Sunday Snapshot: Ballet Zaida

This Sunday Snapshot is a little different. Rather than pulling from our Flickr Photo Pool, I wanted to share an entire website with simply gorgeous photos. Find more like the one below at the Ballet Zaida website:

According to Oliver Endahl, the photographer, the purpose of the Ballet Zaida photography project is to “educate and expose the public to ballet, as well as inspire the world through pictures.” A former ballet dancer himself, his work is definitely inspiring as well as inspired, featuring incredibly talented dancers in stunning locations. And there is just gallery after gallery of images – a visual feast.

The website offers downloads for your desktop or iPhone background and you can also schedule a shoot with Oliver.

Be sure to check out and LIKE Ballet Zaida on Facebook to keep up with the latest blog posts and gallery photos.

5 Scholarship Opportunities for Dancers

Everyone knows that college can be very expensive. Fortunately, dancers in the U.S. can apply for general scholarships designed for students studying all fields. Additionally, scholarships specifically for dancers can help lighten the financial load of higher education. The majority of these scholarships are school-specific, but here are 5 scholarship opportunities for dancers that can be used at most colleges, universities, and dance programs.

1. YoungARTS Scholarship

The youngARTS scholarship program, hosted by the National Foundation for Advancement in the Arts, is probably the most well-known scholarship program for dancers. Each year, the program awards scholarships that range from $250 to $10,000 to 150 dancers. There is a $25-35 fee to register with the youngARTS program, but most participants agree that applying is worth the time and money, as everyone who applies is included in the NFAA’s Scholarhip List Service. The Scholarship List Service provides colleges and professional schools with the names of all students registered with youngARTS, so having one’s name on the list provides an extra advantage when applying for other dance and art scholarships.

2. Harlequin Dance Scholarship

For students 15 to 21 years old who are currently enrolled in some sort of dance program, the Harlequin Dance Scholarship is another great option. Each year, the American Harlequin Corporation awards a total of $25,000 in the form 20 scholarships that range from $500 to $5,000. Students applying for this scholarship must submit a letter of nomination from a current dance instructor. Scholarships are awarded based on a drawing of all nominated dancers.

3. Princess Grace Awards

For students who have already been dancing at a non-profit school for at least a year, the Princess Grace Awards is a great option. This organization sends scholarship funds directly to the schools where dancers are already enrolled, and may be used towards tuition costs only. Princess Grace grants generally range from $5,000 to $25,000, which is dependent primarily upon each student’s individual financial abilities and tuition costs.

4. Jessica Karrat Dance Scholarship Fund

The Jessica Karrat Dance Scholarship Fund also provides college tuition grants, and is applicable towards all two- and four-year colleges and universities along with all dance schools in the United States. This scholarship is in memory of Jessica Karrat, a dancer who passed away in a car accident at the age of 13. Because this is a memorial grant, large funds aren’t available, but a minimum of one $500 grant is awarded each year to a happy dancer with big talent and even bigger dreams.

5. Worldstudio AIGA Scholarship

The Worldstudio AIGA scholarship program, which aims to increase diversity in the creative professions, is an excellent opportunity for minority and economically disadvantaged dancers. Each year, AIGA provides scholarships ranging from $200 to $2,000, which are based on need, merit, and applicants’ demonstrated activism in social justice issues. The scholarships are available to students who are or will be enrolled in a full-time 4-year undergraduate degree program studying dance or other fine arts.

Special thanks to our guest contributor for compiling this list: Louise Baker ranks online degrees for Zen College Life. She most recently wrote about the best colleges online.

Have you been the recipient of a scholarship award for dance?

If you know of other programs that offer financial awards to dancers, share it with readers in the comments.

Muscles 101: Comparing muscles to a rubber band might be stretching it….

Teachers often use the image of a rubber band to describe muscles.  When you stretch a rubber band, it usually returns to its normal size; if you continuously pull it beyond the maximum that it can be stretched, the rubber band stays stretched out.  Using this metaphor, if you continuously stretch your muscles beyond their maximum range of motion (ROM), eventually they will stay stretched out…..

Sort of.

Muscles have two main jobs: generating power and responding to “perturbations”.

The rubber band/muscle metaphor is great in describing the body’s response to perturbations (such as the bus moving forward when you’re not ready for it, someone handing you something that you think is heavy but is actually light, being bumped into, etc).  In these instances, a reaction called the stretch reflex recoils muscles that have been stretched as a result of a perturbation.  In the example of standing on a bus that moves when you’re not expecting it, you’ll notice that you lean forward and then right yourself.  If the muscle is stretched too far, the muscle can’t recoil and instead you are forced to take a step forward to prevent from falling.

Try this: Stand up with your feet under your hips and eyes closed.  You’ll notice that you sway forward and back slightly.  In order to help you maintain balance, your brain triggers muscle action in the calf and ankle when you start to pitch forward, righting your stance .  This is the stretch reflex in action (in combination with structures in the inner ear that control balance).

While the image of a rubber band is useful in demonstrating the elastic nature of muscles in the stretch reflex, it’s not always as simple as the stretch/recoil and stretch-farther/less-recoil that we gain from thinking of muscles simply as rubber bands.

I’ll explain, but first, a brief anatomy and physiology lesson:

How do muscles work?

A muscle is built of bundles of lots and lots and lots of muscle fibers bundled together by a sheath called the sarcolemma.  One muscle fiber contains lots and lots and lots of myofibrils, and one myofibril contains two types of myofilaments (thick and thin). This is where the magic happens.

The brain sends a signal (a neural impulse called an action potential) to the muscle that says “Hey muscle! Contract!”  Through a complex series of chemical reactions, proteins on the thick and thin filaments bond to one another and create energy in a chemical form.  The chemical energy is converted into a mechanical (tensile) force that generates power to move bone.   Every time you point, jump, bend, etc. your body goes through the same brain-muscle-bone loop called Excitation-Contraction Coupling (in case you want to look it up on Wikipedia) and it all happens faster than you can snap your fingers.

