

Just as it is important for the conversations you and your students to have with artists be professional, the same goes for you and your students. Ethically, it is important to draw clear boundaries between personal and professional relationships.

Online this means not “friending” or “following” from personal accounts for students, and maybe even their families.

Even from your professional pages or accounts, keep the posts content driven. Keep your comments informational and away from personal opinions that could offend or be misinterpreted.

Be cautious of online relationships with colleagues. They may not share the same ethical standards on social media boundaries and this can confuse the lines you have established with students and their families.

Redirecting

In an age where bullying can reach beyond demanding lunch money and name-calling, teaching to positively participate in varying modes of communication must also be addressed. In many instances, the dynamics of the relationships with friends, frenemies, and others at school does not remain on school premises and is greatly fed by online communication after school hours.

One reaction is to discourage kids from engaging in social media but another would be to use it to reach beyond their current circle, hence finding other kids with similar interests, situations, and goals.

When introducing your students to the positive sides of online involvement, address the negative sides too.

How do you expand the bubble?

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The Fit Dancer: Fueling your fouettes with fabulous fruit smoothies

Lauren Warnecke — Thu, 03 May 2012 20:06:32 +0000

Dancers are athletes.

Just like any other athlete, it’s important that we be conscious about how we are fueling our bodies. The stereotype of the stick-thin waif who dines on lettuce leaves and cigarettes is long gone, and as our field becomes increasingly physical, so too must our fitness and nutrition.

Here begins the start of a brand new series for Art Intercepts. In The Fit Dancer, I’ll discuss principles of exercise physiology, fitness, and nutrition to help you on your journey toward maximum health and longevity in your dance career. To kick the series off, I’m going to let you in on a little secret:

I can be quite crafty in the kitchen!

While you might ordinarily associate my column with dance injuries, pedagogy and miscellaneous ramblings about technique, one of my favorite hobbies is cooking. Dancers are constantly on the go, so we need quick and nutritious meals that can be prepared fast, and/or ahead of time. Since it’s important to begin your long days of class and rehearsals with a good breakfast (and since strawberries are in season right now), it’s only appropriate that I share with you my favorite smoothie recipe. I drink one of these beauties every morning, and should you choose to do the same you’ll never go back to a bowl of cereal.

Lauren’s Fruit Smoothie

1 banana

1 cup frozen strawberries*

1/2 cup frozen other berries (I use blueberries and raspberries)*

1/4-1/2 cup plain yogurt (regular or greek)

juice of 2-3 oranges

spoonful of honey (optional)

Place all ingredients in the blender and puree until smooth. Pour into a glass or travel cup and sip through a straw!

* You can use fresh fruit, but if you do plan on adding a few ice cubes to make it cold and smooth. Better yet, buy fresh fruit in season, wash it, and freeze it yourself!

What’s your go-to quick and easy breakfast?

© Lauren Warnecke for Dance Advantage, 2012. | Permalink | Category: Blog, Dancing, Health and Wellness | Who's talking about this article?

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Nutrition On The Move: Veggie Muffins

Joanie Johnson — Thu, 26 Apr 2012 13:00:38 +0000

Veggie muffins are a delicious, portable snack! || Photo by Kelly Wright of sassandveracity.com

You heard me right- veggie muffins.

Get your daily dose of vegetable rich vitamins and minerals in the convenience of a muffin. They are great dance bag travelers!

Veggie Muffins

Prep Time: 5 minutes

Cooking Time: 15 minutes

Yield: 6 muffins

Ingredients:(...)

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Celebrating The Arts: Decorating The Dance Room While Connecting to Class Content

Maria Hanley Blakemore — Tue, 24 Apr 2012 14:30:09 +0000

If I had a studio space to call my own I would have a lot of fun decorating it.

Big empty walls and mirrors, windows and doors at my disposal. I would be in dance studio heaven. Since I don’t have my own walls, my refrigerator is decorated with splashes of color and drawings of interpretations of what my students are learning in class. It’s pretty thoughtful that they think of me while they are drawing, don’t you think? As I collected the drawings on my fridge, I knew there had to be a way to use all of that artistic talent in the dance room.

What is on your studio walls? Posters of dancers? Quotes? Pictures of your students or of the faculty?

If I had a studio space to call my own I would decorate it with student work. Dance and art are so closely linked I thought it might be fun to come up with some ways of connecting what you are teaching to your preschoolers in class to an “art project.” Simple, creative ideas that will show the parents you are educating the whole child. Plus, decorating the walls with your students work adds a sense of personality and love to your building.

Shapes with Pipe Cleaners

What you need:
Pipe cleaners
Construction paper (optional)
Pen

One of my friends did this lesson with her preschoolers and made a bulletin board using their art work. I loved the idea and asked her if I could share it with you.

If you are teaching shapes to your students this is an easy way to connect what they are making in their body to a visual. Ask each student to create 4 shapes with their body. For example, shape 1 is round, shape 2 is bent, shape 3 is straight, and shape 4 is twisted. Ask the students to memorize their shapes. Ask specific questions like “where are your arms?” “is your head up or down?” This will help remind them of what each shape looks like.

Next, pass out the pipe cleaners and ask them to make their 4 shapes with the pipes. They are so flexible (kind of like bodies) that they lend themselves to making shapes really well! Put them in order and viola, you have shapes to hang up.

For education sake, it might be helpful to put them on construction paper and write under each shape what the student created and what they say about it. “It’s a twisted like a pretzel.” Parents and visitors to your walls will feel very connected to your students and the content they are working on. The neatest part this idea is that every shape is different!

Mandalas

What you need:
This website
Crayons/colored pencils

Creating circle dances and doing patterns with your preschoolers? Passing out Mandalas are a fun way to let them express themselves as they color theirs in. My students love patterns and I think its because at this age they are learning about them at school.

As they are coloring the Mandalas, tell them about circles and what they mean. My saying is “a circle is unity and community. You can see everyone and they can see you!” We talk about things that are circles like the sun, the moon, and flowers. My goal is to connect things to real life as much as possible and I think this project does exactly that. Plus these patterns look so pretty on your walls, even if the colors go outside the lines.

Musical Drawings

What you need:
Music (a few different styles)
Crayons
Paper

If you are doing a lesson on tempo, beat, rhythm, or counting this game is for you! Give each student a piece of paper and a few crayons. Ask them to close their eyes. Play the music and ask the students to “dance” the crayon on their piece of paper. Choose different types of music, maybe one classical, one with a beat, and one fast. Then flip from one song to the other. They keep their eyes closed the whole time and just listen. I say 2-4 minutes is long enough.

Ask them to open their eyes and look at their drawing. See if they can find the places on paper where you were playing the classical music or the fast music. Maybe the song with the beat made darker lines or dots and maybe they used a lighter color for the classical piece.

It’s important that after you do these projects that you talk about the experience with your students. Here are some things to think about:

1) Talk about their experience. Did they like or dislike the project?
2) Talk about how it made them feel?
3) Was it easy or hard?
4) Analyze the shapes in their body or their musicality now. Do they have a better understanding of the lesson?
5) Brainstorm other dances you have done, and what projects might connect to that lesson.

Have fun decorating your dance room!

Disclaimer: These projects are appropriate for ages 3-6, however make sure your dance room is set up properly for projects that give crayons to little hands.

Have you decorated your dance room with your students’ work? Would you ever try it?

© Maria Hanley Blakemore for Dance Advantage, 2012. | Permalink | Category: Blog, Teaching | Who's talking about this article?

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“Black or White” to Black and White: Dance History and the Music Video

Heather Vaughan-Southard — Tue, 17 Apr 2012 13:30:51 +0000

Photo by Travis Person

“The only thing new in dance is you.”

A friend shared that quote from an Ohio University professor years ago and it has stuck with me. Every year I find myself chuckling to myself as I listen to kids claim movements as “their” choreography when really many are sampling from the limited palette of movement they’ve witnessed, usually music videos.

The question inevitably becomes- How do I get them interested in expanding their bubble?

In grad school, I had the privilege to study under Beth Genne, a dance scholar who says music videos are our most current examples of ballet d’action, a story “ballet” told through a collaboration of arts although not necessarily in the style of dance known as ballet. I don’t think all music videos support the comparison but the style of video made popular by Michael Jackson in the “Beat It” and “Thriller” era do, just as Genne discusses in her writings.

When working with kids, one particular challenge is inspiring them to see the benefit and value of learning about what came before- even, or perhaps especially, if it occurred in black and white.

Who better to draw them in and inspire rich dialogues about many topics in dance than Michael Jackson? Who can resist Michael Jackson’s anthems of 1980s American culture, his powerful use of film to bolster his hugely successful pop songs, and the influence he’s had on music and videos of today.

The “King of Pop” alone illustrates how the past influences the future in a way kids can easily follow and discuss. The beauty of this example is that you can trace influences forward as well as back, and this is how dance history can be introduced.

Here’s how you can expand the conversation:

Check out Nichelle’s tribute to Michael Jackson from 2009.

The following categories introduce conversations on the dance topics based on but not limited to “Beat It” and “Black and White”. Included in the categories are links to other Dance Advantage articles that may also offer additional insight or points of view.

The Development of Theatrical Dance

Court Dance to Social Dance: King Louis XIV and his role in the development of dance training

Ballet d’action: a continued look at the function of dance from social dance to performance

Classic Confusion: Understanding Labels in Dance

Where theatrical dance exists: theatres, vaudeville, Broadway, Hollywood, TV/Film, Concert stages, Commercial dance settings

History Moves: Connecting Student Choreography to History’s Prime Movers

The Development of Dance Technique and Performance Philosophy

Fred Astaire, Bob Fosse, and their influence on Michael Jackson’s dancing and performance style.

The similarities and differences in commercial and concert dance forms

The Pros and Cons of Dance Crossover- Crossing Genres in the Field of Dance

Presenting Dance and Relating Topics

Dance in film: using dance to propel the narrative story.

Dance in film: the directing and choreographic choices of such artists as Fred Astaire, Gene Kelly, Jerome Robbins, and more.

Dance on Camera: presenting dance in ways not possible in a traditional theatre setting.

Dance on Camera: introducing the work of artists such as Maya Deren, Charles Atlas, and more.

Sharing Dance via Youtube and Social Media

Are You Followin’ Me? How to get Twitter to Work for You

Influence versus Improper Use: Intellectual Property and Accessing Rights

Dance Ethnography

Documenting Dance: Photos and film as source materials.