Wow. That’s amazing. And not at all like a rubber band.

Apart from this complex process, there are a number of variables that impact muscle behavior, such as temperature.  Warming-up increases the body’s core temperature and also helps breaks any leftover bonds (what I refer to as “crunchiness”) that might be hanging around.  As mentioned in my previous post, Is It Okay To Stretch Before Class?, stretching before activity has a short-lasting (acute) effect on range of motion, but the effect of stretching is maximized if you are warmed-up. Warming up also increases the amount of power a muscle can produce, making movements more efficient.

Think about this: What would it feel like to do grand allegro first in a ballet class? I don’t care to find out, but you can imagine that your ability to produce power, and therefore height, in your jumps is much better at the end of class when your muscles are warm.  Muscles also react differently when they are sore, strained or fatigued and all of these topics are complicated enough to deserve their own posts, so I won’t delve into them here…

More than anything else, I want to emphasize that rubber bands don’t have brains. The key point in all of this is that you have a brain, and that your brain drives everything that happens in your muscles.  It senses unexpected events and recoils muscles back into place.  It sends neurological impulses to muscles, causing a series of chemical reactions, producing energy that is converted into force that makes you move.  I said it once, and I’ll say it again:

That is amazing.

Reference: Enoka, R. M. Neuromechanics of Human Movement, 3rd. edition

15 Ways To Activate Brain And Body During Summer Break

People approach their breaks away from the regular routine of dance classes in different ways. Some take a little space from thinking, living, eating, sleeping, breathing dance and try new things. Some keep their summers as filled with dance as the rest of the year. Some seek out alternative ways to keep moving forward in dance. Whatever your style, this list contains some ideas that will keep both your brain and body active in the off-months, while stretching, stimulating, or simply refreshing your spirit and frame of mind. Challenge yourself to do all of them or pick just a few and be primed and ready to get back to that routine at summer’s end!

1. Dance outside. Okay, where I live in Texas it can get pretty hot in the summer months but, even if it’s just a short impromptu cavort, take your shoes off and just enjoy being outside!

2. Settle in with a good dance biography. Check out this list of Biographies You Can Sink Your Teeth Into from DA’s archives.

3. Make dance part of your vacation. If you are heading on holiday, why not check ahead for studios that hold open classes in your destination city. I’ve done this when visiting New York, San Francisco, and even some smaller cities. It’s always a memorable experience and I always return home with new revelations and increased motivation for class.

4. Visit a museum or take an art class. What’s that got to do with dance? Exploring other arts disciplines and taking time out to be creative in ways besides dance is reaffirming and inspiring.

5. Find a drum circle or contact improv jam. Don’t think improvisation is your thing? Just try to resist the beat of a drum circle. It’s not unusual at all to find dancers of all kinds moving along (children love these) but don’t be afraid to take the initiative yourself. Here’s a listing for U.S. and International drum circles. Contact improv jams often welcome movers of varying levels of experience. Here’s a handy map of U.S. and global opportunities.

6. Perform or work behind-the-scenes in a musical or play. Off stage or on, you will gain valuable production experience and increase your skills in areas that are directly related to dance.

7. Watch dance online. Peek into the professional dance world with DancePulp on Hulu. Each eight to ten-minute video offers a behind-the-scenes look at the lives of dancers and choreographers. Christopher Wheeldon, Andrea Schermoly, Lourdes Lopez, and don’t miss William Wingfield talk about So You Think You Can Dance and combining the concert and commercial career.

8. Start a journal. There are lots of techniques for journaling but the hardest part is forming the habit. Write about the things from this list as you check them off! We dance bloggers like to write about journals (duh!). Here’s an early post on the subject from DA’s archives. And a recent one from Ballet For Men.

9. Take some Yoga, Pilates, Gyrokenesis, or other movement-based class. It’s great cross-training for dancers and if done regularly can keep you limber and strong even with time off from dance.

10. Have a dance movie marathon. Include movies you love with those that you wouldn’t ordinarily pick up. The Dance Advantage aStore lists some of my favorites under DA Suggests – DVD. Here are some blog mentions and reviews of dance movies, too.

11. Produce your own student dance show. This could be formal or informal depending on your situation. The essentials are simply to have students or peers sign up, collaborate, and choreograph their own dances. In the process you’ll learn a bit about what it takes to mount a production (big or small), practice dance-making skills, and have fun while you are at it. Growing up, my studio offered an opportunity to dance in a student choreographed show. It was semi-formal (in a stage space but much smaller scale than a recital), students from inside and outside of the studio were welcome, family and friends attended. It was something I always looked forward to.

12. Create a daily workout, stretch, or moving practice. Set some goals for the summer and then put together just a few exercises that you can do every day. Or if you just need to get moving, make it a daily habit to throw on some music and dance around your living room. A recent post at FitSugar even suggests adding dance to your morning routine… maybe a little plié while you brush your teeth!

13. Read up! Catch up with posts right here on Dance Advantage by clicking on the navigation links under the header or check my offline picks (again, these are found at the aStore). You might also visit the blogs listed with a logo in the sidebar on the site – DA’s Blog Stars.

14. Go to a conference/convention/intensive/workshop. This one certainly takes the most planning but there is still time to get in on some of the summer activities happening at home and abroad.

15. Try water ballet! I’m not necessarily talking about synchronized swimming, although I suppose you could give that a try if like. Get in the pool and try your own underwater ballet class or even some water aerobics to get your heart rate up. Movement underwater is a great way to tone muscles and keep cool.

Do you have more ideas to add to the list?

Add them in the comments!

Social Smarts LIVE Chat

Chat Archive:

The archive to the chat can be found at Chatroll (you do have to be have to register for free with Chatroll to view the archive online)

Here is the archive from today’s chat, available for download: Social Smarts Live Chat

Check back for more links and useful info.

The purpose of of Social Smarts Chat

Marc, Suzanne and Nichelle all enjoy using social media and believe it can be a great tool for dancers, dance studios, dance companies, and dance teachers to grow their businesses and their online presence. We are not social media “experts.” There won’t be any surprise invitations to join a mailing list or buy an e-book. We are consumers of social media and like most consumers, we have our own ideas and experiences regarding what is effective and not in social networking. Though these ideas will come through in our chat, our purpose is to share our methods for making informed choices when it comes to social media, marketing ideas, and forming relationships online. Much of what we’ll be talking about is just good business sense but we will also give you some online tools and know-how that will hopefully help you see beyond any internet mumbo-jumbo and serve you as you navigate online encounters with would-be business partners, consultants, or affiliations.

“Late Beginner” Blues And How To Get Beyond Them

A parent recently wrote me, explaining that her 14 year-old daughter started ballet at 10 years old. Her concern was that when her daughter goes to auditions, she is behind her peers technically and she wondered if I had any advice. In response, I want to address some of the emotional obstacles that those who come ‘late’ to dance often face. I’ve taught beginners of all ages and I’ve observed that these mental hurdles are often harder to overcome than the physical.

Also, because nearly all dancers, at one time or another, encounter situations where they feel behind or challenged I think it may speak to other young dancers, too.

Steps A Dancer Can Take To Crush Comparisons

Possibly the worst thing dancers can do when there is a strong desire to improve is make negative comparisons of themselves to other dancers.

As Dianne of Ballet Shoes and Pointe Shoes recently pointed out, sometimes comparisons help us create a realistic picture and provide awareness of where we are and where we still have to go.

See her post on Late Ballet Starters for a few pointers on where to look to form this realistic picture.

However, comparisons must stop there. Once you recognize where you are, let it go, and focus on what you need to get yourself where you’d like to be. It’s easier said than done, I understand.

So, here’s a plan (not THE plan) but a plan that I hope will be a help to you. Use what resonates most for you and leave behind what does not.

Step 1 – Change the Way You Think

Expecting perfection, overnight results, or for everything to come naturally leads to frustration.

Read this: I Can’t

If you begin to feel negative thoughts creeping in or start to feel badly about a correction you just received, tell yourself to STOP (seriously!). Then replace these thoughts “I am learning,” “I am patient,” “I deserve to succeed.” For more on thought-stopping and building success…

Read this: It’s In Your Head: The Power of Thoughts on Performance by Sanna Carapellotti (Dancer; Jan09)

Step 2 – Get Real About Your Strengths and Weaknesses

• Recognize that everyone has both and that weakness only really matters if we allow it to turn us off our goals.

Read this: Mastering Strengths and Overcoming Weaknesses

• Have a conference with your teacher and have an open and honest conversation about the areas in which you need the most work. Explain that you are feeling the need to “catch up” with your peers technically and that you are willing to put in some extra work to improve.

Step 3 & 4 – Set Goals and Make A Plan

The best way I know to get beyond comparing oneself to others is to set personal goals and make a plan to achieve them.

• During that discussion mentioned above, have your teacher help you define some things you may be able to do outside of your regular class; an additional class or private lesson perhaps (if that is in your budget), some “homework” that strengthens, conditions, and supports what you are learning in class.

Read This: Setting Goals

• As the article linked to above demonstrates, be sure that you create a plan that will help you reach your goals and determine a “backup” plan: what you will do or say to yourself when the going gets rough.

How Parents Can Help

Parents, your child must desire the additional work and goal-setting it will take to reach his or her dreams. Make sure your child’s dreams are her own.

Read this: Finding The Balance Between Friend and Fanatic

While you can certainly help guide your child through this process, remember that your primary role is to support your child. Be careful not to become another voice of criticism (it is likely your child has more than enough of their own negative thoughts to tangle with).

Read This: Accentuate The Positive

Praise your child in a way that will further their skill development and feelings of accomplishment.

Read This: Appraising the Value of Praise

Disappointments along the way are inevitable, even if they are only the momentary ones when your child lets negative thinking or comparisons get the better of him/her.

Read this: Dealing With Disappointment

Know Where You Are Going

I’d be remiss to not point out that, if you are auditioning and feeling that you are not up to par with your peers, or are just not where you’d like to be technically, that it may be time to reassess.

Part of knowing where you are in your training includes determining if you are on the correct training path: studying the material and working with the teachers who can get you to where you’d like to be. Form that realistic picture, mentioned at the top of the article.

Professional ballet, in particular, requires intense study of the form. How much time spent in the studio and the quality of instruction matter in this field. The good news is that there are many wonderful careers available to dancers and that there are multiple paths to getting to where you’d like to be. Just know which path you are on!

Read This: Finding The Right Teacher

Are you a late beginner?

What words of encouragement can you give others?

What helped you to get beyond those late-beginner blues?

What have I missed? What advice would you have given this dance mom?

Appropriate Choices In Dance Choreography For Young Girls

A video of young girls (around 8 years old) performing a fierce competition dance to Beyoncé’s Single Ladies surfaced online in May. It caused quite a stir in the United States when news and media networks picked up the story and questioned dance teachers’, choreographers’, and parents’ choices when it came to appropriateness in movement, costume, and song choice.

Of course, to those in the dance industry, this controversy is not really new and every once in a while our feelings on the matter bubble to the surface. It doesn’t take much to get the heated conversation going because people are rightfully passionate about the protection of children and because dancers (as artists) have an ardent connection to their work (also merited and a license deserving of protection). The discussion is often divisive, unfortunately, as of course what is appropriate or not is subject to opinion and perspective.

Reaction & Blame

When news hits that reignites the flame, we react. And, usually we look for something or someone to blame. I must reflect that my reaction, my first response, is almost never the best I have to offer. And, I daresay, that is probably true for most of us. So in a public space, like this blog, I gave the issue a bit of time. I talked to good friends in dance. I talked to subscribers. I talked to my husband, who dutifully listens and can be a great sounding board. I wanted to give my reaction space in order to balance my own emotional response and root my reasoning in logic.