Documenting People: Understanding cultures through performance and rituals

Globalization: Blurring boundaries and fusing ideas

Dance Diversity: African-American Community Outreach

Where might this lead you?

© Heather Vaughan-Southard for Dance Advantage, 2012. | Permalink | Category: Beyond the Bubble, Blog, History of Dance, K-12 | Who's talking about this article?

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Less Email, More Dancing: 4 Ways to Tame Your Inbox

Suzanne Gerety — Fri, 13 Apr 2012 13:20:01 +0000

Email. Love it or dread it… it gives you the ability to instantly communicate with your students, parents, and potential customers.

The trouble is that your email about classes, performances, and registration deadlines are just a few of the hundreds that your customers receive on a weekly basis. As valuable as email can be, if you are not careful it can also be a constant demand on your time and attention taking away from the most important tasks required in running a successful studio.

What can you do as a busy owner or teacher to do to master this communication tool so that the messages you send get read and you get back more time?

Here are some tips to help you become more effective and in-control of your email inbox.

#1. Guard your time: What’s urgent for one parent or student may not necessarily be urgent on your end.

While we often feel like we need to be accessible and available for our students and families during most waking hours of the day, I could literally sit at my computer and on my iPhone all day and field inbound requests.

Resist the temptation to play ping-pong with your inbox! Now is the time to establish some parameters around when you will respond to emails.

If you have staff working for you in your office it is also key to establish a general response time for emails, ideally in 24 hours or less, excluding weekends or holidays. If you can’t take the time for a thorough reply in that time frame, just let the person on the other end of your email know that you received their message and give them an idea of when they can expect either a phone call or an email reply. It closes the loop and prevents that ‘did they get my message’ uncertainty.

Useful Tip: There is a difference between checking in to know what is going on versus being in the mode of reacting and responding to every inbound request throughout the day. When you schedule time to reply, you’ll be much more effective when you do. You’ll find that this focused effort makes you much quicker at getting the important messages handled.

#2. Don’t reinvent the wheel: Use frequently asked questions and similar info web pages to reduce your email time.

Have you noticed that many parents just don’t read notices? I’m convinced that even if we stapled memos and announcements to the dance bags of some of our students that the parents would still call on the day of the recital wondering if they needed to buy tickets.

The good news, you can leverage your important information and announcements that you give out in class and send by email by creating a Frequently Asked Questions page on your website. FAQ pages are handy for general information or even a Recital FAQ.

Wondering what to include? Go back into your sent mail and notice some of the repetitive replies you send.

Do the questions include:

“My child has ever danced before what class should they take?”

“Do you send bills for tuition?”

“When is the recital again?”

“When do I need to buy tickets”

“Is the studio open during xyz week/holiday” the list goes on and on.

By having these kind of questions answered on your website you can confidently hand out memos while also letting parents and students know that the most important information they will need to know is always posted on your website.

Useful Tip: When we began online registration we noticed we were getting a lot of emails from parents who were unsure of what class would be best for their dancer in regard to style and level. For years these questions were answered by phone or in person. To increase our customer service and assistance we took these emails and created a “how to choose the proper class” page on our website. Not only has this page helped people make the right choice, but it has increased registrations into our beginner programs and we reduce redundant emails.

#3. Make it easy for people: Write subject lines and messages that are specific.

If you need someone to remember an important date or deadline, lead with that info! For a busy mom like myself with two school-aged kids in dance, karate, gymnastics, piano, and more just managing their schedules feels like a full time job. Many of your parents and students are likely the same and the recital details are just one of hundreds pinned to their calendar.

When it comes to crafting emails, be specific with your subject lines. Nothing is more frustrating than an email subject such as: Subject: Important info for you. Ok, important info for what?!?! More specific is much better: Subject: Important details for 1:00 PM Matinee on Sat. June 24th.

Write the details of your emails with the perspective of someone who has never experienced this event before. What could you explain more clearly? Where could you cut out any unnecessary info? You’ll be well on your way to emails that get read and understood.

Useful tip: When we write our studio emails we run them through a who, what, when, where, why, and how test. If our email answers all of those questions then we send it! If anything is missing we go back and clarify before emailing hundreds of our families. It makes life so much easier and while it can seem like you are stating the obvious at times, these steps help to reduce possible confusion in an email message.

#4. Take time before you hit send. Never respond to an email when you’re angry or frustrated.

We’ve gotten our fair share of email from upset parents even when it feels as if we have gone above and beyond to make things easy and enjoyable for them. Trust me, it’s tempting to reply with a not so nice response to a hurtful message. But it’s better to just walk away from the computer and take some time to process what has happened.

The trouble with email is that the emotion or tone cannot be fully interpreted. In that moment it can be difficult to know whether you’re dealing with an unreasonable parent or a student with a legitimate concern or complaint.

Save yourself the regret and upset by not responding right away, but instead give yourself at least 24 hours to process your own range of emotions.

Useful tip: When it comes to replying to a less than pleasant email, ask someone on your staff or a close family member to read it out loud to you to see if what you wrote comes across the way you intended. Circumstances vary and the sting of complaints can hurt. Only put in writing information and communications that maintain the same level of professionalism you are committed to upholding.

Email can be one of your best tools in running and growing your studio. But just like you schedule your classes, meetings, and daily appointments, it helps to take back control over your inbox.

I encourage you to take on one or more of the above strategies so you can get more focused work done on email to be more efficient during times of intense demands and also when it’s slow. You just might find you’ll have more time to spend with family, friends, and dancing!

What have you found to be most effective when it comes to managing your email?

© Suzanne Gerety for Dance Advantage, 2012. | Permalink | Category: Blog, Featured, Studio Admin | Who's talking about this article?

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What I Learned From A Performance Fail

Nichelle (admin) — Sun, 01 Apr 2012 13:30:54 +0000

Failure is success if we learn from it.

~ Malcolm Forbes

I’ve made all kinds of mistakes during performances. Most are ones that only I’ve noticed.

A few have been mistakes that my fellow performers noticed.

And fortunately, I can think of only one or two that the audience may have noticed!

One particular performance “fail” that comes to mind occured while I was dancing in a small ensemble. We were well-rehearsed and the dance felt second-nature. However, repetitiveness was the nature of this particular piece of choreography and its accompaniment.

For whatever reason, one night during a performance, I lost my place in the dance. It was a brief lapse but enough to affect the interactions between performers. Fortunately, it didn’t take long to regain our footing and rescue the dance.

I was reminded how important (...)

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© Nichelle Strzepek for Dance Advantage, 2012. | Permalink | Category: Blog, Performing | Who's talking about this article?

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5 Ideas That Will Make You Feel Like Less Of A Teaching Robot

Maria Hanley Blakemore — Thu, 29 Mar 2012 13:30:28 +0000

A few weeks ago a mom asked me, “How many of these classes do you teach a week?”

I said “I teach 12 of this toddler age group.”

Her response: “It doesn’t feel like it. It always feels like this is the first one you have taught all week.”

I was impressed to hear that because sometimes it feels like if I sing I’m A Little Tea Pot one more time my head will explode!

Photo by Bart Cayusa

Facing burnout while teaching toddlers and preschoolers is the worst. I actually feel guilty when it happens to me. Millions of thoughts go through my head– I love my job, why do I feel burnt out? I’m still working on smoothly working my way through each month, but this year I have adapted some ‘rules to live by’ that have helped get me through my busiest days and sleepless nights.

Here is a list, try any or all that you think might help make you feel less like a robot and more like a dance teacher!

(...)

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© Maria Hanley Blakemore for Dance Advantage, 2012. | Permalink | Category: Blog, For Classroom, Teaching | Who's talking about this article?

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Is The Snap, Crackle, or Pop of Your Hips Cause For Alarm?

Lauren Warnecke — Wed, 28 Mar 2012 13:30:21 +0000

Snapping Hip (also called Clicking Hip) is a relatively common problem among dancers.

Generally, snapping hip is characterized by a pop or cracking sound (not dissimilar to “cracking” the knuckles of the hand) as you move from hip flexion to extension - in other words, when going from a position with the knee bent and pulled up towards the torso to the knee extended down toward the other leg.

I first noticed that I had snapping hip when I was about 16 and tried my first Pilates class. Every time one or both legs were extended out a few inches from the floor (while lying on my back), I’d hear a pop in my hip joint. Snapping hip is often a result of a tight tendon rolling over protrusions of the femur or pelvis.

While it can be annoying and a little disconcerting to hear that popping sound, there is not necessarily any cause for alarm.

In an article by Joseph P Garry, MD, he points out that nearly half of the female ballet dancers seeking treatment for hip complaints were experiencing snapping hip, but only one third of those were experiencing pain. A 2008 article in Current Sports Medicine Reports found that (...)

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© Lauren Warnecke for Dance Advantage, 2012. | Permalink | Category: Blog, Dancing, Featured, Health and Wellness, Understanding the Body | Who's talking about this article?

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Nutrition On The Move: Fast Snacking Hummus

Joanie Johnson — Thu, 22 Mar 2012 14:30:03 +0000

Homemade hummus is great for dipping vegetables or using as a spread on sandwiches.

Garbanzo beans, or chickpeas as you may know them, are the main ingredient in this easy to pack and carry snack. Many dancers keep fresh cut veggies in their bag to munch on as a quick, hunger buster throughout the day. Having some hummus on hand to use as a dip, will help keep you fuller longer and give your body an additional dose of protein and fiber.

Hummus

Prep Time: 5-10 minutes

Cooking Time: 0 minutes

Yield: 3 cups

Ingredients:(...)

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Add “the Cranes Dance” To Your Summer Reading List

Guest Contributors — Wed, 21 Mar 2012 02:20:55 +0000

The following guest review is by Heather Desaulniers. Her blog, Dance Commentary by Heather D. had the 3rd highest voter turnout in our Top Dance Blogs of 2011 contest. The novel she’s reviewing for us is “the Cranes Dance” by Meg Howrey, a former professional dancer and actress. This Vintage Books trade paperback goes on sale May 15, 2012.

Meg Howrey’s second book, “the Cranes Dance”, is a must-have for every dance library and a must-read if you love a great novel.

Meet two sisters, Kate and Gwen Crane, both professional dancers in the same New York City ballet company, and become acquainted with their intertwined lives. Told from Kate’s perspective, the book follows their personal and professional struggles with flair, wit and honesty.