As for blame, nothing happens in a void, does it? Condemnation is not terribly useful because we could go round and round ad nauseam. Of course, in any one situation there are those who must show and take responsibility for choices made. I want to be clear that I am offering my opinion, for what it’s worth, about the choices that were made in this case and the cases I’ve seen like it in the dance industry because I think (obviously) that it has solid footing.

I will discuss why I feel inappropriate choices are harmful and what I think the responsibilities of teachers and parents are when it comes to the young people they work with and influence. You do not have to agree, in fact the comments are open for you to politely discuss your point of view, should it correspond or contrast.

Let’s Talk About Sexualization

Young girls in a questionably appropriate dance performance are not necessarily acting out what they do on stage at home or in their daily lives. These particular girls may thrive as they grow into young women and adults. However, it seems safe to say, that outcomes are unpredictable. As with repeated exposure to violence, patterned sexuality in movement or dress has the potential to negatively affect those who, because of problems at home, victimization, or other destabilizing factors may not as clearly separate their feelings about what happens onstage versus off (that goes for the performers as well as those in the audience).

In addition, though girls performing a routine may be acting, I present that this performance (and those like it) contribute to a larger issue of how women and girls are perceived and perceive themselves. Though admittedly more could be done, there has been some study and reflection within the psychological community on how the barrage of images on television, in magazines, in music, etc. affect the feelings girls and women have about themselves. Low self-esteem, eating disorders, depression, even cognitive disruption like inability to focus or concentrate – these outcomes have been documented. If you’d like to learn more about the research, you might start with the American Psychological Association’s report on the sexualization of girls.

My Response To Counter Argument

It is natural that children would imitate adult sexuality. True, but a choreographed dance is not an imitation or exploration led by the child herself. It seems healthy that a girl might imitate or look forward to what she will be as an adult. It is different to assume or imply that a child is already an adult, that she should move, talk or act as an adult, or that she could process her experiences in the way an adult would. For a woman, sexiness and sexuality may be a source of empowerment. Sexualization has been shown to have the opposite effect on young women and girls, and what psychologists term adultification has yet to be studied at length.

The students already dance like this, they want to move or be like [insert celebrity here].

From the aforementioned report, “If girls purchase (or ask their parents to purchase) products and clothes designed to make them look physically appealing and sexy, and if they style their identities after the sexy celebrities who populate their cultural landscape, they are, in effect, sexualizing themselves. Girls also sexualize themselves when they think of themselves in objectified terms. Psychological researchers have identified self-objectification as a key process whereby girls learn to think of and treat their own bodies as objects of others’ desires (Frederickson & Roberts, 1997; McKinley & Hyde, 1996). In self-objectification, girls internalize an observer’s perspective on their physical selves and learn to treat themselves as objects to be looked at and evaluated for their appearance. Numerous studies have documented the presence of self-objectification in women more than in men. Several studies have also documented this phenomenon in adolescent and preadolescent girls (McConnell, 2001; Slater & Tiggemann, 2002).”

Seeing something sexual in the movements or dress of a child is imposing an adult idea of sexuality on the dancer (placing responsibility on the viewer and not the presenter). This suggests that language of the body is not a two-way conversation, that expression and perception do not occur simultaneously. No, we cannot control how something is perceived (case in point, my Toe Sit-ups video immediately attracted those with a sexual interest in feet). However, a choreographer has control of the context in which certain movements are presented. For example a pelvic roll as an isolation in class, designed to develop range of movement is one context. A pelvic roll executed among lyrics like “gloss on my lips, a man on my hips,” or while wearing lace and garters is an entirely different context. I will yield that there is grey area in terms of context but I have difficulty finding it in the above example, whether intended for a global audience or simply an audience of other dancers/competitors. A choreographer, like it or not, must be aware of the context in which they are presenting their movement and make adjustments according to their audience and (when dealing with minors) their performers.

Costumes are limited by and chosen only so that a dancer’s lines can be in full view.

Particular movements are chosen to break dancers from their comfort zone and encourage fearlessness on stage.

It is impossible to find appropriate music and still be culturally relevant or edgy in contemporary dance.

The above statements have been made in regard to the video I mentioned. All that I can say (without taking on more than I can cover in one article) is that these show a very limited exposure to the wider realm of dance, a lack of ingenuity and creativity, or both.

You Have A Choice

I realize that not everyone agrees that sexualization of girls can be harmful. We may not agree on what qualifies as sexualization. On these points I can agree to disagree.

A routine like the one so sensationalized still begs the question, why choose this? I know the answer may be ‘why not?’ but,

1. if it is unknowable (or remains unproven either way) if or how girls might be affected long-term by sexualization or adultification,
2. if the choices made open the studio and the industry to such criticism (overshadowing all the great and wonderful things that dance can do for children and young women)
3. and when so many alternatives in costume, music, and movement exist in this nearly limitless art form of dance…

I can find no justification for the choices made or facilitated by the adults in this situation – teachers, choreographers, studio owners, and parents (who are of course fully aware and in support of the studio/teachers).

Intention and Responsibility

I seriously doubt that any harm is intended. Some say it’s about money and winning – shock value in the truest sense. I can only conclude that the decision to imply or impose an adult sexuality upon one who is not yet an adult, comes down to poor judgment. This does not release anyone involved from responsibility. When we work with children the standards must be higher and the choices must not be careless because children cannot truly choose for themselves while adults are guiding and influencing them.

For this reason, also, I do not think it is too much to ask competition administrators to evaluate what they allow and do not allow, reward or do not reward within their organizations. As with television or any other form of media, however, I don’t fully believe that we can hold an entire industry to a standard without trampling on the freedom of expression. In the end we have little control over what others decide to consume.

We can hold ourselves to a standard, however. And I do hope that with rational discussion and arguments presented that all involved in dance training (teachers, parents, organizations) might embrace their role as educators, influencers, and role models, might contemplate their responsibilities to the young women who dance with them, and might choose more carefully.

To anyone who feels limited by what some are considering the norm in dance choreography or competition, I encourage you to look further or expand your own horizons. Inspiration and alternatives are not so far out of reach.