“the Cranes Dance” opens after ‘an event’; something that has happened in Gwen’s life (the younger of the two sisters). The details remain a mystery though the outcomes are as follows: Gwen has left New York to be with her family in Michigan and a palpable, angry silence has developed between herself and Kate. Throughout the novel, Howrey alludes to this incident without telling the reader exactly what happened though she does drop little hints and provides small pieces of the puzzle. The reader begins to infer the situation but still, doesn’t know for sure what transpired. One thing is definite, this was no spat between siblings – something serious occurred. And, as Kate, Gwen and their family are trying to figure it out, we too, are on the same expedition. You’ll have to read the book to see if Howrey ever reveals the entire story.

As the book starts, we find Kate in a place of complete puzzlement. She is (...)

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© Guest Contributors for Dance Advantage, 2012. | Permalink | Category: Blog, Dance Library, Dancethropology, Product/Website Reviews | Who's talking about this article?

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Q&A Saturday: The Road To Juilliard

Nichelle (admin) — Sat, 17 Mar 2012 14:30:06 +0000

Do you follow DA beyond these blogging walls?

If you do, you know that I (Nichelle) also share great writing from other sources, news, events, and more via social media. A lot of these items get filtered through Nichelle’s Notes, my Tumblr feed.

As a satellite of Dance Advantage, it’s lately become a convenient way for readers and other Tumblr users to ask questions, also. Really good questions!

So from time to time I’ll feature the best of the best here on the mother ship.

(Please note, questions are unedited — I’ve republished them here just as they were submitted.)

The Road To Juilliard

Photo by Robert Mintzes

Question:

im 14 and i reeeaaallly want to danceeee. i want to audition for julliard by the time im going to college. but the problem is there is no money to take classes im already going to a dance class that give me lessons free but its just the basics and we never really learn much. i realy want to do acro but the clas im going to doesnt offer it. What can I do? – Anonymous

Answer:

Attending college for dance is an excellent goal and Juilliard is a fantastic program. Reaching these goals, you are right, will require money but will also take a lot of hard work.(...)

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© Nichelle Strzepek for Dance Advantage, 2012. | Permalink | Category: Blog, College, Training | Who's talking about this article?

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How Leon Got His Groove Back (and how you can, too)

Nichelle (admin) — Wed, 14 Mar 2012 19:50:35 +0000

Today, ballroom dancer and Boston area instructor, Leon Turetsky is our guest. A former Dancesport competitor, Leon has placed in the top 3 in all major IDSF competitions and appeared in the movie, Take The Lead with Antonio Banderas. Now an independent dance instructor, his students regularly compete all over America, placing 1st in some of the most prestigious events.

Leon knows all about burnout but has been able to stay inspired to dance all these years and wants to share what he’s discovered with you.

Photo by prayitno

Most of the time you enjoy the music, the movement and the freedom you feel when dancing.

However, there are times when you just do not feel like dancing. For one reason or another, you are mentally and physically drained.

For me personally, this used to happen after dance competitions when I did not place as well as I had wanted. I felt frustrated that all of my hard work did not bring me good results. There were times when I even questioned my dancing ability and whether I should continue dancing at all…

This pattern kept repeating itself until one day I realized that these feelings occurred because I CARED about my dancing. Not because I needed to quit.

After a while, I figured out that what I really needed was a boost of inspiration to get back my “dancing groove”.

I came up with the following 5 ways to re-energize myself and help me look forward to new possibilities. I hope they will help you as much as they helped me.

1. Review your dancing goals

To stay motivated most of us need to have a goal to work towards. It is not important what the goal is, as long as you have one.

It can be (...)

Continue reading "How Leon Got His Groove Back (and how you can, too)"

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© Nichelle Strzepek for Dance Advantage, 2012. | Permalink | Category: Blog, Dancing, Practice | Who's talking about this article?

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Enforced Arch: Dancers As A Force For Change

Nichelle (admin) — Sun, 11 Mar 2012 14:30:33 +0000

You’ve met Carla and read more about her blog, Ballet To The People which was chosen as THE Top Dance Blog of 2011.

Readers vote in our contest and the race for that top slot was very, very close. Less than 20 votes separated the top two, and both blew the rest of the competition out of the water with over 700 votes each!

Generous spirit that she is, Carla offered to share her spotlight article with Enforced Arch, a blog and project spearheaded by James Koroni. But when each of these unique Top Dance Blogs deserves its own feature, why make ‘em share the spotlight?

James Koroni - Photo by Joshua Katcher

So without further ado, James Koroni talks about the unique community he launched in November of 2010.

DA: What is Enforced Arch?

James Koroni: Enforced Arch is a dance and performance community of intelligent communicators who use their unique talents to bring life to environmental and social issues.

Each member of the community takes it upon themselves to stand against current injustices. They utilize transmedia and performance art to shed light on crucial issues. Its members are called compassionate ‘Movers.’ This title means that they focus much of their creative energy producing effective and unique ways to express their vision, gain community support and create awareness for various topics.

DA: Tell us a little about your dance background.

JK: I began dancing at The Edge in Los Angeles. My mentors there were Kitty McnNamee, Ryan Heffington, Erica Sobel, Bobby Newberry, Dante, Anes, Tovaris Williams, Bill Prudich, Denise Leitner Terri Best and Frank Williams.

I started at Santa Monica College where I studied ballet with Cati Jean and Charlotte Richards. Then, later I moved to New York to train at Broadway Dance Center. My mentors were, and still are, Luam, Sheryl Murakami, Derek Mitchell, Shaik, Brice Mousset, La Jon, Dana Foglia, Josh Bergasse, David Marquez, Shelia Barker, Joshua Pelatzky and Ginger Cox.