Sunday Snapshot: You Raise Me Up

Dancers right (foreground) to left: Annie Zheng, Shayna Ding, and Cornelia Le.

This photo was taken during one of the Calgary Youth Performing Arts Association (CYPAA) volunteer visits to a senior centre in Calgary. The group consists of talented individuals working together to promote the performing arts among youth in Calgary. The dance is called “You Raise Me Up” based on the song of the same name and is a personal favorite of the photographer, Daniel Liu.

Daniel explains how he came to capture this striking image and passionately describes how he was raised up, in more than one way, by the experience. “I had only been pursuing photography for a few months when I met the talented individuals from Oriental Music and Dance School. I recall myself shamelessly asking them if I could go observe and take photos at their classes. They said yes. The setting was always a challenge, bad lighting and quick movements make for very difficult focusing but, when you get it right it’s just feels so rewarding, and sure enough it made me a better photographer. The individuals themselves were an inspiration to me, everyone in that class were extraordinary talents, intelligent, high minded, and always with the good of the community in mind. These people have inspired me to challenge myself and to be more than I can be.”

About the Photographer: Daniel f. Liu is a 21 year old photographer currently based in Calgary, Alberta. Liu started photography a year ago when he moved to Calgary. Having received a diploma in Culinary Management, cooking remained Liu’s full time job while photography was a developing passion for when he had the free time. Through a series of chances Liu became acquainted with the talented individuals at Oriental Music and Dance School (OMDS) and became their regular photographer. Soon after, Liu joined The New Mabuhay Calgary, a Filipino newspaper based in Calgary for its grand relaunch. The same photo “You Raise Me Up” has been featured in its May issue. You can view more of Daniel’s work on his Facebook page.

Today Is National Tap Dance Day!

National Tap Dance Day — The Bill

When was the bill passed?

On November 7, 1989 the bill was signed into law by President George Herbert Bush

Who was involved?

Nicola Daval, Carol Vaughn and Linda Christensen of the Tap America Project (TAP) were all very active in the promotion of the U.S. Joint Resolution declaring May 25^th National Tap Dance Day that was introduced and overseen by Congressman John Conyers and Senator Alfonse D’Amato.

Gregory Hines, Harold Nicholas, Savion Glover, Sandman Sims and many other tap dancers and supporters were present when Congressman Conyers announced the bill into affect.

Why May 25^th?

May 25^th is the anniversary of Bill ‘Bojangles’ Robinson’s birthday.

Who is Bill ‘Bojangles’ Robinson?

Bill ‘Bojangles’ Robinson (May 25, 1878 -- November 25, 1949) is best known for his appearances as an American tap dancer on the stage and in film. Many recognize him for his dancing with child star Shirley Temple during 1930s. Tap dancers recognize his steps and dancing style as a tap dancer who was always on the balls of his feet.

“Robinson gained his nickname because of his reputation as a “jangler” and is immortalized in the song “Mr. Bojangles.” He arrived in New York in 1898 and, within ten years, was a vaudeville soloist and star, billed as Dark Cloud of Joy. His Stair Dance was perfected in the early 1920s, but Robinson’s number became classic as performed with Shirley Temple in The Little Colonel (1935), one of fourteen movies. The first of six Broadway shows was Blackbirds of 1928. Robinson reached an entirely new audience with Michael Todd’s Swing Mikado, when the production moved from the Great White Way to New York’s 1939 World’s Fair. The first black soloist to star on white vaudeville circuits, he was a headliner for forty years, known for strict tempos and smooth shifts executed on his toes. Robinson coined the word “copasetic,” to signify “all is fine.” Formed in 1949, the black dance fraternity became the Copasetics in his honor.” — Dance Heritage Coalition

More on Bojangles:

Tap Dance Hall of Fame -- Online Bio || National Tap Dance Foundation

Some Excellent Film and Documentary Clips || Robinson Theater

Bojangles (film) starring Gregory Hines || Netflix (or via Amazon: Bojangles)

Rap A Tap Tap, Here’s Bojangles -- Think of That! (children’s book)

Mr. Bojangles: The Biography of Bill Robinson

How do tap dancers celebrate National Tap Dance Day?

In the United States, many workshops are offered as well as performances and jam sessions.

To mention a few events taking place this year:

• “Tradition In Tap” -- May 29^th-31^st in NYC. Honoring Bill Scheerer. www.traditionintap.com
• “Tap Extravaganza” - May 30^th in NYC. Honoring ATDF, BDC, Steps on Broadway, Randy Skinner and David Gilmore. www.nytap.org
• “Tap Jam at Skipper’s” -- May 25^th in NJ (304 University Ave, Newark NJ  8:00PM-midnight)
• “Hoofer’s Night” - May 22^nd in Los Angeles at Universal Dance Design
• “So You Think You Can Tap?” -- May 25^th in San Francisco, special guest Arthur Duncan www.soyouthinkyoucantap.com

National Tap Dance Day has evolved into an international celebration

To mention a few events taking place this year:

• Japan began celebrating “National Tap Day Japan” in 1991 with an annual performance that has taken place in the month of April. www.ntdj.tap-wonderland.com/
• Russia will have an “International Tap Day Celebration” May 24^th-25^th www.vortexdance.ru/news.php?id=84
• Spain’s Barcelona Tap Festival is May 23^rd-30^th www.tapbcn.com

How can YOU celebrate National Tap Dance Day?

• Attend one of the events listed above
• Watch a tap dance movie or documentary (Tap, White Nights, Singin’ in the Rain, The Cotton Club, Been Rich All My Life, By Word of Foot, No Maps on My Taps)
• Read a tap dance book (Inside Tap, The Souls of Your Feet, Tap Roots: The Early History of Tap Dancing, Gabriella’s Tap Shoes, Tap Dancing America)
• Look up Bojangles and other tap dancers on YouTube
• Visit www.famoustapdancers.com and watch footage
• Learn how to tap dance
• Spread the word about National Tap Dance Day
• Donate to an organization that supports tap dance
• Put your shoes on
• Register for a tap festival [Jersey Tap Fest (NJ), LA Tap Fest (CA), Rhythm World (IL), Motor City Tap Fest (MI), Tap City (NY), St. Louis Tap Festival (MO), Tap Into A Cure (Canada)…  and many more!] Visit the listing of summer festivals on Dance Advantage and check out www.tapdance.org for more tap festivals taking place internationally

Thanks to Hillary-Marie for her contribution to Dance Advantage on this special day! Be sure to check out the Jersey Tap Fest website and stay updated on Facebook. Register TODAY (5/25/10) and get a 10% discount on packages.

A Native of New Jersey, HILLARY-MARIE is best known throughout the Tri-State area as a tap soloist, performer, choreographer and teacher who specializes in the American art form of rhythm tap dance. She established an entrepreneurial stance at a young age by managing local musicians in the tri-state area under Fireshot Promotions and is now the Founder and Director of Jersey Tap Fest, an annually fantastic New Jersey tap dance even that will educate and serve diverse students with great passion for tap dance. As a reputable tap dance instructor, Hillary teaches weekly tap dance classes across the state of New Jersey. In addition to the dance, look forward to seeing her featured in the Crystal Glass Cosmetics catalog.

Tell us how you are celebrating National Tap Dance Day in the comments!

Curtain Call: The Art and Expectations of Performance Time

The first dance class I took was a tap class when I was 9 years old.  I remember being so excited when I got my costume for the end of the year performance.  I also remember my mom’s shocked reaction when she found out she had to spend  $40 on the costume, $8 on the fishnet stockings, not to mention the money she spent on the pricey tickets and pictures.

IT WASN’T PRICELESS!

The first year I taught jazz class at a studio, I was preparing for the end of the year performance.  I pulled the parents aside and told them that instead of buying pricey costumes the kids could wear different colored tank tops and black leggings.  The parents were disappointed; they were hoping for something with a little more sparkle.  Needless to say I was quite confused.

The end of the year for a dance class can be filled with celebration and lots expectation.  It took me a while to find a balance to meet the needs/wishes of the students, parents, myself and the directors of the school.  Believe me there was a lot of stumbling along the way!

Dance recitals should be a learning experience for the students.

Dance is a performing art and therefore performing is a part of the learning experience.  Performing is not about smiling the biggest or doing all the steps correctly.  It is about being present in the moment, dancing with and not competing against the other dancers on stage, and sharing the mood/feeling/story/dance with the audience.

I once had a student literally fall flat on her face on stage.  She got up and immediately continued.  When she exited the stage she was in tears. I was so proud of her. I told her anyone could learn steps but not everyone could fall on stage, get up and continue.  This was a true step in her dance education.  Performing is a skill you learn by doing; by having the experience.  There is no other way to learn it.  And I was so proud that she was learning these skills so beautifully.  She stopped crying and smiled.  I believe she learned a priceless lesson that day.

As you prepare your students for their end  of year performances think about:

• What do you want them to learn from the performance?
• What skills do you want them to work on?
• What kind of experience do you want them to have?

Share your goals with the parents.  Let them be a part of the process.  Teach them, as well as the students, the art of performing.  Other things to think about:

• Performance etiquette (Give your full attention to the performers on stage.  This means exiting and entering between dance numbers, clapping at the end of each dance, refraining from talking and eating, etc.)
• Proper make-up and hair.  I am not a fan of little ones in lots of make-up and excessive hair spray. Dance is about  movement not hair.  Too much hair and make-up can be a distraction to the little ones.  If they are focused on the bobby pins they will not be focused on performing.
• Let the parents know you will need a moment to say “a job well done!” I think it is important to review with the students what they learned/experienced at the end of class.  This is just as important on performance day.  See if you can have a moment with each class at the end of the performance even if it’s only for each student to say one thing he or she learned or enjoyed about performing.  And it is important that they hear praise from you and maybe something you learned as well!
• Nothing is perfect, nor should it be.   I tell parents and students dance is a performing art not a “let’s tape it and watch it on TV” art.  What I mean by that is it’s about experiencing art – live!  Anything can happen, which is awesome.  It can be scary too. Children’s feelings are important and performing should not be forced but encouraged.  No matter how much we practice, anything goes.  There is no right or wrong;  just a moment to learn and experience something new.

To get back to my previous story about my first year teaching, I think the parents wound up making hats for the kids. So, they wore tank tops, leggings and hats.  In the end, I learned that a little sparkle added to the excitement.  Having some extra pizazz didn’t take away from what I was teaching.  It is all about balance.  The next year I had a tie-dye party with one class and my 5 year old ballet class wore tutus.  I still think it is very important to be budget conscious but also expectation conscious as well.  With everyone on the same page, performance time can be a magnificent time to learn, develop, explore and ultimately have fun!

Role Of A Lifetime: Returning To Dance As A Mom

“How can they already have an opinion about everything?” Sara Webb, a principal dancer for Houston Ballet wonders about her 2 year-old son. “I never thought I would argue with Josh over which shoes he would be wearing to school at this age.”.

Toni Leago Valle, a Houston contemporary dancer and choreographer has been there. However, her son Dante is about to turn six, a new phase of childhood. In addition to feeling as though she’s finally retrieved her mind (“Its amazing what constant sleep deprivation does to your brain.”), Toni feels a sense of relief as Dante goes out into the world to find his own likes, dislikes, and friends. “I am no longer the center of his universe, which makes me very sad, but relieved. I’m sad that he wants to leave me so soon, but proud that my son is well-rounded and ready to venture out into the world. And I no longer feel guilty that I do something for myself, like dance.”

Pregnancy Is The Rehearsal

It’s not uncommon for women expecting or considering motherhood to focus heavily on pregnancy (see the previous article, Pas de Deux, for more on that). All of the fears, anxieties, and even joys get hung up in that anticipatory period before a birth. However, as you know and have read above, pregnancy is really only the beginning. Remembering her childbirth experience, Sara puts her thoughts in dancer terms “Pregnancy is that rehearsal process. It can be hard some days and easy other days. But the performance is so much bigger.”