I have always been a performing artist. Prior to my adult life I was a singer. I was president of the High School choir and in a band in High School named Sway, at which point I had never taken a dance class. This was absurd, considering I couldn’t keep still when music was playing!

I began dancing at 19 only after I auditioned for Disney and they asked me to do a double pirouette. I thought, what’s that?

I obviously didn’t get the call back and immediately I could be found in Frank Williams’ Jazz class three times a week and in ballet classes five times a week for the next 6 months until I was ready to progress. I just couldn’t stop and here I am now.

DA: Why did you create the Enforced Arch community?

JK: All my life I have had a strong desire to sing, dance and entertain everyone. All of which was an attempt to brighten someones day.

As an adult I went through two devastating losses – each breathing new life into my love of performance art – - the death of my brother and later the loss of my father who both died of cancer.

It wasn’t until I felt the severity of my fathers illness that I knew I needed to change my own life. After he died I sought the truth behind the causes for cancer and I found an abundance of resources, including The China Study, linking many causes of cancer to our diets. This sent me on a a course of research that changed my life forever. The first step I took was adopting a vegan lifestyle, not only for my brother & father, but also for my health, the environment, and all of the animals suffering for our dinners. This discovery has filled my life with great intention.

Every moment following that day has contained yet another opportunity to inspire change through my lifestyle and as a dancer/choreographer. Dancers have a unique ability to speak to others and I value those who use this talent to create awareness.

I felt that there must be others out there with similar stories and interests that could use a supportive community of like-minded individuals. This is why I created the Enforced Arch community. It lives as a platform for compassionate performing artists to express themselves and promote their cause.

DA: What are some ways dancers are using their position as artists to make a difference?

JK: I could go through them all one by one because I have found a profound group of compassionate ‘Movers’ but I’ll try to mention just a few.

In 2008 Nicole Johnson, a dancer and choreographer, launched her production company, Javanna Productions, and presented an effort entitled M.O.V.E which stands for Motivation Opportunity Vision Entertainment. Javanna Productions’ M.O.V.E. is raising funds and awareness for the need for education in rural parts of the world. Nicole is working with the Bernie Krisher Rural School Project Foundation to build a school in rural Cambodia within the next two years. Since 2008 M.O.V.E. has raised money and awareness for organizations like Autism Speaks, QSAC, Children of Uganda, Church Of Christ in Ghana and the Fivers Foundation.

Tonya Kay owns two green businesses, Happy Mandible, Inc and Solid Hollywood, LLC, and believes that creating the world you wish to live in starts with the individual, but does not stop there. Sshe is a philanthropist, generously donating to the Performing Animal Welfare Society, NORML, The Serengeti Foundation, The Tree People, The Witch’s Voice, Center for Biological Diversity and reforestation projects via CarbonFund.org. She has traveled 18 countries to volunteer her physical body to the preservation and protection of endangered species including the Asian elephant at Thailand’s Elephant Nature Park and the sea turtle at Costa Rica’s PETROMA.

Lastly, I’d like to mention Tracey Katof who has recently become the PR Director of Enforced Arch. Tracey has contributed choreography and performed for both stage and video productions. She has collaborated as a dancer and choreographer with HBO award-winning comedian Rebecca Drysdale for her video contribution to the It Gets Better Project. She contributed her choreography to an Anti-Fur performance piece that was featured in Paris at La Bellevilloise, at Brooklyn’s 3rd Ward Art gallery, and in a fashion magazine called PINNACLE Reinvent the Icon. Tracey is also the choreographer for the upcoming Off-Broadway production of Lemon Meringue which tells the story of one mans recovery from Childhood sexual abuse.

As you can see these individuals all deserve their own spotlight and this is why Enforced Arch lives and breathes. I admire, am inspired, and look forward to sharing the efforts of these compassionate artists day after day!

DA: How do dance and ethics align?

JK: Dance is a physically, mentally and emotionally demanding lifestyle. It seems overwhelming at times giving way to cultural disconnect. Without occasionally tapping into a larger reality we allow those in power to justify things that we as individuals would not be okay with. They thrive on our apathy which is why it is extremely important to be aware and become an effective catalyst for action.

In order to do this we need to ask ourselves: Is this society ideal for every member contributing and am I in a position to help those who suffer? Where does my food come from and at what cost? What are my clothes made of and who made them? With this knowledge you will learn what part you play and discover what powers you have to give back respectively.

Dancers will find great value for their talent, technique and tools when they understand the power it holds. Dance is an energy, a life force, a discipline and a focus. When we channel this, we turn heads and call attention to specific ideas.

In a world of social media distractions there is very little that will cause a rumble in our society but dance compels others to take action because dance is action.

DA: So dance can communicate in ways that other artistic forms cannot?

JK: Yes! Rather than people being lectured, dance communicates raw emotions and allows those witnessing its power to have a visceral experience – specifically with ambassadors to the individuals to which its content is committed.

Dance is a universal language that transcends words and becomes a form of expression available to everyone present to experience it’s grandeur.

Photo by Joshua Katcher

DA: How can dancers help animals?

JK: There are a lot of terrible things happening in the world and, while it might seem overwhelming to solve these problems, one effective way to help is to be aware of what we eat and what we wear on our bodies.