Pregnancy, though, is a little like rehearsing Swan Lake for a presentation of something by Elizabeth Streb. I joke but, speaking from experience, parenthood is in a completely different genre and has its own vocabulary of challenges.

What remains the same however is that post-pregnancy and after delivery, the adjustments, uncertainties, finangling, and felicities continue for dancing moms.

Body Image

Most mothers feel self-consciousness about their post-pregnancy figure, but constant analyzing and scrutinizing of the dancer’s instrument can make this transition especially hard on dancing moms. “Your body does change,” confirms Sara, “and my fear was that I wouldn’t be able to look or dance the way I did before pregnancy and birth.” It was a fear that Toni shared. When asked what concerns she had about pregnancy, Toni answers, “That my body would never be the same. Its true, my body has never been the same. So what.”

However, Toni concedes, “Like most dancers, I am hard on my body image, and that got worse after having a baby.” Sara remembers her return to dance, “The worst was having to be partnered again, especially when I didn’t feel my lightest. I apologized to all of my partners for having to lift my extra “baby pounds” and was really embarrassed. I was very self conscience about the way I looked when I had to put leotard and tights on again.” Sara says that eventually these feelings went away. Toni also has come to terms with her new body. “I’ve learned to ignore myself and just keep on dancing.”

Adjusting To Motherhood

As is the case for Toni, many dancers perform and earn an income via a number of sources. She admits this was difficult at first. “The first two years were rough because I refused to slow down. I did not dance as much, but having a baby is like taking on a whole new life in addition to your old one. I was adamant about not leaving the dance world and at the time there were no other dancers I knew with children. I felt like I was embarking on a solo journey; having to figure out the mess of dance, jobs, and family by myself. ”

Sara sometimes questioned if dance was the right place for her to be. She continues to battle with what she calls “Mommy guilt” at times. “This is such a personal decision for every mother, but for me I knew this chapter in my life wasn’t over yet. There are still ballets I would like to dance that I haven’t danced and ballets that I would love to dance again. I have been dancing since I was 8 years-old. I have put so much time and work into my career. I know that I won’t dance forever, but I am enjoying it while I can. When I tell Josh that I have to go to work, he says,’Mommy go dancing.’”

Managing Family Time

Sara and her husband Ryan found a way to make things work with a little one when Houston Ballet went on tour last April to Spain. “My husband took time off from school and work to join me and help take care of Joshua.” In fact, having family and friends who provide backup and encouragement has been important for both Sara and Toni. “[Fellow UH instructors], Karen Stokes or Becky Valls watched Dante while I taught class, students played with him, [fellow performer] Joe Modlin was holding Dante backstage, [choreographer] Jane Weiner allowed Dante in rehearsals, [Dance Source founder] Christina Giannelli came to my house for meetings to make it easier,” says Toni, “the list goes on and on.”

“I have an amazingly supportive husband,” says Sara. “My work schedule can be pretty inconsistent at times. Every night we plan for the next day and how to make it all work logistically. Our goal always being to maximize our time together as a family.” Toni agrees that family time is important. “I knew Dante would be my only child and I have made a point not missing out on any of his life. I love dance, but I never want to look back and regret that I danced his childhood away. When I’m with him, I’m really with him.”

Change For The Better

There is no doubt that being a mom is tough, whether dancing, working, or not. No matter the age of the child, as it is with dance, there are always new trials to face. Reflecting on this, Toni adds, “Motherhood is challenging, but everything in life worth having is challenging.”

While the challenges might easily become the focus of discussion in regard to dancing moms, Sara and Toni are quick to point out the ways in which their lives have improved since becoming a parent. Sara continues her dancer analogy, “I remember after having Josh and holding him for the first time feeling like I had just had my best performance. This performance though, doesn’t end. Every day that I am with him and I get to be his mom, even on the tough days, is a great performance. And it is one that will last forever.”

Reflecting on how motherhood has positively affected her work on stage, Toni says, “My choreography has become so enriched since the birth of my son. I produced and performed CRACKED when Dante was 2 years old. The show was based on the realization that I am a good parent and my son sees me a a wonderful person.” Personally, she states, “My self-worth tripled when I saw myself through my son’s eyes.”

On May 7, 8, and 9, 2010 at 8:00 p.m. Sara Webb will perform with Houston Ballet at Miller Outdoor Theatre in Hermann Park. The free performances will feature three diverse works by three of today’s most sought-after choreographers. Call 281.FREE.FUN (281-373-3386) for further ticket information or visit www.milleroutdoortheatre.com.

On May 13-15 and 20-22 at 8:00 p.m. Toni Leago Valle will premiere her company 6º in a joint performance with Amy Ell’s Vault at DiverseWorks, 1117 East Freeway, Houston, TX, 77002. For more information, visit www.amyell.com or www.6degreesdance.org.

Have a wonderful Mother’s Day!

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Pas de Deux: Two Career Dancers On Pregnancy

Can a professional dancer maintain her career and be a mom, too?

For a long time women in dance were discouraged from becoming mothers and having a child would have ended a performing career. As gender inequality issues rose to the surface of public consciousness in the 1960′s, ballerinas like Allegra Kent began to challenge the notion that a professional performance career and motherhood were mutually exclusive pursuits. However, it is within only the last 10 to 15 years that support from dance companies and organizations has made it possible for more mothers to continue and pursue their careers in dance.

Balancing any career with motherhood has its challenges but mother/dancers certainly face some unique concerns and questions. To produce a picture of what it is like for mothers who are also professional dancers, I spoke with two dancing moms, one a ballet dancer, one a contemporary dance artist and choreographer. In this first installment, we discuss pregnancy and what it is like to dance and perform while expecting.

Mother/Dancer

Born in Dallas, Texas, Sara Webb trained at the Academy of Nevada Dance Theatre and the Harid Conservatory. She joined Houston Ballet in 1997 and was made a principal in 2003. She has performed leading roles in the company’s classical and repertory works, including her favorites, the title roles in Ben Stevenson’s Cinderella and Glen Tetley’s Voluntaries. In 2007, following a c-section for the birth of her son Joshua, Sara was able to return to class after 4 weeks and was back to work full-time after 7 weeks. She is now 16 weeks (4 months) pregnant with her second child and will perform this Mother’s Day weekend in a three free performances at Miller Outdoor Theatre. For Sara, motherhood was always part of the plan. “Ever since I was a little girl I had two dreams. One was to become a ballerina and the other was to be a mom.”

Toni Leago Valle received a B.A. in Theatre, specializing in dance, from University of Houston in 2000 and at 30 embarked on a professional dance career. As can be typical for a contemporary dance artist, her occupational resumé is diverse. She performs with many of Houston’s top contemporary dance companies and teaches at University of Houston (UH). As an independent choreographer, Toni has staged three evening-length works and, entering into a new phase, her dance company, 6 Degrees, will debut on May 13 on a split bill concert alongside Amy Ell’s company Vault. Toni is also Project Coordinator for Dance Source Houston, a non-profit organization dedicated to supporting dance and, in addition, handles administrative, production and promotional services for several local art organizations.  In 2005, just two weeks before she delivered her son, Dante, Toni premiered a solo, inspired by Japanese Butoh dance, titled I Am Mother. She too was back to rehearsal after 7 weeks. “I was amazed how fast my body remembered how to go upside down.  It was like welcoming an old friend.”

All In The Timing? Deciding To Start A Family

“You’ll be able to dance a lot longer than you’ll be able to have babies,” Toni was once told by choreographer, Karen Stokes. Though she has now found this to be true, (“I’m 41, still going strong.”), Toni had a late start in her professional career and thought she had to get in as much dance as possible before having a child. “I didn’t believe I would be able to dance after having a baby; that having both a child and an active dance career would be too demanding.”

Sara and Toni acknowledge that many professional dancers choose to retire from performance before having children. “It takes an amazing amount of energy to maintain a home and family when children are small. It’s a 24 -hour job.” Reflecting on what she has witnessed in contemporary dance, Toni says, “I think most mothers choose their families with the idea that they will return to performing as their child gets older. Then they find it hard to make their way back.” In ballet, a return after long absence is even less likely. Says Sara, “You have to want both. Not everyone wants to have kids while they are dancing.”

Sara feels supported in her decision to become a parent and attributes much of this to the Artistic Director of Houston Ballet, Stanton Welch. “Stanton comes from a family of dancers. He watched his own mother have children and then return to the stage. He understands, supports, and encourages dancers to have families and return to dancing. ”

Staying Healthy

The guidelines for maintaining a healthy pregnancy are generally the same whether a mother is dancing or not — plenty of rest, awareness in terms of over-doing it, pack healthy snacks and drink lots of water. Sara also suggests that a dancer must “be smart in how you rehearse and communicate with those that you are working with.” Toni adds that continuing to dance during pregnancy was important for her mental health as well. “Without dance, I might have killed my husband, then gone on a shooting spree,” she jokes.

When asked if performing while pregnant requires any special precautions, Sara cites only the safety measures one would normally uphold in dance. In fact, for her it’s about making sure her partner is comfortable with “partnering a pregnant lady.”

Both during and after pregnancy, mothers deal with monumental changes in the body. Sara returned to dance even after her c-section.”I wasn’t expecting one and I had to work really hard to find and strengthen my core muscles again.” In a blog post for En Pointe with Houston Ballet, Sara writes, “I started walking around my neighborhood, Joshua in tow, every day.  After two weeks, and having a little more bounce in my stride, I went to the gym.  I tried to do some crunches and pilates moves – unbeknownst to my doctor who would have killed me—without much success. Yes, I was crazy! But by week four I was feeling stronger (thanks to Amy Ell at Houston Gyrotonics for helping me find my core again).”

A Unique Pas de Deux

I have offered my own pregnancy tips and touched on how it felt for me to dance and teach while pregnant in an earlier article, Baby On Board. However, every pregnancy is different, as Sara corroborates, “I am sicker, more tired, and carrying this baby a lot lower. While I am calmer this second time around, there are always those concerns that never go away with pregnancy.”

Every mother is different also and dancing while pregnant is a singular experience.”I found pregnancy itself to be a bit alien and not at all normal. However, performing live while pregnant has been a memorable experience,” Toni explains. Naturally, she channeled her experiences into her work as a choreographer. “Knowing nothing on real mothering, I researched Mother and Fertility Goddesses from various cultures. I wanted to give an essence of mothers- not the kind, loving, care-giver we normally associate with mothers, but the strength behind the mother- the person who would kill you if you threaten her child, the mother who will starve so that her baby will live. This was the mother image I understood and related to.”

Sara embraces dancing while pregnant in a contrasting, but equally poetic and meaningful way. “When you dance it is always just you, one person, alone in your art. Sure, there are partners and other dancers that could be with you, but you are still one dancer. Dancing pregnant I am two. I always feel that little spirit with me, whether kicking, pushing, or just being. It is a unique experience that is hard to put into words. I also find that little one gives you extra strength, pushing you forward when the fatigue wants to pull you back. You become a team. I look forward to telling each of my kids someday what it was like to dance with them, a unique pas de deux that not all dancers get to experience.”

Part Two of mothers in dance (on managing a career and family) tomorrow on Dance Advantage!

On May 7, 8, and 9, 2010 at 8:00 p.m. Sara Webb will perform with Houston Ballet at Miller Outdoor Theatre in Hermann Park. The free performances will feature three diverse works by three of today’s most sought-after choreographers. Call 281.FREE.FUN (281-373-3386) for further ticket information or visit www.milleroutdoortheatre.com.

On May 13-15 and 20-22 at 8:00 p.m. Toni Leago Valle will premiere her company 6º in a joint performance with Amy Ell’s Vault at DiverseWorks, 1117 East Freeway, Houston, TX, 77002. For more information, visit www.amyell.com or www.6degreesdance.org.

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