Many of the Enforced Arch members have adopted a plant based diet and vegan lifestyle to avoid cruelty, improve their health and reduce green house gas emissions.

Animals that our society have deemed to be food or clothing are 99% of the time coming from factory farms. With a growing demand for animal commodities we have institutionalized agriculture with no consideration for any sentient beings who have a will to live or at what carbon footprint this kind of farming creates.

Agriculture is the basis for human development but our path towards a more intensive farming system has run rampant in developed nations. It’s growth has lead to increased risk of global warming to which the United Nations has called for a worldwide shift to a plant based diet. Their findings state that livestock is the leading cause of green house gas emissions which inevitably causes global warming. In fact if you combined every form of transportation into one, livestock would still be the single greatest cause of global warming.

"Please, Don't Touch" ARTIST CREDIT: Julie Gueraseva

In addition, many of Enforced Arch’s ‘Movers’ avoid purchasing animal textiles such as leather or fur. On average it takes 100 chinchillas to make one fur coat.

It’s remarkable to see people still purchasing it with so many warm and cruelty free alternatives available to us.

An example of the Enforced Arch community efforts is its performance piece called Please, Don’t Touch which depicts the unfortunate lives of animals caught up in the fur trade.

When it was invited to be performed in Paris during Fashion week of Fall 2011, I rejoiced in the fact that so much time and effort was finally beginning to pay off.

http://www.youtube.com/watch?v=vs_ONJF-aC0

To make these cruelty-free alternatives more accessible for compassionate ‘Movers’ the Enforced Arch community has created a resource for dancers who wish to avoid animal textiles and seek plant based nutrition. These resource pages can be found on the Enforced Arch website under the titles: Fuel and Essentials.

DA: At Enforced Arch, artists can submit video and events to be featured. What are some other ways dancers or dance-makers can get involved (online or off)?

JK: Being involved often requires understanding and confronting complex issues that many people often find overwhelming or upsetting. We’re aware that Enforced Arch is not for everyone. It’s only for dancers who are prepared to channel concepts that require emotional security and strength of character. At the same time, dancers are capable, if only they had the right motivation.

We welcome involvement from writers, dancers, choreographers, video artists, costume designers, makeup artists, non-profit organizations, dance companies, etc. We encourage all professional, creative and ambitious artists, to step forward and introduce themselves to our community. Our creative team is inspired by its members and we support them as their media platform.

The one thing all of it’s members or ‘Movers’ have in common, is the belief that performance art has great potential to make change.

Contact us at EnforcedArch@gmail.com. Tell us about yourself, share your story.

If you regularly dancing to create awareness you might be asked to become a ‘Mover’ at which point you would keep us up to date on your upcoming projects and we’ll write about them.

We receive invitations from all over the U.S., and more recently around the world, asking for choreographers and dancers. When these opportunities arise we hold auditions or seek talent from within our community.

Enforced Arch

The possibilities are endless.

DA: Any final thoughts, James?

JK: Sometimes no words can speak the language of atrocity. Dancers are fluent in a dialect that is crucial to communicating emotional experiences that are necessary for making social change. Enforced Arch is dedicated to inspiring and supporting dancers that explore this talent.

Upcoming Performance!

Enforced Arch will present a two-night limited engagement April 6^th & 7^that Manhattan Movement & Arts Center where they will be presenting their latest work, ‘ALLIANCE’ Art & Activism. A collection of past and new works honoring the ‘ALLIANCE’ of art and activism, these performances mark the first presentation of works by creative directors, James Koroni and Tracey Katof. For ticket information visit http://www.enforcedarch.com/tickets/ or to interview James Koroni and Tracey Katof, please contact them at (323) 376-0050 or email them at EnforcedArch@gmail.com.

© Nichelle Strzepek for Dance Advantage, 2012. | Permalink | Category: Beyond the Bubble, Blog, Community, Dance Media, Dancethropology, Interviews, Online | Who's talking about this article?

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The Power of Performance to Win Friends and Influence People

Heather Vaughan-Southard — Thu, 08 Mar 2012 18:00:01 +0000

Whenever I enter a new teaching environment, or a new academic year, the first thing I focus on is when we can start performing.

Now, please know that I don’t actually love the concertizing process or the added stress performance demands place within an educational setting.

Photo courtesy Collective Encounters

Preparing for some type of culminating performance, however, does wonders for the students and the program as you plan for the content and experiences that may actually be more important.

What are these wonders, you ask?

Trusting their Peers

Rehearsing with a unified goal unifies the ensemble. It provides (or refreshes) the “buy-in” that I need for what I view as the really important content — the content that may not directly relate to performance – such as dance theory, dance history, and more.

Trusting their Instructor

Students recognize the choice to put them onstage (especially very early in the year or season), as an act of trust and truly view the opportunity as a gift. Therefore not only does the ensemble unite, they put their trust in me to lead them to exciting adventures.

Just as students appreciate my trust in them, students’ families learn to trust me to create interesting experiences for their child. Especially if I am challenging previous norms, they push back less when the stakes are a bit higher (like a year-end performance).

Trusting Themselves

Performance offers such a valuable opportunity for self-discovery and a better understanding of dependent relationships (such as relying on the other performers, the lighting designer, the sound technician, etc.), including how their actions impact others.

In the beginning of the year, most students expect these adventures to be on-stage but by the end of the year they tend to see that many exciting experiences took place in the studio/classroom and did not depend on lights and costumes.

Students become more open and willing to find adventure wherever it exists rather that where they think it should be.

Before the Big Show

Varied types of performances throughout the year takes much of the pressure off the “big spring show”.

I find that most students and families can’t wait for the larger performance, so having smaller opportunities (like the examples below) before that time can be a great way to stretch their perceptions of dance, dance performance, and dance education before the big day.

Site specific:

Creating unique dances specific to a certain location.

This could be presented as a “school tour” with dancers performing in non-traditional performance spaces (think classrooms, hallways, offices,….) or in another public setting such as a nearby park.

Informal showings:

Invite non-arts classes to view your students’ composition sketches or their concert piece before dress rehearsals begin. It can inspire conversations among students outside of class, or offer connections between class subjects.

Photo courtesy Collective Encounters

Lecture/Demonstrations:

Coach your dancers to talk the talk as well as walk the walk.

Turning over responsibility to explain the concepts being explored in class to the audience watching expands the type of performance experience as well as reinforcing understanding.

Community:

Take the show on the road by offering free performances for local clubs and community groups.

Soon you may find an additional line of revenue for your group as these community organizations offer honorariums for your performances.

By the time the “big spring show” rolls around, your dancers will be prepared, open, and poised.

What kinds of informal performances have worked to prepare your students for the “big show”?

What other benefits does a year-end performance hold for your students?

© Heather Vaughan-Southard for Dance Advantage, 2012. | Permalink | Category: Blog, K-12, Performing | Who's talking about this article?

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Dance Advantage

Outside the Bubble: Encouraging Students to Develop Their Own Dance Community

Nowadays, social media is a way of life and a way of interacting in a community. Online communities provide a sense of identity, belonging, and opportunities that don’t exist in traditional communities the way they once did.

In the classroom:

On their own:

Establishing Boundaries:

Redirecting

How do you expand the bubble?

The Fit Dancer: Fueling your fouettes with fabulous fruit smoothies

Dancers are athletes.

Lauren’s Fruit Smoothie

What’s your go-to quick and easy breakfast?

Nutrition On The Move: Veggie Muffins

You heard me right- veggie muffins.

Veggie Muffins

Celebrating The Arts: Decorating The Dance Room While Connecting to Class Content

If I had a studio space to call my own I would have a lot of fun decorating it.

Shapes with Pipe Cleaners

Mandalas

Musical Drawings

Have you decorated your dance room with your students’ work? Would you ever try it?

“Black or White” to Black and White: Dance History and the Music Video

“The only thing new in dance is you.”

Where might this lead you?

Less Email, More Dancing: 4 Ways to Tame Your Inbox

Email. Love it or dread it… it gives you the ability to instantly communicate with your students, parents, and potential customers.

#1. Guard your time: What’s urgent for one parent or student may not necessarily be urgent on your end.

#2. Don’t reinvent the wheel: Use frequently asked questions and similar info web pages to reduce your email time.

#3. Make it easy for people: Write subject lines and messages that are specific.

#4. Take time before you hit send. Never respond to an email when you’re angry or frustrated.

Email can be one of your best tools in running and growing your studio. But just like you schedule your classes, meetings, and daily appointments, it helps to take back control over your inbox.

What have you found to be most effective when it comes to managing your email?

What I Learned From A Performance Fail

Failure is success if we learn from it.

~ Malcolm Forbes

5 Ideas That Will Make You Feel Like Less Of A Teaching Robot

A few weeks ago a mom asked me, “How many of these classes do you teach a week?”

Is The Snap, Crackle, or Pop of Your Hips Cause For Alarm?

While it can be annoying and a little disconcerting to hear that popping sound, there is not necessarily any cause for alarm.

Nutrition On The Move: Fast Snacking Hummus

Hummus

Add “the Cranes Dance” To Your Summer Reading List

Meg Howrey’s second book, “the Cranes Dance”, is a must-have for every dance library and a must-read if you love a great novel.

Q&A Saturday: The Road To Juilliard

Do you follow DA beyond these blogging walls?

The Road To Juilliard

Question:

Answer:

How Leon Got His Groove Back (and how you can, too)

Most of the time you enjoy the music, the movement and the freedom you feel when dancing.

1. Review your dancing goals

Enforced Arch: Dancers As A Force For Change

DA: What is Enforced Arch?

DA: Tell us a little about your dance background.

DA: Why did you create the Enforced Arch community?

DA: What are some ways dancers are using their position as artists to make a difference?

DA: How do dance and ethics align?

DA: So dance can communicate in ways that other artistic forms cannot?

DA: How can dancers help animals?

DA: At Enforced Arch, artists can submit video and events to be featured. What are some other ways dancers or dance-makers can get involved (online or off)?

DA: Any final thoughts, James?

Upcoming Performance!

The Power of Performance to Win Friends and Influence People

Whenever I enter a new teaching environment, or a new academic year, the first thing I focus on is when we can start performing.

What are these wonders, you ask?

Trusting their Peers

Trusting their Instructor

Trusting Themselves

Before the Big Show

Site specific:

Informal showings:

Lecture/Demonstrations:

Community:

What kinds of informal performances have worked to prepare your students for the “big show”?

What other benefits does a year-end performance hold for your students?